Others felt that the book was simply a species of Surrealism, something like Max Ernst’s book “Une Semaine de Bonté” (“A Week of Kindness”), in which a collage of illustrations-harvested from Victorian encyclopedias, catalogues, and novels-hints at a mysterious narrative. The novelist Alison Lurie, a friend of Gorey’s from their college days, said that she thought the subject of “The Doubtful Guest” (which the author dedicated to her) was her decision-inexplicable to Gorey-to have a child. It’s poignant, too: a story of how something can suddenly appear in our lives-blood on the carpet, a letter without a return address-and, after that, nothing is ever the same. This is very funny, because, in the absence of any explanation, we are asked to imagine seventeen years of whispered conversations: “What shall we do?” “Should we call the constable?” “The vicar?” It’s not entirely funny, though. It is just living its little life, as its hosts ceased to be able to do seventeen years ago. It doesn’t look happy it doesn’t look unhappy. In the final drawing, we see the family, now gray-haired, staring at or away from this mysterious being as, still in its Keds, it sits on an elaborately tasselled ottoman, gazing straight ahead. At the end, we are told that the Guest has been with the family for seventeen years, and seems to have no intention of leaving. The next sixteen pages depict the unfolding of the creature’s unfortunate habits: how it tears chapters out of the family’s books and hides their bath towels and throws their pocket watches into the pond.
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An illustration shows us the family at the breakfast table, in their tight-fitting clothes, acting as though everything is perfectly fine, while the Guest, seated among them, and having finished what was on its plate, has begun eating the plate. By the morning, the creature has made itself at home. In any case, by the next page it is standing in the family’s foyer with its nose to the wallpaper, looking frightened but insistent, while they huddle in the next room, trying to figure out what to do. On the other hand, it has fur and wears white sneakers. But they scout around the porch, and finally, on the top of an urn at the end of the balustrade, they see something peculiar. Here, members of a respectable Victorian family are standing around one night, looking bored, when their doorbell rings. A beautiful example is his early book “The Doubtful Guest” (1957). In the white space that remained, Gorey felt, wit had room to flower.
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Many Gorey books are little more than thirty pages long: a series of illustrations, one per page, accompanied, at the lower margin or on the facing page, by maybe two or three lines of text, sometimes verse, sometimes prose. And the way I write, since I do leave out most of the connections, and very little is pinned down, I feel that I am doing a minimum of damage to other possibilities that might arise in a reader’s mind.” He thought that he might have adopted this way of working from Chinese and Japanese art, to which he was devoted, and which are famous for acts of brevity. And the whole thing is going down the drain like the bathwater.” Why? Because, Gorey said, James (like Mann) explained too much: “I’m beginning to feel that if you create something, you’re killing a lot of other things. I always pick up Henry James and I think, Oooh! This is wonderful! And then I will hear a little sound.
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for a year afterward.” As for Henry James: “Those endless sentences. The book artist Edward Gorey, when asked about his tastes in literature, would sometimes mention his mixed feelings about Thomas Mann: “I dutifully read ‘The Magic Mountain’ and felt as if I had t.b. This content can also be viewed on the site it originates from.