Another review of Mark Dery’s biography of the “deadpan Victorian-Surrealist”, Edward Gorey. This one seems more positive than the previous one I found.
Edward Gorey: A highly conjectural man
Hackett would be the first of many people who championed Gorey, who at Parker worked on murals and artist projects for the school paper. It’s with Hackett that we begin to see a defining element of Gorey’s career: the willingness of others to embrace Gorey’s weirdo style.
The New Yorker magazine has a review of an Edward Gorey biography. I don’t think the reviewer cares much for the book, but greatly appreciates the life and work of this strange artist: “It’s nice to have a biography of Gorey, with whatever silliness.”
Edward Gorey’s enigmatic world
These dark territories give the book’s overt themes a place in which to burrow and ripen. Alison Lurie wrote that, in looking at such drawings of Gorey’s, “one of the things you want to remember is what the nineteen-fifties were like. . . . All of a sudden everybody was sort of square and serious, and the whole idea was that America was this wonderful country and everybody was smiling and eating cornflakes and playing with puppies.” Gorey’s hatching and cross-hatching were his answer to that—the shadows inside the sunny hedge.
On the shore a bat, or possibly an umbrella,
disengaged itself from the shrubbery,
causing those nearby to recollect the miseries of childhood.