Mark Dery has bravely published the first full-length biography of writer and illustrator Edward Gorey, who died in 2000. It runs to over 500 pages which, bearing in mind Gorey did little except go to the New York City Ballet and draw, is probably too long. Dery is an astute interpreter of Gorey’s art and writing, but spends far too long speculating on Gorey’s sexuality and his shortcomings as a fully-rounded human being (show me a great artist who is).
I used to be mildly obsessed with Edward Gorey, ever since a good friend showed me a copy of The Doubtful Guest, which had been given to her by a New York gay couple who were friends of her father. I started buying his intriguing little books in the pre-internet days when one had to write letters to the Gotham Book Mart in NYC and send them international money orders as payment. I’ve no idea how many hours I spent in my twenties just cross-hatching like the Master.
Mark Dery is also insightful on his friendship with author Peter Neumeyer which was largely conducted by letter, and has since been published as a beautifully-illustrated book. He reminds us of Edward Gorey’s Great Simple Theory of Art, which is basically:
Anything that is art…is presumably about some certain thing, but is really always about something else, and it’s no good having one without the other because if you just have the something it’s boring and if you just have the something else it’s irritating.
He continues that things ‘that on the surface…are so obviously’ about one thing make it ‘very difficult to see that they are really about something else entirely’ (unfortunately Mark Dery then goes on to say that this demonstrates Gorey’s ‘Derridean-Beckettian awareness of the limits of language’ and ‘his Asian-Barthesian belief in the importance of ambiguity and paradoxes as spaces where readers can play with a text, making their own meanings’).
I’ve spent a long time on this blog trying to pin down the ‘something else’. I think we can agree that whatever we are inspired to draw or paint, that object or landscape is more than just that picture on the paper. Take the drawing of Rosie, the retriever-samoyed cross, above. On one level it’s a drawing of a dog using a Prismacolor indigo pencil on Stillman and Birn gamma paper. The ‘something else’ might well be my affection for Rosie and her owners, my enjoyment of my time with them all, my drawing Rosie as an expression of my feelings about being welcomed into someone’s home and family life over Christmas, how much I miss my own departed greyhound, and so on. What it isn’t, ultimately, is just a drawing of a dog.
Gorey has it spot on that ‘if you just have the something it’s boring’. Have you ever started drawing or painting something and you feel you’re just going through the motions, that what you’re doing is so superficial that you simply can’t face taking it any further? You might be surprised to learn that I’ve occasionally started drawing a piece of fruit and have abandoned it because it simply bores me to death, and if I don’t like drawing it why should you like looking at it? I believe that’s just having the ‘something’ in Gorey’s Great Simple Theory.
I once met a painter who gave his landscapes titles like ‘Heartbreak is the end of all of love’s journeys’. That might well be true but it had the effect of not letting you see his paintings of nature as anything other than symbols of his inner turmoil. This is, perhaps, an example of when you ‘just have the something else [that’s] irritating’. It’s frustrating seeing or hearing something that you think is simple and its creator telling you it’s actually incredibly profound. Van Gogh did inner turmoil to a tee, but he called his paintings “Starry Night” or “Crows Over a Cornfield” not “I’m so wired up I’m going to punch Gauguin in the face any minute”, allowing us to form our own interpretation.
That, at least, is my take on Gorey’s Great Simple Theory. You might see it very differently, which is fine with me. And with Edward Gorey, I’m sure.