EDWARD GOREY'S ELEPHANT HOUSE

THE UNSTRUNG HARP (1953) THE LISTING ATTIC (1954) THE DOUBTFUL GUEST (1957) THE OBJECT LESSON (1958) THE BUG BOOK (1959) THE FATAL LOZENGE (1960) THE GOREY ALPHABET (1961) [English edition of FATAL LOZENGE] THE HAPLESS CHILD (1961) THE CURIOUS SOFA (1961) THE WILLOWDALE HANDCAR (1962) THE BEASTLY BABY (1962) THE GASHLYCRUMB TINIES (1963) [Originally published as a part of THE VINEGAR WORKS] THE INSECT GOD (1963) [Originally published as a part of THE VINEGAR WORKS] THE WEST WING (1963) [Originally published as a part of THE VINEGAR WORKS] THE WUGGLY UMP (1963) [THE NURSERY FRIEZE] (1964) ("15" on cover) THE SINKING SPELL (1964) THE REMEMBERED VISIT (1965) THE EVIL GARDEN (1966) [Originally published as a part of 3 BOOKS FROM THE FANTOD PRESS (I)] THE INANIMATE TRAGEDY (1966) [Originally published as a part of 3 BOOKS FROM THE FANTOD PRESS (I)] THE PIOUS INFANT (1966) [Originally published as a part of 3 BOOKS FROM THE FANTOD PRESS (I)] THE GILDED BAT (1966) THE UTTER ZOO (1967) FLETCHER AND ZENOBIA By Gorey and Victoria Chess (illus.) (1967) THE OTHER STATUE (1968) THE BLUE ASPIC (1968) THE IRON TONIC (1969) THE EPIPLECTIC BICYCLE (1969) WHY WE HAVE DAY AND NIGHT (1970) By Gorey and Peter Neumeyer THE CHINESE OBELISKS (1970) [Originally published as a part of 3 BOOKS FROM FANTOD PRESS (II)] DONALD HAS A DIFFICULTY (1970) (with Peter Neumeyer)[Originally published as a part of 3 BOOKS FROM FANTOD PRESS (II)] THE OSBICK BIRD (1970) [Originally published as a part of 3 BOOKS FROM FANTOD PRESS (II)] THE SOPPING THURSDAY (1970) THE DERANGED COUSINS (1970) [Originally published as a part of 3 BOOKS FROM FANTOD PRESS (III)] THE ELEVENTH EPISODE (1970 [Originally published as a part of 3 BOOKS FROM FANTOD PRESS (III)] ) [THE UNTITLED BOOK] (1970) [Originally published as a part of 3 BOOKS FROM FANTOD PRESS (III)] STORY FOR SARA (1971) [From a story by Alphonse Allais] THE SALT HERRING (1971) [By Charles Cros, translated by Alphonse Allais] FLETCHER AND ZENOBIA SAVE THE CIRCUS (1971) By Gorey and Chess (illus.) LEAVES FROM A MISLAID ALBUM (1972) THE AWDREY-GORE LEGACY (1972) AMPHIGOREY (1972) [first anthology] THE LAVENDER LEOTARD (1973) THE BLACK DOLL (1973) THE ABANDONED SOCK (1973) [Originally published as a part of 3 BOOKS FROM FANTOD PRESS (IV)] THE DISRESPECTFUL SUMMONS (1973) [Originally published as a part of 3 BOOKS FROM FANTOD PRESS (IV)] THE LOST LIONS (1973) [Originally published as a part of 3 BOOKS FROM FANTOD PRESS (IV)] A LIMERICK (1973) CATEGOR Y (1974) THE GLORIOUS NOSEBLEED (1975) L'HEURE BLEUE (1975) AMPHIGOREY, TOO (1975) [2nd anthology] SCÈNES DE BALLET SERIES: DOGEAR WRYDE POSTCARDS (1976) LES PASSEMENTERIES HORRIBLES (1976) THE BROKEN SPOKE (1976) THE LOATHSOME COUPLE (1977) ALMS FOR OBLIVION: DOGEAR WRYDE POSTCARDS (1978) THE GREEN BEADS (1978) DRACULA: A TOY THEATRE (1979) GOREY POSTERS (1979) INTERPRETIVE SERIES: DOGEAR WRYDE POSTCARDS (1979) NEGLECTED MURDERESSES: DOGEAR WRYDE POSTCARDS (1980) DANCING CATS & NEGLECTED MURDERESSES (1980) LES URN' UTILES (1980) F.M.R.A. (1980) LE MELANGE FUNESTE (1981) THE DWINDLING PARTY (1982) [Pop-up book] THE WATER FLOWERS (1982) THE PRUNE PEOPLE (1983) THE ECLECTIC ABECEDARIUM (1983) AMPHIGOREY ALSO (1983) [3rd anthology] E.D WARD: A MERCURIAL BEAR (1983) THE TUNNEL CALAMITY (1984) LES ECHANGES MALANDREUX (1985) THE PRUNE PEOPLE II (1985) THE IMPROVABLE LANDSCAPE (1986) THE RAGING TIDE (1987) Q.R.V. (1989) Q.R.V.: THE UNIVERSAL SOLVENT (1990) THE DRIPPING FAUCET (1989) TRAGEDIES TOPIARES: DOGEAR WRYDE POSTCARDS (1989) MENACED OBJECTS: DOGEAR WRYDE POSTCARDS (1989)) THE HELPLESS DOORKNOB: A SHUFFLED STORY (1989) WHATEVER NEXT? DOGEAR WRYDE POSTCARDS (1990) THE TUNING FORK (1990) THE STUPID JOKE (1990) THE FRAUGHT SETTEE (1990) LA BALADE TROUBLANTE (1991) THE GRAND PASSION (1992) [Originally published together with THE DOLEFUL DOMESTICITY] THE DOLEFUL DOMESTICITY (1992) [Originally published together with THE GRAND PASSION] THE BETRAYED CONFIDENCE (1992) THE POINTLESS BOOK (1993) THE FLOATING ELEPHANT / THE DANCING ROCK (1993) FIGBASH ACROBATE (1994) THE RETRIEVED LOCKET (1994) THE UNKNOWN VEGETABLE (1995) THE FANTOD PACK (1995) [Official edition] Q.R.V. UNWMKD. IMPERF.: A DOZEN DOGEAR WRYDE POSTCARDS (1996) [Originally published together with Q.R.V. HIKUPTAH] Q.R.V. HIKUPTAH: A DOZEN DOGEAR WRYDE POSTCARDS (1996) [Originally published together with Q.R.V. UNWMKD. IMPERF.] THOUGHTFUL ALPHABET BROADSIDES (1996) THE JUST DESSERT: THOUGHTFUL ALPHABET XI (1997) THE DEADLY BLOTTER: THOUGHTFUL ALPHABET XVII (1997) THE HAUNTED TEA-COZY: A DISPIRITED AND DISTASTEFUL DIVERSION FOR CHRISTMAS (1997) THE HEADLESS BUST: A MELANCHOLY MEDITATION ON THE FALSE MILLENIUM (1999) AMPHIGOREY AGAIN (2006) [4th anthology]

[nobrashfestivity]

Bruce Kinch

Photography annual 1970

[ripplefactor]

‘I don’t think anything might have been. What is, is.’

Edward Gorey, Cape Cod, Massachusetts, October 18, 1992.

Photograph by Richard Avedon / © The Richard Avedon Foundation.

[edwardgoreyelephanthouse]

EVEN THE COMMAS ARE EXACTLY WHERE I LEFT THEM DID YOU…REALLY? https://www.tumblr.com/edwardgoreyelephanthouse/180772126477/richard-avedon-edward-gorey-cat-october-1992

Post by @edwardgoreyelephanthouse · 1 image

💬 0  🔁 51  ❤️ 80 · Edward Gorey, Cape Cod, Massachusetts, October 18, 1992

[yama-bato]

Giampaolo Sgura for VOGUE GERMANY

[yama-bato]

Giampaolo Sgura'

[charnel-grounds]

Edward Gorey (1925–2000), “Cemetery (Garden obelisks with skulls)”

pen and ink with wash on paper, 1980 — source

[infiniterichesinalittleroom]

His eyes sought the broken, the worn, the faded, the fragmented. A complete object made him sad. What could one do with a complete object? Put it in a museum. Not touch it. But a torn paper, a shoelace without its double, a cup without saucer, that was stirring. They could be transformed, melted into something else. A twisted piece of pipe. Wonderful, this basket without a handle. Wonderful, this bottle without a stopper. Wonderful, the box without a key. Wonderful, half a dress, the ribbon off a hat, a fan with a feather missing. Wonderful, the camera plate without the camera, the lone bicycle wheel, half a phonograph disc. Fragments, incompleted worlds, rags, detritus, the end of objects, and the beginning of transmutations.

from Rag Time by Anaïs Nin collected in Under A Glass Bell

[charnel-grounds]

Edward Gorey (1925–2000), “Vampire”

cover design detail for ‘Phantasmagorey,’ 1974

source

[enchantedbook]

Edward Gorey's wonderfully odd Christmas illustration

[kitsunetsuki-deactivated2026051]

Jeanloup Sieff - Outfits by Bill Gibb (The Daily Telegraph 1972)

[detournementsmineurs]

“Villa Medicis” de François Halard, Rome, Italie.

[squid-talisman]

- Edward Gorey

[kitsunetsuki-deactivated2026051]

Clive Arrowsmith - Dress by Zandra Rhodes (Vogue UK 1970)

[edwardgoreyelephanthouse]

Thanksgiving morning

I discovered lots of this funny-coloured paper so perhaps I’ll start using it up. I feel like I’m typing on oatmeal, especially with this typewriter.

I have just finished, subject to sudden recollections of other things, a little list of things I have to do. I have a mind to write SUICIDE at the top and forget the rest.

Having successfully resisted invitations for the day in various directions, I tell myself I am getting myself organized in order to better attack work. Ha. Even I can’t make myself believe this really.

I hope you are all having a Thanksgivingy Thanksgiving.

- Edward Gorey, Floating Worlds: The Letters of Edward Gorey & Peter F. Neumeyer

[infiniterichesinalittleroom]

Just a few weeks before I had come on a statement, by Henry James in The American Scene, that gave me, I felt, unlimited access. "...is to be subject to the superstition that objects and places, coherently grouped, disposed for human use and addressed to it, must have a sense of their own, a mystic meaning proper to themselves to give out: to give out, that is, to the participant at once so interested and so detached as to be moved to a report of the matter." I was hardly detached, but otherwise I was qualified. These objects and places spoke to me profoundly, and I was moved to a report of the matter.

Photography in My Life • Wright Morris • Photographs & Words

[guy60660]

Edward Gorey

[infiniterichesinalittleroom]

Contemplating his body of work, he said, “The stories I'm most partial to are the most nonsensical, the most abstract — something I disapprove of in other people.” His favorites include “[The Untitled Book],” “The Nursery Frieze,” “The Object Lesson” and “The West Wing.” He dedicated this last one to Edmund Wilson. “He was the first person to pay attention to me in print, but he was hard on my prose style. So when I dedicated a book to him I chose one without text.” Remembering Wilson, he said that along with Balanchine and the poet John Ashbery, he was one of the people who most intimidated him. Asked to characterize his art, he was nonplussed. “More or less, it's a genre that's fallen into disuse,” he said, and then searched for antecedents. He suggested Wilhelm Busch, the 19th‐century German cartoonist.

Mel Gussow

[infiniterichesinalittleroom]

thousands of hours of soundless celluloid he absorbed while in New York can never be seen again. Though they didn't realize it at the time, Edward and those other cultish film nerds attending weekend-long binges forgotten silent classics were some of the last audiences to view those works before deterioration, neglect, and indifference erased decades of filmwork. Ninety-five percent of the silent reels Gorey took in at screenings in New York through the 1950s and 1960s no longer exist.

E is For Edward: A Centennial Celebration of The Mischievous Mind of Edward Gorey