With "The Headless Bust", Edmund Gravel and the Bahum Bug from Gorey's "Dispirited and Distasteful" Christmas tale, "The Haunted Tea-Cosy", have returned to usher in the New Year. The story, told in verse, takes up just after Edmund's riotous party. He and the Bug are whisked off to a faraway village for another round of strange and vaguely eerie encounters. Fans of Gorey's distinctive ink drawings, tending toward the well -dressed and slightly mad, will not be disappointed - they make for an engrossing book with or without the accompanying deliciously odd text. ("Reversing at a tango tea/In Snogg's Casino-not-on-Sea/L-- tripped and cried,'I am afraid/They tampered with the marmalade.'") There is also plenty to be had for aficionados of the mysterious little rituals, mentioned nonchalantly, that seem so logical to the inhabitants of Gorey's bizarre world - the Bandage Folder's Ball being a head-cocking highlight. "The Headless Bust" is perfect for a winter's read by the fireplace, just before drifting off into fruitcake-induced dreams. Ali Davis NB The sub-title has the word 'on' on the cover and the word 'for' on the title page, both in Gorey's script.
Born in Chicago, Gorey came from a colourful family; his parents, Helen Dunham Garvey and Edward Lee Gorey, divorced in 1936 when he was 11, then remarried in 1952 when he was 27. One of his step-mothers was Corinna Mura, a cabaret singer who had a brief role in the classic film Casablanca. His father was briefly a journalist. Gorey's maternal great-grandmother, Helen St. John Garvey, was a popular 19th century greeting card writer/artist, from whom he claimed to have inherited his talents. He attended a variety of local grade schools and then the Francis W. Parker School. He spent 1944–1946 in the Army at Dugway Proving Ground in Utah, and then attended Harvard University from 1946 to 1950, where he studied French and roomed with future poet Frank O'Hara.
Although he would frequently state that his formal art training was "negligible", Gorey studied art for one semester at The School of The Art Institute of Chicago in 1943, eventually becoming a professional illustrator. From 1953 to 1960, he lived in New York City and worked for the Art Department of Doubleday Anchor, illustrating book covers and in some cases adding illustrations to the text. He has illustrated works as diverse as Dracula by Bram Stoker, The War of the Worlds by H. G. Wells, and Old Possum's Book of Practical Cats by T. S. Eliot. In later years he illustrated many children's books by John Bellairs, as well as books in several series begun by Bellairs and continued by other authors after his death.
I think this is after the events of the Haunted Tea-cozy. It sounds like it’s set around New Years as the new Millennium is approaching. The Bahhum Bug is still around, he hasn’t left good Edmund. It is after the party and again these two go visiting other people around. There are people with names beginning with the letter of the alphabet, but they are jumbled and not in order. It’s one absurd situation after another, really.
This is a good book in this weak collection, but it’s not as good as the first part of the story. The Haunted Tea-cozy is the better book, but it’s a fine ending to the story as well. It was also in color and really, it should simply be one story with the tea-cozy.
The Barhum Bug (slightly different spelling in this book) returns once again, the usually surreal action described in four-line verse. The author's usual black and white illustrations adorn the text.
Edmund Gravel and the Bahum Bug from Gorey's "The Haunted Tea-Cosy", return to ring in the New Year, and since it is 1999, the "false" millennium. The New York Times Magazine commissioned him to do this, based on the success of The Tea-Cosy holiday send-up of Dickens's A Christmas Carol, done in 1997. This isn't quite up to that bar, but it's Gorey, so it's still delightful, so there.
This one is done in rhyming couplets, for no obvious reason to me, but so there again.
The last book Gorey published in his lifetime, and for some it appears that they think his genius is somewhat diminished in final outing. His art is definitely looser and blockier, but there’s still a playful use of the frame on so many of the pages, and although he may not quite be the crosshatcher he once was there’s some lovely fluidity to some of the images which shows he still was a master of his art. There is a definite sense of loss of focus in the writing, which seems a bit baggy where previously Gorey was a master of control. The rhymes are fun and witty, as ever, but it does feel a bit overlong and aimless in places. But these really are quibbles, because it’s still undeniably the work of a master
After the party they planned in The Haunted Tea Cozy Edmund the Bahhumbug attempt to take a rest but a flying bug takes them on another adventure. This time celebrating the New Year (and the new century published Jan 1 1999).
A sequel to The Haunted Tea-Cosy, I actually read this one first. I got in an Edward Gorey mood and got a handful of his tiny books from the library. This was the first one I read. As with The Haunted Tea-Cosy, the art style seemed slightly less detailed than I'm used to from Gorey, but the book was fun. I liked this one best of the two, mostly I think because I liked the rhyming verse more than the prose.
Wow. What a wonderful book. It's the sequel to the Haunted Tea Cosy and, as well as being longer, it's funnier and the art is great. The pictures are like the ones from the HTC, but they have a hint of Japanese in them. They are coloured in grey and light blue (see cover) and lime yellow. This is a great book and any Goriphile would carry it around with them around the house (like I do)
As you learn in the first few pages, this book deviates from its successor, The Haunted Tea-Cosy, by being written in verse rather than prose. It certainly doesn't hurt, and fans new to Gorey will appreciate his clever rhymes as much as his non sequitur tableaus.
I always find an enjoyment in Gorey. He is funny and dark, and uses rich vocabulary for books that may or may not be bedtime stories for children (or at least cool children). This book wasn't my favorite of his, but I still fully enjoyed and can find myself reading it again and again!
Being a sequel to The Haunted Tea-Cosy which entirely hinged on the last few pages and it's making fun of Dickens there was no way to give this meandering story the umph it needed at the end.
okay so i didn't read the haunted tea cosy first, fight me. but i am obsessed with the character of bahumbug. "initial, dash cannot conceal // the fact that everything is real,// but whether it is also true // is left entirely up to you"
The Headless Bust is a short illustrated story in Edward Gorey's iconic style. Despite the title, it has nothing to do with a headless bust and instead follows the Bahumbug, Edmund Gravel, and another bug, in what seems to be a strange homage to A Christmas Carol, as they see a variety of people on the cusp of a new millennium. I first read this story in part of one of Gorey's Amphigory anthologies. As is usual with his works, I don't feel like I really entirely got the meaning of the story, even after two reads, but it was a delight to read the story and see his beautiful, if strange, illustrations. Gorey's verse has a way of drawing people in and it's almost impossible to look away from the simple yet striking drawings.
Even at the very first impression, I could feel that Edward Gorey's illustrations are brimmed with such gloomy, dark humour throughout all the black and white drawings, I just love it. Plus, his rich vocabulary is so mesmerizing.
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However, while I've been reading this book for a few times, I don't think I truly got the meaning behind it. As what I found on the internet, most of the readers are just confused like me and still, they appreciate his art and words.
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For a better understanding of this book, I recommend you to read a short blog post called 'The Headless Bust by Edward Gorey' on www.slaphappylarry.com.
*** Here is my favourite verse in the book:
['Initial, dash cannot conceal The fact that everything is real, But whether it is also true Is left entirely up to you.']
I love The Gashlycrumb Tinies; that one is dark, but funny. However, I just didn't get this one. I believe it was suppose to satire writing from the time period in which it is set, that Gothic type of writing. I ran across it at random while finding a book for a student at the library. This was the only book by Gorey they had, which surprised me quite a bit since I didn't like this one.
I'm pretty sure I just didn't get it in general, but I liked it, especially after rereading some and getting a better handle on it. I came across it after trying in vain for the third time to find his "The Gashlycrumb Tinies," which I haven't yet read but would like to, even if it looks morbid in a funny way.
an edward gorey descriptor i have picked up on is fruitcake. i feel like i am a fruitcake. i didn't think the poetry was too great but there were some good lines. and a monument to the Unknown. it was also perfect for my purposes this afternoon which involved sitting in a diner gloomily