James Purdy (1914 – 2009) is the sort of writer that attracts a cult following. Eccentric English poet Edith Sitwell claimed to have ‘discovered’ him, when he was primarily a short story writer. This is amusing in itself, as Purdy’s fiction is thronged with so many Sitwell-like characters, resplendent in heavy jewellery and flowing gold gowns, declaiming rather than speaking their dialogue. Over the years, Purdy has gathered a wide array of devoted fans, from ‘trash’ filmmaker John Waters to the literary likes of Gore Vidal and Jonathan Franzen.
Purdy lived to a grand old age of 94, and continued writing right up to his death. He published over a dozen novels during his lifetime, plus poems, short stories and plays. His first extended fiction was the novella 63: Dream Palace, followed by his first novel proper Malcolm (1959). Gertrude of Stony Island Avenue was James Purdy’s last novel, published in 1996.
Most of James Purdy’s novels are pretty much alike in style, tone and content, although not totally uniform. Purdy does move about a bit when it comes to character, plot and situation, but he never casts his literary net very wide overall. The short stories differ from the novels, in that for the most part they are written in a more plain, straight forward style, evading the Baroque high style of the novels. I have not read any of Purdy’s poetry or plays, so cannot provide a style comparison for these other two genres.
James Purdy a Mix of Magic Realism and American Gothic
Purdy’s novel’s mix magic realism with American Gothic. His writing style is highly wrought, almost Baroque. The only other writer who approximates Purdy’s style is Truman Capote, in his debut novel Other Rooms, Other Voices. Truman Capote, however, would go on to experiment and change, whereas Purdy pretty much wrote the same novel over and over again. Purdy’s fiction is also more outlandish than early Capote, and frequently indulges in set pieces of stagey drama. Terrifying matriarchs and powerful doyennes have a habit of making earth-shattering entrances.
Gertrude of Stony Island Avenue centres around aging Carrie Kinsella’s search for the spiritual essence of her dead daughter, Gertrude. This leads Carrie through all sorts of weird and wonderful adventures, meeting various eccentric characters. We never learn how and why Gertrude died, but her bohemian lifestyle as a painter meant she had plenty of liberated friends and lived a liberated life. As Carrie closes further in on the enigma that was her daughter, she too finds a kind of personal liberation. As the novel closes, we learn that this is pretty much the theme of the novel: abandon society’s strictures and live your own life, no matter how bohemian or outlandish.
The message of Gertrude of Stony Island Avenue can really be thrown to one side, because Purdy doesn’t really make authentic emotional connections with the reader in his novels. He is read and enjoyed by his fans because of his camp-Gothic style that is also informed by a classical learning. While Purdy is indeed at times a very campy writer, this doesn’t mean he is superficial. His fiction is deeply aesthetic, and he writes in an exalted prose. Purdy is a strange mix of the earthy and the artificial. His novels are like fine old Catholic churches: full of heavy wooden pews, muscular iconography of saints and sinners, and dazzling stained glass windows. For those who enjoy this type of writing, his work is deeply satisfying.
Gertrude of Stony Island Avenue will not disappoint James Purdy fans. There are plenty of laughs, and Purdy’s sapphire and ruby prose is in fine form. For novices looking for somewhere to start reading Purdy, this final novel from a highly original American author is a good place to start.
Gertrude of Stony Island Avenue, by James Purdy. Published by Peter Owen Publishers. ISBN: 0-7206-1011-7
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Book Review: Gertrude of Stony Island Avenue, by James Purdy
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