On Patricia Highsmith’s birthday, revisit Margaret Talbot on the passions behind Highsmith’s uniquely romantic novel “The Price of Salt.”
In 1955, Ann Aldrich, the pseudonymous author of the best-seller “We Walk Alone,” an informal ethnography of lesbian life, observed, “If homosexuality itself is not on the increase, mention of it among people today is far more prevalent than ever before.” Aldrich attributed this higher profile to a “climate of concern with all things psychological.
Again and again in Highsmith’s fiction, one character develops a deadly obsession with another. In “The Talented Mr. Ripley” , Tom Ripley both desires and resents Dickie Greenleaf, a wealthy scapegrace who is gallivanting around Italy. Ripley bludgeons Dickie to death and—in the ultimate act of erotic ownership—assumes his identity.
Schenkar characterizes Highsmith’s relationship with her mother as a folie à deux: “They could not bear each other’s company, and they could not leave each other alone.” Surely that relationship contributed to Highsmith’s habit of seducing and philandering, to the conflation of obsessive love and homicidal ideation in so many of her characters, and to a particular strain of perversity in “The Price of Salt.
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