Feb. 4, 1995— Patricia Highsmith, whose psychological thrillers achieved greater sales, critical acclaim, and understanding in Europe than in her native United States, died at age 74 of leukemia in Locarno, Switzerland.

Since her death 30 years ago, however, a virtual cottage industry about her work has sprung up in the U.S., with at least three biographies, and numerous reprints of her books, appearing.

Whatever fame Highsmith gained at home derived from two novels adapted into classic films by Alfred Hitchcock (Strangers on a Train, 1951) and Anthony Minghella (The Talented Mr. Ripley, 1999). Her pigeonholing as a “crime writer” annoyed her because it said nothing about her profound probing of the human heart.

Beneath the placid surface of American life, discontents, even demons, lurked in her fiction. Many of her intimates agree that Highsmith shared many of these—indeed, if she didn’t have writing as an outlet where she could vent these, she feared that she might go insane.

Outsiders, misfits, manipulators, sociopaths—an entire psychological spectrum can be described in Highsmith’s work. On a podcast I listened to today, one of her later friends said she didn’t doubt that Highsmith herself existed on the autistic spectrum.

More specifically, some see the writer as being a high-functioning case of Asperger’s Syndrome. She possessed many unusual traits, including a terrible sense of direction, hypersensitivity to sound and touching, clumsiness, and depression.

Even before she struggled with alcoholism for much of her adult life, Highsmith had to cope with the revelation that her mother tried unsuccessfully to abort her when she was only four years old.

Even though her collected fiction is considerable—22 novels and eight short-story collections—it’s remarkable how certain themes and motifs reappear obsessively:

*fractured or swapped entities;

*murder;

*madness;

*pairs who bring out depths of evil in each other;

*malignant mothers; and

*guilt.

Just as her characters traffic in aliases, Highsmith resorted to pseudonyms. The most famous, “Claire Morgan,” was adopted for the initial publication of her 1952 celebration of lesbian love, The Price of Salt.  

She used others in letters to the editor that were printed in the Herald-Tribune, where she fulminated against Catholics, neighbors, Frenchmen in general and their bureaucrats in particular—and, most problematically, Jews.

Her characters are frequently doubles and alter egos. More chillingly, her narratives feature complicit characters and readers.