Rosemary Tonks is now known as the poet who disappeared, thanks to a 2009 BBC program (“The Poet Who Vanished”) and features in the Guardian, TLS, the London Review of Books, the Poetry Foundation and others following her death in May 2014 and the reissue that fall of Bedouin of the London Evening, a collection of her poems and selected prose. In truth, she didn’t disappear as much as take a deliberate decision to step away from the life of London and literature she’d led since the mid-1950s. She had health problems, became a devout Christian, and spent her last thirty years in Bournemouth having little or no contact with the large circle of writers, artists, and friends she had known. Sometime in late 1981, she retrieved most of her souvenirs and papers from storage in London and burned them in her garden incinerator. In the years before her death, she read only from the Bible.
The reissue of Bedouin of the London Evening has done much to restore Rosemary Tonks’ standing as an innovative and challenging poet of the sixties. Though praised when her two collections of poems were first published, her poetry is aggressive, edgy, unsettled. “Her poems matched the forceful personality, being rhetorically explosive, with more exclamation marks than anyone else used,” one of her contemporaries recalled. She was neither feminist nor conservative: more than anything, she was an individualist. Several observers have remarked that she most admired the spirit of the flâneur — “equal parts curiosity and laziness” — as embodied in the work of Balzac and Baudelaire:
The crowd is his element, as the air is that of birds and water of fishes. His passion and his profession are to become one flesh with the crowd. For the perfect flâneur, for the passionate spectator, it is an immense joy to set up house in the heart of the multitude, amid the ebb and flow of movement, in the midst of the fugitive and the infinite. To be away from home and yet to feel oneself everywhere at home; to see the world, to be at the centre of the world, and yet to remain hidden from the world—impartial natures which the tongue can but clumsily define.
She was a creature of the city. As she writes in “Diary of a Rebel,”
For my fierce hot-blooded sulkiness
I need the café – where old mats
Of paper lace catch upon coatsleeves
That are brilliant with the nap of idleness
…And the cant of the meat-fly is eternal!
She told a Guardian interviewer in 1968 that she used to drive straight into the centre of London each morning, and then to a cafe south of Putney Bridge, where she had scrambled eggs. And the photo on the cover of Bedouin of the London Evening shows her at work at a sidewalk table, a large café-au-lait sitting beside a stack of books and papers. Bloodaxe Books is to be commended for taking advantage of ebook technology and included recordings of Tonks reading a dozen of her poems, along with an interview with Peter Orr, in the EPUB and Kindle versions.
Tonks’ work as a novelist, however, has yet to be rediscovered, for the simple reason that it’s almost impossible to get hold of one of her six novels. The cheapest copy goes for over $70, the dearest for over $400. And forget about finding Emir (1963) outside a couple handfuls of libraries worldwide (she disowned it, anyway). Thanks to the Public Library of India, however, you can find her first novel, Opium Fogs (1963), online in electronic formats.
With the help of my daughter and the University of Washington Library, I was able recently to read Tonks’ 1970 novel, A Way Out of Berkeley Square. At the time it came out, the book probably seemed too odd, too marginal to merit much consideration. “I’m thirty, and I’m stuck,” Tonks’ protagonist, Arabella, complains. Living with her father, romantically involved with a married man, and barely employed with the job of decorating some flats her father is renovating, she was neither the Victorian model of a spinster nor the Seventies’ vision of a woman taking charge of her own life. One reviewer dismissed Arabella as “30 on her driver’s license and 13 in her emotional development.”
This is pretty close to her father’s estimation. He would have her be both the Victorian spinster, serving up a hot dinner and keeping a tidy home for him, and a go-getter, diving into the business of interior decoration with a profit-minded zeal. The one thing he can’t accept is what she is:
My father can’t bear ordinary life; a woman in a dirty cardigan with two pockets on the stomach misshapen by handkerchiefs makes him bristle up, the sight of a coarsely-patterned formica table with brown tea-cup rings on it and large yellow crumbs will cause him a temporary loss of personality, his ego buries itself in one of his shoes and leaves the rest of his body to look after itself, grey, inert.
“I’m out of the habit of taking action,” she thinks. “I don’t have a proper stake in life, in the world.” She definitely doesn’t care for a future of caring for her father for decades until he dies — and then having nothing to show for it. But she’s also skeptical that there is any pot of gold waiting at the end of the rainbow of marriage and/or career:
Inside the showroom I catch the eyes of various men and women, torpid and haggard as drug-addicts, as they turn over the endless fabrics. I have never actually seen a face with an expression on it in this showroom; blanks, and more blanks with dead eyes. The suffering is awful, and it goes on and on, like writing out “I must not say bloody” a hundred times at school, until you’re free to rejoin the mainstream of life.
Yet she wonders, “Shall I take this bit of life, because if I don’t I may not have any life at all?”
Her one lifeline is her brother, who has escaped from London to Karachi, where he is trying to find the distance and energy to make a start as a poet. They write each other nearly every day — he consoling her over their father’s domination, she cheering on his efforts to embrace his new surroundings and work on his writing. When his correspondence suddenly stops, she worries — then panics when she learns after a gap of weeks that he has contracted polio and is barely surviving with the help of his cook. (This parallels Tonks’ own experience of contracting typhoid and then polio while living in India early in the 1950s.)
The crisis kicks her out of her doldrums. Though still very much dependent upon him to arrange for her brother’s care and return to England, it’s Arabella who prods her complacent father and forces the action. In so doing, she discovers a capacity in herself she had not suspected: “I’ve found out that strength is silent; it doesn’t have to be talked about, proved, or borrowed from others. It isn’t even called strength, but action.”
It’s likely that The Way Out of Berkeley Square would have a more favorable reception today. A fair number of women (and men) are stuck living with their parents into their thirties with the decline in earning power and finding the experience demoralizing and emotionally stultifying. And Tonks’ prose is studded with little gems of description. Of her father’s car: “His new Bentley is fully automatic, has doors as heavy as safe doors from the Bank of England, and a steel body as wide as a ping-pong table. Inside you serve from one corner of it, while burning hot air and noisy stereophonic music try to draw off your attention, subdue, drown and kill you.” Of her married lover’s best talent: “Now there are some men who are so good at getting women across traffic that it’s a form of love-making, in which the woman is touched, protected, and lifted forward, until she reaches the opposite pavement in a state of mild delirium.” Kirkus’s reviewer called Tonks’ prose “A decorative style but it’s all parsley.” Well, if that’s parsley, I say bring it on.