Bedouin of the London Evening Read Online Free PDF

includes some material previously included in an obituary (2 May 2014) and an article entitled ‘Rosemary Tonks, the lost poet’ (31 May 2014) published in
The Guardian
, and I am grateful to the paper for allowing me to draw upon those pieces.
    I would also like to thank in particular, for various kinds of help: Peter Armstrong, Sabina ffrench Blake, Denis Brandt, Sue Corbett, Vivien Green, Christine Hall, John Halliday, Clare Lindsay, John Moat, Pamela Robertson-Pearce, Brian Patten, Anthony Rudolf, Henry Summers, the late John Hartley Williams, and Nicholas Wroe.
    1. Rosemary Tonks, ‘Done for!’, see p.94.
    2. ‘Rosemary Tonks: The Poet Who Vanished’, BBC Radio 4
Lost Voices
series, first broadcast 29 March 2009, repeated 4 April 2009, presented by Brian Patten, produced by Christine Hall.
    3.
Notes on Cafés and Bedrooms
(Putnam, 1963);
Iliad of Broken Sentences
(The Bodley Head, 1967).
    4.
Emir
(Adam Books, 1963);
Opium Fogs
(Putnam, 1963);
The Bloater
(1968),
Businessmen as Lovers
(1969) [published in the US as
Love Among the Operators
],
The Way Out of Berkeley Square
(1970) and
The Halt During the Chase
(1972), all from The Bodley Head.
    5. Diary article by John Horder,
The Times
, 16 October 1967.
    6. Anthony Rudolf, email, 8 May 2014.
    7. Interview with Peter Orr, 22 July 1963. See p.109.
    8. Julian Symons, ‘Smartening Up’,
The Spectator
, 9 May 1963.
    9. Terry Coleman, ‘Rosemary for remembrance: Terry Coleman talks to Rosemary Tonks’,
The Guardian
, 24 October 1970.
    10. Philip Annis, email, 30 March 2009. This was an inscribed (undated) copy he had bought from a second-hand bookseller.
    11. John Hartley Williams, ‘Downhill, Mad as Swine’,
Poetry Review
, 11 no.4 (Winter 1996).
    12. John Thompson, ‘An Alphabet of Poets’,
New York Review of Books
, 11 no.2, 1 August 1968.
    13. This paragraph and subsequent unsourced summaries draw upon ‘Surgery on Both Eyes and Conversion’, a private holograph document written by Rosemary Lightband in 1990 for her cousins, which they allowed me to read to help me give an accurate, balanced account of her life in the obituary and feature published in
The Guardian
. Since it was not intended for publication, I have paraphrased its content, only including direct quotation in a few instances where it was important that a particular word or phrase of hers be used.
    14. Rosemary Tonks said this of her Verdi ancestry (which may be fanciful) writing to John Moat: ‘I’m bound to have strong ideas, I always do, and I hope we won’t rub too much against the good friendship. My grandfather’s uncle, Giuseppe Verdi, was born on the 10th of a certain powerful month, and I was born on the 17th of that same month. He had to have his own way, in order to transform Italian opera, and I inherit one or two physical features –and other hidden stubborn traits, connected with having my own way. My grandfather himself was a Prince of the Rosy Cross, a great spiritual power, whom we shall be happy is on our side. So we are set fair for this book!’
       Letter to John Moat, 30 August 1977. University of Exeter, Special Collections Archives (GB 0029) EUL MS 230/4, Literary and personal papers of John Moat (hereinafter University of Exeter).
    15. Adam international review, 257 (1956).
    16. Rosemary Lightband, notebook 129 (16 July 2012).
    17. Rosemary Lightband, notebook 121 (20 December 2009).
    18. Terry Coleman,
ibid
.
    19. Including Terry Coleman,
ibid
.
    20. Rosemary Lightband, notebook 135 (18 October 2013).
    21. Terry Coleman,
ibid
.
    22. Terry Coleman,
ibid
.
    23. Terry Coleman,
ibid
.
    24. Terry Coleman,
ibid
.
    25.
The Bloater
(The Bodley Head, 1968), dustjacket note.
    26. Tim Butchard, email, 21 August 2014.
    27. Jane Gapen, ‘Women and Poetry’,
New York Review of Books
, 20 no.19, 29 November 1973.
    28. Hull University Archives, Papers of Philip Arthur Larkin, correspondence between Rosemary Tonks and Philip Larkin, 6–22 July 1972 (U DPL2/3/61/39).
    29.