Barbara Comyns is something of a marvel – a highly imaginative writer with an utterly unique voice. Her novels have a strange, somewhat off-kilter feel, frequently blending surreal imagery and touches of dark, deadpan humour with the harsh realities of life. Ever alert to the world’s horrors and disappointments, she understands the compromises a woman may need to make to survive. Nevertheless, her inspired use of deadpan humour prevents her novels from becoming too bleak. This wry sense of the absurd is one of Comyns’ trademarks, cleverly tempering the darkness with a captivating lightness of touch.
While many of us have long enjoyed Comyns’ unique blend of childlike innocence and macabre savagery – a combination that gives this fascinating book its title – she remains underappreciated today. Over the past seventy years, Comyns has repeatedly come in and out of fashion, her stock rising and falling on multiple occasions. Nevertheless, Avril Horner’s superb new biography, A Savage Innocence, looks set to cement Comyns’ position as one of the most original and talented writers of the 20th century, ushering in the more widespread recognition she so richly deserves.
Drawing on a wealth of research, covering family memories, unpublished letters, diary entries and commentaries on Comyns’ work, Horner has produced a thorough (and thoroughly absorbing) insight into this writer’s tumultuous life, highlighting the myriad of connections between fact and fiction. Those familiar with the novels will recognise many of the incidents featured here, particularly as it’s long been acknowledged that Comyns drew on many of her own experiences as inspiration for her work. Nevertheless, Horner is careful to draw parallels between Comyns’ life and the novels only where a connection has been verified by other sources – a scrupulous approach that deserves to be applauded. What emerges is a vivid portrait of a turbulent life, oscillating between anxious periods of financial hardship and happier, more stable times, especially later in life.
Barbara was forty when her first book, the largely autobiographical Sisters by a River, was published – a work that started life as stories relayed to her children to amuse them. Nevertheless, Barbara’s early life proved particularly fraught, characterised by complex, emotionally draining relationships and various hardships – all of which are captured in the initial chapters of Horner’s book.
Born into an upper-middle-class Warwickshire family in 1907, Barbara spent a semi-feral childhood running wild with her five siblings and their various pets. Her father – a resourceful, self-made man named Albert Bayley – drank heavily and was prone to violent outbursts, while her deaf mother, Margaret, proved emotionally remote.
On one occasion, wearing a pale suit, he [Albert] was sitting on a bus next to a man who had a joint of meat in a box on his lap. Blood began to leak out of the box on to Albert’s trousers; he was so furious that he frogmarched the man off the bus, shouting abuse as he did so. (p. 13)
While brother Dennis was sent to boarding school, Barbara and her sisters were home-schooled by a sequence of relatively inept governesses. Nevertheless, despite this volatile, emotionally fragile home environment, Barbara had a lively, imaginative mind, hinting at the creative achievements to come. Her maternal grandmother, Annie, played an important part in shaping Barbara’s imagination as a child, also passing on her rebellious nature and love of reading.
Art – particularly surrealism – played an important part in Barbara’s life. In fact, her initial ambition was to become a great sculptor, but a lack of money swiftly curtailed her studies in art. Having moved to London to study, she embraced a bohemian lifestyle, marrying John Pemberton, a fledgling artist, at the age of twenty-one. But their relationship came under strain when Barbara gave birth to a son, Julian, creating tensions at home. John, for his part, found fatherhood too burdensome, and rather than looking for regular work to support his family, he continued to paint, accepting occasional commissions whenever they turned up.
When her marriage to John hit the rocks, Barbara fell in love with a cultured, married man, Rupert Lee, who also happened to be John’s uncle by marriage. A baby girl, Caroline, soon followed, but when the affair faltered, Lee’s other lover, Diana Brinton, secretary to The London Group of artists, become the enduring presence in Barbara’s life. Their complex relationship, which oscillated between waves of benevolence and manipulation, is often painful to read.
…Diana’s generosity was never disinterested. She was intent on keeping Barbara indebted to her as a means of control: the last thing she wanted was a scandal that might wreck her life with Rupert. (p. 72)
During her life, Barbara experienced a variety of horrors, including domestic abuse, complex, damaging relationships, periods of extreme poverty, traumatic childbirth, abortion and severe depression, all of which provided ample inspiration for her uniquely engaging books.
She [Barbara] concluded: ‘I don’t expect to be happy, I don’t mind as long as I’m not unhappy but dreadful things seem to never stop happening all the time, there is no space between them.’ (p. 81, letter to Diana Brinton in 1936)
Like many women at that time, Barbara’s life choices were severely limited by her circumstances. Effectively a single mother with no real childcare options to hand, she quickly became more resourceful, turning her hand to various jobs to stay afloat, from modelling and commercial art to restoring and trading antiques to renovating houses and collecting rent.
The roguish businessman Arthur Price, whom Barbara took up with in the late 1930s, proved pivotal to her survival. Price, who flourished during WW2’s black market, taught Barbara some much-needed independence, sharpening her business skills and drawing on her flair for interior design. Barbara’s time with Price is vividly captured in her novel Mr Fox, originally written several years before its publication in 1987.
‘He [Price] is an awful crook really but he has behaved very well to me and gone to a lot of trouble’, Barbara wrote to Diana. (p. 93)
When her protracted divorce from John Pemberton finally came through in 1945, Barbara married Richard Comyns Carr, whom she had met through Diana Brinton. A quiet, cultured man, fond of routine, Richard was Barbara’s truly soulmate, and they remained together until his death in the 1980s.
In the early years of the couple’s relationship, Richard worked alongside Kim Philby in a highly sensitive section of MI6. But when Guy Burgess and Donald Maclean defected to the Soviet Union in 1951, Richard (together with Philby) came under suspicion, and his contract was terminated. This ushered in another period of instability for Barbara, particularly as Richard struggled to find new work. Consequently, the couple moved to Spain in the mid-1950s for health and financial reasons, eventually staying there for eighteen years. As at other times in Barbara’s life, there were multiple house moves during this period, with the couple oscillating between urban and rural areas as the money ebbed and flowed. While creating a new home always energised Barbara, this frequent shuttling between properties undoubtedly took its toll.
By 1976, Richard and Barbara were back in the UK, where their lives were increasingly taken up by family matters – mostly concerns over their grandchildren and Barbara’s sisters – and the ever-present financial concerns.
Alongside events in Barbara’s life, Horner devotes much time to tracing her development as a writer, following the trajectory of her career with each rise and fall. The details are too numerous to go into here, but once again, Horner is excellent on the creation of each book, carefully highlighting the links with Barbara’s own life experiences where they exist. The reception of each novel is thoroughly documented too, illustrating the disparity between critical and economic success in certain instances (e.g. with The Skin Chairs). Barbara’s books divided opinion, and this division often worked against her.
Graham Greene was a keen champion of Barbara’s work, publishing her first two novels, Sisters by a River and Our Spoons Came from Woolworths, while working at Eyre and Spottiswoode in the late 1940s/early ‘50s. Barbara’s introduction to Heinemann, who went on to publish The Vet’s Daughter and The Skin Chairs, was also facilitated by Greene – and his influence came to bear again in Virago’s decision to reissue several of Barbara’s novels as VMCs in the 1980s.
Horner is also very insightful on the novels themselves, capturing their unique blend of realism and surrealism in a perceptive and engaging way. Horrific incidents seem even more grotesque when viewed through the prism of Barbara’s trademark style. Nevertheless, her deceptively simple prose is more skilled and sophisticated than might appear at first sight. As Horner notes, there are several instances where the childlike innocence of Barbara’s narrative voice is tempered by an older, more experienced worldview, adding a degree of perceptiveness that might initially be missed. The naive, matter-of-fact delivery gives her novels a powerful sense of immediacy, while the more sobering reflections add insight and depth. Sisters by a River, for instance, is not a sentimental, rose-tinted picture of growing up in rural England. There is immense darkness and cruelty here, albeit leavened with Barbara’s inspired use of humour.
By the mid-1960s, several exciting women writers, such as Muriel Spark, Angela Carter and Edna O’Brien, had emerged. Compared to these new feminist voices, the childlike innocence of Barbara Comyns’ narrators seemed out of step with second-wave feminism and Britain’s changing social landscape. A harsh judgement, perhaps, especially given the domestic horrors conveyed in Comyns’ books. Nevertheless, just like Barbara Pym, who struggled to place An Unsuitable Attachment with a publisher in the ‘60s, Comyns found herself out of step with the current times. Sales of The Skin Chairs and A Touch of Mistletoe were relatively poor, despite some positive reviews, especially for the former, and a new novel, The House of Dolls, was rejected by several publishers.
Now another year has come. The last one wasn’t too bad. The worst things are Chloe being so ill, money worries and disappointments with my writing, dogs dying, the goat breaking its neck, […] The good things were the lovely summer and all the flowers in the garden, Caroline and the children coming, having English books and television, not being foreigners. (p. 263, diary entry, 1st January 1976)
Thankfully for Barbara (and for us), Virago’s republication of The Vet’s Daughter in 1981 prompted a new wave of interest in Comyns’ work, and four further VMC reissues followed over the next six years. This newfound success restored Barbara’s belief in herself as a writer, prompting her to create a new novel, The Juniper Tree, which Methuen published in 1985. This was swiftly followed by Methuen editions of Mr Fox and The House of Dolls, two books that had failed to find backers some twenty years earlier. The major downside for Barbara was that Richard didn’t live long enough to share in most of this success. Nevertheless, her final years brought the critical and commercial acclaim she had hoped for all her life and with some much-needed financial security. Barbara died a relatively wealthy woman in 1992, leaving a legacy of magical books for readers to discover.
In summary, then, A Savage Innocence is a marvellous biography – detailed, fascinating and meticulously researched, bringing to life this uniquely talented author in a highly compelling way. As well as winning Comyns a new legion of fans, the book looks set to raise some tantalising questions for existing devotees. Horner quotes extensively from Barbara’s letters and diaries, leaving us to wonder if the full documents will ever see the light of day. There are also mentions of various short stories, some autobiographical notes termed ‘Rough Ideas’, and an unfinished novel provisionally titled ‘Waiting’, all of which would be fascinating to read. I for one hope there are more publications of Comyns’ work to come, but only time will tell…
A Savage Innocence is published by Manchester University Press; my thanks to the publishers for a review copy.