BRITISH WRITERS

Editor

SUPPLEMENT XV

CHARLES SCRIBNER'S SONS A part of Gale, Cengage Learning

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British Writers Supplement XV

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~TKOL_EILGAmJalderannisJrom- - - - .- - . . ------.. A.th~1 Clarke. CarcanetLTheEjdge Press, 2008. Reproduced Fugard. ~orthcoteHouse Publishers Ltd., 2003. by permission of R Dardis Clarke, 17 Oscar Square. Copyright O 2003 by Dennis Walder. All rights Dublin 8. / Clarke, Austin, From "Three Poems About reserved. Reproduced by permission.-- --Children," in Austin Clarke Collected Poems. Edited by R DardisClarke. CarcanetIThe Bridge Press, 2008. AUSTIN CLARKE. Clarke, Austin. From Twice Reproduced by permssion of R Dardis Clarke, 17 Round the Black Church: Early Memories of Ireland Oscar Square, Dublin 8. / Clarke, Austin. From and England. Routledge & Kegan Paul, 1962. Copy- "Ancient Lights," in Austin Clarke Collected Poems. right O Austin Clarke 1962. Reproduced by permis- Edited by R Dardis Clarke. Carcanet/The Bridgepress, sion of the publisher. / Clarke, Austin. From "The 2008. Reproduced by permission of R Dardis Clarke, Vengeance of Fionn," in Austin Clarke Collected 17 Oscar square, Dublin 8. / / Clarke, Austin. From Poems. Edited by R Dardis Clarke. CarcanetIThe "Martha Blake at Fifty-One," in Austin Clarke Col- Bridge Press, 2008. Reproduced by permission of R lected Poems. Edited by R Dardis Clarke. Carcanetl Dardis Clarke, 17 Oscar Square, Dublin 8. / Clarke, The Bridge Press, 2008. Reproduced by permission of Austin. From an introduction in Austin Clarke Col- R Dardis Clarke, 17 Oscar square, Dublin 8. / Clarke, lected Poems. Edited by R Dardis Clarke. Carcanetl Austin. From "Martha Blake at 51," in Collected The Bridge Press, 2008. Reproduced by permission of Poems. Edited by Liam Miller. The Dolmen Press, R Dardis Clarke, 17 Oscar.S_quare,Dublin 8. / Clarke, 1974. O Nora Clarke, 1974. Reproduced by permis- Austin. From "The Itinerary of Ua Cleirigh," in Austin sion of the author. / Clarke, Austin. From "Mnemo- Clarke Collected Poems. Edited by R Dardis Clarke. syne Lay in Dust," in Austin Clarke Collected Poems. CarcanetIThe Bridge Press, 2008. Reproduced by Edited by R Dardis Clarke. CarcanetJThe Bridge Press, permission of R Dardis Clarke, 17 Oscar Square, Dub- 2008. Reproduced by permission of R Dardis Clarke, lin 8. / Clarke, Austin. From "The Frenzy of Suibhne," 17 Oscar Square, Dublin 8. in Austin Clarke Collected Poems. Edited by R Dardis Clarke. Carcaneme Bridge Press, 2008. Reproduced DAVID CONSTANTINE. Constantine, David. From by permission of R Dardis Clarke, 17 Oscar Square, Collected Poems. Bloodaxe Books, 2004. Copyright Dublin 8. / Clarke, Austin, From "The Lost Heifer," O David Constantine 1980, 1983, 1987, 1991, 1994, in Austin Clarke Collected Poems. Edited by R Dardis 1998, 2002, 2004. Reproduced by permission. / Hold- Clarke. CarcaneVThe Bridge Press, 2008. Reproduced erlin, Friedrich. From Friedrich Holderlin Selected by permission of R Dardis Clarke, 17 Oscar Square, Poems. Translated by David Constantine. Bloodaxe Dublin 8./Clarke, Austin, From an introduction in Books, 1990. Copyright O David Constantine 1990, Austin Clarke Collected Poems. Edited by R Dardis 1996. Reproduced by permission. / Szirtes, George. Clarke. Carcaneme Bridge Press, 2008. Reproduced From a back cover review of Selected Poems. Blood- by permission of R Dardis Clarke, 17 Oscar Square, axe Books, 1991. Copyright @David Constantine Dublin 8. / Clarke, Austin. From "Pilgrimage," in 1980, 1983, 1987, 1991. All rights reserved. Repro- Austin Clarke Collected Poems. Edited by R Dardis duced by permission. / Constantine, David. From the Clarke. CarcanetIThe Bridge Press, 2008. Reproduced back cover of The Pelt of Wasps. Bloodaxe Books, by permission of R Dardis Clarke, 17 Oscar Square, 1998. Copyright O David Constantine 1998. Repro- Dublin 8 1 Clarke, Austin. From "Note to Pilgrimage," duced by permission. in Austin Clarke Collected Poems. Edited by R Dardis Clarke. Carcanenhe Bridge Press, 2008. Reproduced KIRAN DESAI. Michiko Kakutani, "'Hullabaloo in by permission of R Dardis Clarke, 17 Oscar Square, the Guava Orchard': Celebrity Frenzy in a Sleepy Vil- Dublin 8.1 Clarke, Austin. From "Tenebrae," in Austin lage," The New York Times, June 12,1998. Reproduced Clarke Collected Poems. Edited by R Dardis Clarke. by permission. CarcanetIThe Bridge Press, 2008. Reproduced by permission of R Dardis Clarke, 17 Oscar Square, Dub- HENRY REED. Reed, Henry. From "Naming of lin 8 / Clarke, Austin. From "The Straying Student," Parts," in Henry Reed Collected Poems. Edited by Jon in Austin Clarke Collected Poems. Edited by R Dardis Stallworthy. Carcanet, 2007. The poems of Henry ACKNOWLEDGEMENTS

Reed C Thr: Execntor of Henry Reed's Estnte 2907. 2007. The pcems of Henry Reed 0 The Executor of Reproduced by permission of Carcanet Press Limited. Henry Reed's Estate 2007. Reproduced by permission / Xeed, Henry, From "Lessons of the War," in Henry of Carcanet Press Limited. / Reed, Henry. From Reed Collected Poems. Edited by Jon Stallworthy. "Psychological Warfare," in Henry Reed Collecred Carcanet, 2007. The poems of Henry Reed O The Poems. Edited by Jon Stallworthy. Carcanst, 2007. Executor of Henry Reed's Estate 2007. Reproduced The poems of Henry Reed O The Executor of Henry by permission of Carcanet Press Limited. I Reed, Reed's Estate 2007. Reproduced by permission of Henry. From "Movement of Bodies," in Henqj Reed Carcanet Press Limited. I Reed, Henry. From "The - - Collected Poems. Edited by Jon Stallworthy,Carcanet,- Town Itself," in Henry Reed Collected Poems. Edited 2007. The poems of Henry Reed O The Executor of by Jon Stallworthy. Carcanet, 2007. The poems of -- --Henry-Reed~~-Btate2007~Reproducedby- permission HenvReed-O-The Executor of Henry Reed's Estate of Carcanet Press Limited. / Reed, Henry. From 2007. Reproduced by permission of Carcanet Press "Returning of Issue," in Henry Reed Collected Poems. Edited bv Jon Stallwo~y.Carcanet, 2007. The poems Limited. / Reed, Henry. From 'The Blissful Land," in of Henry Reed O The Executor of Henry Reed's Henry Reed Collected Poems. Edited by Jon Stallwor- Estate 2007. Reproduced by permission of Carcanet thy. Carcanet, 2007. The poems of Henry Reed O The Press Limited. / Reed, Henry. From "Moby Dick," in Executor of Henry Reed's Estate 2007. Reproduced Henry Reed Collected Poems. Edited by Jon Stallwor- by permission of Carcanet Press Limited. / Reed, thy. Carcanet, 2007. The poems of Henry Reed O The Henry. From "Three Words," in Henry Reed Collected Executor of Henry Reed's Estate 2007. Reproduced Poems. Edited by Jon Stallworthy. Carcanet, 2007. by permission of Carcanet Press Limited. / Reed, The poems of Henry Reed O The Executor of Henry Henry. From "The Auction Sale," in Henry Reed Col- Reed's Estate 2007. Reproduced by permission of lected Poems. Edited by Jon Stallworthy. Carcanet, Carcanet Press Limited. 2007 The poems of Henry Reed O The Executo~of Henry Reed's Estate 2007. Reproduced by permission JOHN MONTAGUE. Montague, John. From About of Carcanet Press Limited. / Reed, Henry. From "The Love. The Sheep Meadow Press, 1993. Copyright O Captain," in Henry Reed Collected Poems. Edited by 1993 by John Montague. By kind permission of the Jon Stallworthy. Carcanet, 2007. The poems of Henry author c/o The Gallery Press, Loughcrew, Oldcastle, Reed O The Executor of Henry Reed's Estate 2007. County Meath, Ireland and by Wake Forest University Reproduced by permission of Carcanet Press Limited. Press in North America. I Montague, John. From Col- I Reed, Henry. From "Chard Whitlow," in Henry Reed lected Poems. The Gallery Press, 1995. By kind Collected Poems. Edited by Jon Stallworthy. Carcanet, permission of the author and The Gallery Press, 2007. The poems of Henry Reed O The Executor of Lougherew, Oldcastle, County Meath, Ireland, and Henry Reed's Estate 2007. Reproduced by permission Wake Forest University Press in North America. I of Carcanet Press Limited. I Reed, Henry. From "Hid- Montague, John. From Drunken Sailor. Wake Forest ing Beneath the Furze," in Henry Reed Collected University Press, 2005. Used by kind permission by Poems. Edited by Jon Stallworthy. Carcanet, 2007. of the author c/o The Gallery Press, Loughcrew, Old- The poems of Henry Reed O The Executor of Henry casstle, County Meath, Ireland and Wake Forest Reed's Estate 2007. Reproduced by permission of University Press in the United States. / Montague, Carcanet Press Limited. I Reed, Henry. From "A Map John. From The Rough Field 1961-1971. Wake Forest of Verona," in Henry Reed Collected Poems. Edited University Press, 2005. Copyright O John Montague, by Jon Stallworthy. Carcanet, 2007. The poems of 2005. All rights reserved. Used by kind permission by Henry Reed O The Executor of Henry Reed's Estate of the author c/o The Gallery Press, Loughcrew, Old- 2007. Reproduced by permission of Carcanet Press casstle, County Meath, Ireland and Wake Forest Limited. I Reed, Henry. From "Judging Distances," in University Press in North America. / Montague, John. Henry Reed Collected Poems. Edited by Jon Stallwor- From The Rough Field 1961-1971. Wake Forest thy. Carcanet, 2007. The poems of Henry Reed O The University Press, 2005. Copyright O John Montague, Executor of Henry Reed's Estate 2007. Reproduced 2005. Used by kind permission by of the author c/o by permission of Carcanet Press Limited. / Reed, The Gallery Press, Loughcrew, Oldcasstle, County Henry. From "Unarmed Combat," in Henry Reed Col- Meath, Ireland and Wake Forest University Press in lected Poems. Edited by Jon Stallworthy. Carcanet, the United States. --- -- It was Dr. Samual Johnson who once remarked, invaluable to a generation of students and teach- - - --in passing; thaC"-the=chie?%glorpof-anypeople- ers,: wh~mulddepend-onthese reliable and arises from its authors." Serious readers will interesting critiques of major figures. The idea of know this, understanding that any culture worth reprinting these essays occurred to Charles Scrib- -- itssaharrsuwey-theworkofits-writermm+ ner, Jr.,ri Innovative publisher during the middle see, in their plays and poems, their novels and decades of the twentieth century. The series ap- essays, its brilliance as well as its faults. Certainly peared in four volumes entitled American Writ- the traditions of Britain, and the empire they cre- ers: A Collection of Literary Biographies (1974). ated and ultimately lost, must count among the British Writers began with a series of essays most diverse and effective of all literary achieve- originally published by the British Council, and ments by a particular people. In British Writers, regular supplements have followed, culminating from the outset, we have celebrated and analyzed in this, the fifteenth volume. The goal of the this achievement. In Supplement XV we present supplements has been consistent with the original detailed, articulate, well-balanced introductions idea of the series: to provide sharp, informative to a range of authors in various genres. In each case the articles have been designed to increase essays aimed at the general reader. the reader's pleasure in the-work of the subject at The authors of these eighteen articles are hand, and to make the shape of that career mostly teachers as well as scholars. Many have understandable; a further purpose has been to published books and articles in their field, and underscore the way this writer has contributed, several are well-known writers of poetry or fic- on some level, to the making of the British liter- tion as well. As anyone glancing through this ary tradition. book will see, our critics have been held to the As a whole, this series brings together a wide highest standards of clear writing and sound range of articles on'British writers who have a scholarship. Jargon has been discouraged, except reputation for excellence and have already at- when strictly relevant: that is, when a theoretical tracted a following. As in previous volumes, the underpinning may be useful to the reader in subjects have been chosen for their contribution understanding the context of a given work. Each to British or Anglophone culture. We hope that of the essays concludes with a select bibliography readers of this particular supplement will find of works by the author under discussion and these essays lively and thoughtful, interesting to secondary works that might be useful to those those unfamiliar with the work under discussion who wish to pursue the subject further. and useful to those who know the work quite Sup$lement XV is focused on contemporary well. We accomplish this double task by provid- writers, many of whom have had little sustained ing close readings of individual texts and a sketch attention from critics thus far, although most are of the biographical, cultural, and critical context well known. Ata Ama Aidoo, Susanna Clarke, of that work as it has evolved in the writer's David Constantine, Athol Fugard, Tony Parsons, lifetime. John Montague, Jonathan Coe, Nick Hornby, British Writers was originally an off-shoot of a Zakes Mda, Michkle Roberts, and Kiran Desai series of monographs that appeared between 1959 have all been written about in the review pages and 1972, the Minnesota Pamphlets on American of newspztpers and magazines, often at consider- Writers. These pamphlets were incisively written able length, and their work has acquired a and informative, treating ninety-seven American substantial following, but their careers have yet writers in a format and style that attracted a to attract significant scholarship. That will devoted following of readers. The series proved certainly follow, but the essays included in this INTRODUCTION

volume constitute a beginning of sorts, an at- back to the texts discussed, to kip G1e111 i~ith~ii tempt to map out the particular universe of each reading, and to generate appreciation for the role writer. these writers have played in the creation of 3. Henry Reed, Flora Thompson, and Austin distinguished and useful cultural past and literary Clarke might be considered "modern classics," present. These are strong and stimulating essays, writers of the fairly recent past who have yet to and they should enable students and general read- be written about in detail by critics, although ers to enter into the world of these writers freshly, ------. they remain widely read in literary-cirele-The- - encouraging them on their intellectual journeys. essays included here go a long way toward - - They should help readers to appreciate the way revealins thil-Ir mpmance-to-readersof the early thingsare said by these authors, thus enhancing and mid-twentieth century. Four major writers their pleasure in the texts. Above all, these essays from the distant past included here are Elizabeth -- ImhbalclT~arriet-Martifleau;-RicharHeEeriee should lengthen the reading list of those wishing to broaden or deepen their understanding of An- and William Godwin-all important writers who, glophone culture in places like Ghana (Aidoo) or for one reason or another, have yet to be treated in this series. It is time they were added to the South Africa (Mda, Fugard), countries that owe series. something to the British literary tradition. As ever, our purpose in presenting these criti- cal and biographical essays is to bring readers -JAY PARINI List of Contributor

-----, * ~a --b-- - ATRICK -+- - RICK ABATIELL.Patrick Abatiell received his JOSEPHDEWEY. Joseph Dewey is Associate Profes- - -, ,r- rrom ~~kb~C~llege~Ml'ddle%ry;sor of -medcai=Hterature -for the University of =--Vermont,--- where he studied English and Italian Pittsburgh. He is the author of several studies 2:-~lirerature. He has studied at the Universith degli including In a Dark Time: The Apocalyptic

"-~Stu~~mi~Fefrara,Ita~~z~rent~=--- Temperin-the American Novel in the N~lcleur pursuing a Ph.D. in English literature at the Age, Understanding Richard Powers, and Beyond University of Virginia. William Gsdwin Grief and Nothing: A Reading of Don DeLillo as

- - - well as many articles on contemporary American CAROLYNALESSIO. Carolyn Alessio is the recipient literature and cultural studies. Susanna Clarke 7- of a 2008 Creative Writing Fellowship from the -- - National Endowment for the Arts. She teaches JENNIFERE. DUNN.Dr. Jennifer E. Dunn teaches - high school on the southwest side of Chicago. English literature at the University of Oxford and Kiran Desai the University of Oxford Department for Continu-

~--&- -. ing Education. She has published articles on FREDBILSON. Fred Bilson has taught English, twentieth-century women writers, including ------__--Linguistics and Computer Studies at various Katherine Mansfield, Angela Carter, Emma Ten- universities in England, and-is currently research- nant, and Margwet Atwood. She has also lectured ing the sound structure of the Chinese language. and published on modernism, postmodernism, ------I Richard Jefferies and literary theory. MichGle Roberts

-- SANDIEBYRNE. Former Fellow and Tutor in KATHERINEFIRTH. Dr. Katherine Firth is Visiting English at Balliol College, Oxford. Her publica- Research Fellow at Trinity College, University of ---- tions include a number of articles and books on Melbourne. She has previously published on -- eighteenth and nineteenth-century fiction and modernist and 1930s poetry and is currently writ- twentieth-century poetry. Harriet Martineau ing a biography of the cabaret singer Hedli Anderson: Mask, Muse and Mrs. MacNeice. -LAURIE CWPION.Laurie Champion is Professor Henry Reed of English at San Diego State University. With a focus on twentieth-century American literature, PATRICIAB. HEAMAN.Patricia B. Heaman, Ph.D. she has edited or co-edited eight books and from the University of Pennsylvania, is a Profes- published many scholarly essays in prestigious sor of English Emerita at Wilkes University in literary journals. Tony Parsons Wilkes-Barre, Pennsylvania, where she teaches courses in nineteenth and twentieth-century AARONDEVESON. Aaron Deveson is Assistant literature. She is the author of numerous articles Professor in the English Department at National and reviews, including essays on George Eliot, Taiwan Normal University in Taipei, where he Elizabeth Gaskell, Mary Wollstonecraft, lives with his wife. He studied English at St. Katherine Mansfield, Dorothy Richardson, Flan- Catherine's College, Oxford, and later wrote his nery O'Connor, and William Faulkner. Flora Ph.D. dissertation at the University of East An- Thompson glia on the poetry and translation work of David Constantine. He has published articles on ,both EDWINHEES. Edwin Hees has spent most of his Constantine and translation and has also written academic career teaching film and theatre stud- about the British poet and philosopher of lan- ies, first as senior lecturer at the English Depart- guage, Denise Riley. David Constantine ment and then as Associate Professor at the HENRY REED

-H~Y=&ED~S~PUTATION-~~%~O~~- Reed was also a major translator of contem- rested almost ---- - exclusively on "Naming of Parts," one of the porary Italian plays, produced in theaters and on Second World War poems most likely to be found air on both sides of the Atlantic. After the war in anthoiogierDu3nghWlife'tWRe-~b--- Reed translated five plays by Ugo Betti (the most lished only one book of poems, A Map of krona highly regarded Italian modern playwright after (1946, with an expanded American edition in Luigi Pirandello). These translations not only 1947). A Map of Verona included three of the constitute a lasting contribution to the reception poems that became a limited-edition pamphlet of Betti in English (Reed's translations of Three titled Lessons of the War (1970), including "Nam- Plays is still a constant presence on reading lists) ing of Parts." In spite of the small number of but were also the basis of a number of dramatic poetry collections, Reed worked as a professional productions in London and New York. In 1955 writer for most of his life, with brief interrup- Reed had three of his Betti translations running tions as a teacher after leaving university and as simultaneously in the London's theater district, an army code breaker in the war. He was also a the West End. In later life, the poetry of the journalist, transTatO~dKatist,and critic. Reed's Romantic Italian poet and thinker Giacomo hop- perfectionism meant that he worked on many ardi would become even more significant in more manuscripts than he ever released for Reed's writings. As well as published translations publication. Most significant of these was a (seven in the Collected Poems), Reed prepared biography of Thomas Hardy, which began as his talks and plays about Leopardi's life and work master's thesis at Birmingham University. For for the radio. two decades from 1936 he would continue to Reed's early poems are finely wrought, work on it. The biography was finally abandoned, sometimes confessional, and subtly multilingual. unfinished and unfinishable. They are rhetorically formal but retain the direct His struggle with the end of this project was speaking voice that makes his poems accessible. played out in a tragicomic radio play, in which a Reed negotiates between modernism and new thinly disguised Reed (called Reeve) is engaged romanticism without the abstruse difficulty of the in research for a biography of A Very Great Man one or the clotted sensationalism of the other. He Indeed (1953). The play was a success, as the balances delicate love poems with sharp reflec- biography was not. Among listeners to the Third tions on the quotidian experiences of recruits Programme, the highbrow BBC radio channel during the Second World War. He rewrote the that ran from 1946 to 1970, Reed is remembered Tristram and Iseult legend in his series "Tinta- as the author of the Hilda Tablet plays, featuring gel" (the Cornish castle of King Mark, claimed a masterly comic creation (and minor character as King Arthur's birthplace by Geoffrey of Mon- in A Very Great Man Indeed) who caused as mouth and the setting for Richard Wagner's opera much offense to her real-life counterpart-the Tristan und Isolde). His training as a classicist modernist composer Elisabeth Lutyens-as was reflected in poems and plays based on the amusement to listeners at home. Between 1947 Greek myths. Italy is a more constant presence in and 1971 he contributed nearly forty plays to the his writing-from "A Map of Verona" to Return BBC Drama Department. to Naples-than the Black Country of his up- HENRY REED

bringing around Birmingham or his professional ality was illegal in the United Kingdom until life in London. However, the five years he spent 1967, when a number of acts were exempted in Thomas Hardy Country after the war, working from prosecution. Furthermore, censorship of on turning his M.A. thesis on Hardy into a full publications and of radio broadcasts made his biography, was reflected in "The Auction Sale," sexuality unacceptable for discussion. ("Sailor's intended to form the centerpiece of a projected, Harbour" [I9381 was published in the New -- though never completed collection, The Auction Statesmen and Nation rather than the BBC Lis- Sale and-Qther-Poems. Reed's reputation-among-- +ene~merelybecause it mentioned "brothels" his fellow writers has always been high; his sup- [Collected Poems, p. 161). For a poet whose porters included T. s.-Eliot;-John-Berryman, emotional honesty was so significant to his writ- Louis MacNeice, Dylan Thomas, V. S. Pritchett, ing, it must have been difficult to balance his Elizabeth Bishop, and Elizabeth Jennings. Their urge to confessionalism with the continuing --champions~Ynis~mKShasvaiued his writ- -social and legal climate7 erly ability to synthesize diverse literary genres, Reed is best known as a Second World War his wit, his emotional honesty, and his subtlety. poet, yet his w& experience was not of the heroic As a critic, Reed was a prolific popularizer sort; nor could much of it be revealed during his rather than a scholar. He was responsible for a lifetime. First he taught in his old grammar book, The Novel Since 1939 (1946), and a sheaf school. Then, when he was conscripted, he was of articles, particularly in the Listener and the assigned to the Royal Army Ordinance Corps, New Statesman and Nation, as well as reviews, where his job would be to transport weapons. He broadcast talks, and lectures. His broadcasts on was trained, briefly, in arms, though his role was Thomas Hardy included adaptations, lectures, a noncombatant one. That training would form and documentary features, but Reed was unable the basis of Lessons of the War. Reed elected to to provide the sustained factualor theoretical ap- remain at the base at the end of his nine weeks' proach a critical biography required. He reviewed training but soon succumbed to pneumonia. In much contemporary fiction and taught. creative 1942 his skills in Italian were commandeered by writing to students as a visiting professor at the the Naval Intelligence Unit, working to break University of Washington, Seattle, in the mid- enemy codes at Bletchley Park. The work of the 1960s. ~ronicall~for a popularizer, he was Government Code and Cypher School was not remembered by some of his students and col- officially acknowledged until 1995, and Reed leagues for being superior and sarcastic (Fountain never wrote or spoke about his time there. and Brazeau, 1994, pp. 217, 218). Reed's intel- Yet these layers of secrecy, about his war ligence was always in evidence: at Birmingham experience and his private life, gave his love University he graduated in 1937 as their poems and his war poems an extra layer of youngest-ever MA, having already achieved a subtlety and make them among his most success- first-class bachelor's degree; many of the bright- ful works. "Naming of Parts," for example, is on est minds in Britain were assembled as code one level a simple description by an army instruc- breakers during the war; and at the BBC Features- -- tor of the terms for separate sections of a gun, and Drama Department, Reed was a collaborator the "safety catch," "the bolt," contrasted with im- with such talents as Louis MacNeice and Dylan ages from the natural world, "Japonica / Glistens Thomas. - -.- - -- -like coral in all of the neighboring gardens" Perhaps this work as a popularizer diverted (Collected Poems, p. 49). At the same time, the much of his creative energies; perhaps working poem's deadpan delivery produces moments of as a critic caused him to turn a too-critical eye humor: "'And this,' says the instructor, 'is the on his own works. A further reason for his later upper sling swivel, whose use you will see, 1 poetic reticence, however, may be owing to his When you are given slings."' However, the sexuality. Reed's sexual orientation remained poem's success cannot be described by a few constant throughout his life. However, homosexu- highlights or useful quotes because each move- HENRY REED

merit is so carefully judged, so understated, and war Reed would write or gather material f~rhis so successfully more than the sum of its parts, only collection, A Map of Verona, and in particu- however named. Perfection, slightness, and sug- lar "Naming of Parts," and also his first radio gestiveness are all hallmarks of Reed's poetic play, rbloby Dick. It was during his time in the gift and the basis of his enduring appeal, even service that he began the most lasting relation- when known only through the one poem. ship of his life, with Michael Ramsbotham. After However, in an unpublished section of Les- the war Reed and Ramsbotham, writers together, sons of the Wal; "Psychological Warfare,*Reed-- each pursued separate writing projects, Reed did write openly, though obliquely, about his working on his biography and poems, and Rams- - sexuality.. Ho~eYualify-remainedunacceptable botham on-his-novels. However, by 1950 the in the armed forces until after Reed's death, so relationship had ended and Reed instead focused -the -- piece was not included in the 1970 Lessons his energies on the BBC, for whom he had begun of the War. In "Psychological Warfare" the work in 1947, on the air and-in the pages of the instructor's rambling rant against "homosensual- Listener. His most significantly creative period ists," onanism, and the recruit who exposes was 1941-1950. Later, between 1964 and 1967, himself in class shows him to have repressed his Reed was visiting professor at the University of own homophile feelings (Collected Poems, p. Washington, Seattle, and became close friends 137). As the longest and most successful of the with Elizabeth Bishop. From 1970, after the drafts and fragments assembled by Jon Stallwor- republication and expansion of the series Lessons thy in his Collected Poems (1991), it perhaps of the War (previously broadcast in 1966), came elucidates much of Reed's other writings. other republications: two volumes of plays and a The publication of "Psychological Warfare" selection of poems translated from Leopardi. At and other uncollected or unpublished poetry in the end of his life Reed was still working on a the posthumous Collected Poems allowed a number of poems, translations, and dramatiza- broader consideration of Reed. The second edi- tions, but they were never published. Not until tion in 2007 included even more of his "inciden- the Collected Poems in 1991 was it possible to tal" writing, including "Canzonet" (1953), com- reconsider his legacy as a poet, the aspect of his missioned for the coronation of Elizabeth 11. In writing on which all his other work depends and 1999 the first book-length study of Reed's work, which is his claim to lasting critical consideration. Naming of Parts: The Poetic Character of Henry Reed by James S. Beggs, was published. In the twenty-first century Henry Reed has an enormous EARLY LIFE pesence on the web. he work of "Steef' (www. Henry Reed was born on February 22, 1914, six solearabiantree.net) provides the text of all the months before the First World War was declared. poems, full-text transcriptions of hundreds of His was a laboring family living in Birmingham, articles, and sections and fleeting mentions of England's second city. Birmingham was a center Reed and his poetry in scholarly books and of the Industrial Revolution in Britain and articles, newspaper reviews, and Internet sources. remained significant for manufacturing into the A blog has tracked the attempts to map ever more twentieth century, with an ever-growing obscure aspects of the works over the last five population. He was born in Erdington, a working- years. In the reverse of Reed's Thomas Hardy class district just to the northeast of the city, near biography, the visions and revisions are presented Nocks' Brickworks. His father was a foreman at as they are produced. the works. His parents were married in the district of Dudley, to the west of Birmingham. Family tradition had it that the Reeds were descended BIOGRAPHICAL OUTLINE from an eighteenth-century Earl of Dudley, while Henry Reed's early life came to an end when he his mother's family, the Balls, came from Tipton, was conscripted to the army in 1941. During the a few miles to the north. These towns in Stafford- HENRY REED

shire and Warwickshire, the Black Country, were class school, teaching only Latin, so Reed taught centers of the brick industry. Before their mar- himself Greek. Nonetheless, fellow schoolmates riage, Mary Ann Ball worked as a stamper at a included George D. Painter, later a biographer of brickworks, and Henry Reed Senior was a master Marcel Proust; Reggie Smith, the academic and bricklayer. Reed's mother was illiterate. BBC producer; and the novelist and critic Walter Yet Reed's family was the unlikely source of Allen. In his final years at the school Reed won -his-intellectual and literary development. His the Ten~perlyPrize, named after a previous eldersister-Gladys (b. 1908) was trained-to-be-e -headmaster,-along with a Latin scholarship to teacher, benefiting from the recently provided Birmingham University. ------free education for all chitdreniin-theq 902-Educa- Reed entered the university in 1931 to study tion Act. Not only did she help her brother, six classics and English. Birmingham was a new years her junior, in his studies, but their father -- university, set up only in 1900, with an ugly and was an avi~e~n'zfliiSTnotherpassed on an uncomfortable campus. Most of the students were oral culture of fairy tales and songs. Though his from working-class backgrounds and had ambi- mother missed out on any education herself, hav- tions to become schoolteachers. Like them, Reed ing been needed at home to bring up her ten commuted from home carrying his heavy bag of younger siblings, she pushed her children to take books and wearing his old Sunday-best suit. up the opportunities she was denied. This back- However, the head of the Classics Department ground of oral culture and self-improvement was Professor E. R. Dodds, the notable Neopla- would influence Reed, who taught himself both tonist scholar. Dodds had recently invited a Greek and Japanese and who would earn his liv- promising young poet who had gained a double ing as a storyteller on the radio. first in literae humaniores at Oxford, Louis Mac- Reed was taught first at the state primary Neice, to join the department as an assistant school in Erdington, where he-depended on Gla- lecturer. As a lecturer MacNeice was not a suc- dys for his early education. At school, a teacher cess, but he already had published one book of who disliked him claimed he was scholastically poems and a novel and was emerging as one of backward, and Reed was reviewed by a the foremost poets of the 1930s, alongside W. H. psychiatrist. The psychiatrist disagreed with the Auden (whose father was professor of public teacher, and to the contrary saw Reed as having health at Birmingham University and the honor- potentially outstanding mathematical ability. That ary secretary of the local branch of the Classical early triumph through psychiatry may have Association). Though as yet not a poet, Reed was contributed to his becoming, in later life, an acting in and producing plays. Furthermore, he ardent disciple of the work of Melanie Klein, the was becoming associated with Birmingham's Freudian psychoanalyst. The mathematical ability artistic circles alongside Auden and MacNeice, would have been significant in his recruitment to old schoolmates Smith and Allen, university the Cypher School during the war. friends such as Dorothy Baker, the Birmingham Reed then attended Edward VI Grammar Surrealist Group, the Birmingham Novelists, and School in neighboring Aston, some five miles jazz musicians. away from the family home, on the northern 'rim At the English Department, the critic Helen of Birmingham. The institution had been founded Gardner taught Reed (and later included a in 1883 with a school for girls and another for number of his works in anthologies she edited). boys. This was part of a national attempt to Reed's scholastic achievements continued. In improve educational provision after the Endowed 1931 he won the Cherton Collins Prize for Schools Act of 1868. Children were required to English Literature, and in 1934 he gained a first- pass an examination for entrance and, for those class degree. Thereafter, Reed continued in the from deprived backgrounds like Reed's, gaining English Department to research Thomas Hardy a scholarship. It is likely that Gladys attended the on a Charles Grant Robinson scholarship. Two sister institution in Handsworth. It was not a first- years later, he completed his master's thesis on HENRY REED

--2------I- -*+ - _ the "Early Life and Works of Thomas Hardy, maintenance of weapons rather than combat. ------. ---- 1840-1 878" and became the youngest MA in the However, in a leiter to his sister, Reed exp!ai~ed --- history of the university. The thesis formed the that, in the First World War, the RAOC had -- - += basis of the biography he was to toil over for the -- lost 10% of its personnel in Belgium, through being next two decades. ,z--- noncombatant. They aim, therefore, at making us 3--. - -- - At the same time, Reed's lifelong romance combatant, in 9 weeks .... Our departmental training, -- with Italy had begun. In 1934 his father had some of which is an official secret, known only to the British & German armies, has consisted mainly ;--inanced-- a first trip to Italy, where he staphwi_h_- - - - - of learning the strategic disposition of the RAOC in --I__- a Neapolitan family whom he would recall in his the field: this is based, not, as I feared, on the Boer --- P9507adio play-Returnrtu-NaplesrThek-warmth War [1899-1902J, but on the Franco-Prussian War 1 -.- - --- made him feel welcome and at home in a way of 187 1. It is taught by lecturers who rarely manage -a,-. - his own family no longer did. Reed returned to to conceal their dubiety at what they are teaching. xix) e -- (Collected Poems, p. - - Italy at the endCfkIiAAifi~~d-- L - in 1939. Lessons of the War was written after Reed noted --- - In 1936 MacNeice's play Station Bell was that his comic mimicry of the sergeant instruc- -- performed by Allen, Smith, and Reed. That year -- tors was poetically rhythmic. The poems parody both Reed and MacNeice left Birmingham, and the training of how to hold a gun, how to describe :---Reed attended MacNeice's leaving party, along a landscape, how to fight unarmed. At the end of I L with Auden and Stephen Spender. Someone threw the nine weeks, Reed remained with the corps (a - a glass of brandy into the fire, and as blue flames decisio~described in "The Returning of Issue"). .----- leapt from the fireplace they scorched Reed's At the same time, Reed's gift for parody won trousers. It was a memorably humorous if him a competition at the New Statesman and Na- ,F*- , incidental mishap, but his life of parties with - =- tion, with a prize of publication in the paper and - poets, sculptors, and actors was a stark contrast ------a broadcast on the BBC in May 1941, at the time J--- to Reed's family life. He was still living at home, - -- of the aerial bombardment of Britain known as but he was becoming estranged from his parents. -- - the Blitz. The poem was "Chard Whitlow" ("As - In 1937 Reed left home and began working we get older we do not get any younger"), which as a freelance writer. That year he published his r- caricatured T. S. Eliot in "Burnt Norton," "Geron- first poem, "The Captain," in the Listener tian," The Waste Land, and even the "Choruses +- (December 29, 1937). Already his ability to yolk from The Rock," with Reed's listeners in "Stoke the melodramatic and the depreciatory is in or Basingstoke" (Collected Poems, p. 15) recall- >A- evidence: "It was shipwreck, after all" ran the ing Eliot's motorists off to "Hindhead, or Maid- -A-- first line (Collected Poems, p. 17). In 1938 Reed enhead" (Eliot, Collected Poems and Plays, p. published more poems and articles, but in 1939 147). when war broke out he briefly returned to Edward VI Grammar School, teaching English. Because I cannot say I should care (to speak for myself) of the aerial bombardment of Birmingham, the To see my time over again-if you can call it time, - school moved to Ashby de la Zouch in northwest Fidgeting uneasily under a draughty stair, Leicestershire. Reed did not enjoy teaching, then Or counting sleepless nights in the crowded Tube. - -- or later. However, his time in the classroom did ("Chard Whitlow," Collected poems, p. 15) u4 " --- not last long. In 1941 he was called up for Reed refers here to the reality that many people military service. living in London chose to shelter from the Ger- man bombing raids of 1940-1941 in the London Underground train stations (known as the Tube) THE WAR rather than air-raid shelters. Eliot praised the poem for its acuteness and talent. That June, Reed was assigned to the Royal Army Ordinance when Eliot began to write his own response to Corps: a group responsible for the supply and the Blitz, he must have had Reed's poem in mind. HENRY REED

Within the year, however, Reed had caught James Joyce's modernist masterpiece Ulvsses pneumonia, and after his convalescence he was (p. 11). rransferred to Bletchley Park. Linguists, math- ematicians, crossword puzzlers, and chess play- ers were gathered together to work on breaking AFTER THE WAR: PUBLICATIONOF A MAP OF encoded enemy messages sent by radio wave. VERONA

~ - The--codCi~werebroadcast, so they were easily In 1945, on Victory over Japan Day, Reed was intercepted-but-difficult-to translate. While the-demobilized as the fo~~~~returned to a peace cracking the German- - was the-. .---footing, and Ramsbotham left the army having in0St famous achievement of the school, there suffered a nervous breakdown. They lived in Were sections (or "huts") for each of the enemy - Cornwall for a period before Ramsbotham languages. Reed was empNed first as a~~pto~was-reca-l-lebos=icefor-nine months in- rapher (code breaker) in the Italian section and Portsmouth. Reed moved to Dorchester, a small : then as a translator in the Japanese section, hav- town about 70 miles from Portsmouth and, more ing learned the language while at Bletchley, a importantly, in the middle of Thomas Hardy feat reminiscent of his self-taught Greek. It was Country, where he returned to work on his at Bletchley, in the Italiiin section, that Reed met biography. (Dorchester is "Casterbridge" in The Michael Ramsbotham, also a writer. For the next Mayor of Casterbridge.) When both were civil- eight years, they were a couple, and Reed never ians again, they moved to Marnhull in Dorset recovered entirely from the failure of their (the town Hardy called "Niarlott" in Tess of the relationship, In the evenings Reed was writing d'Urbewilles). Ramsbotham's novels The Parish many of the poems that would appear in A Map of Long Trister (published 1959) and The Re- of Verona and his first radio play,-Mbby-Dick. mains of a Father (1969) made progress al~%- The poems were published though the war in side the first edition of A Map of Verona. such journals as the Listener and Penguin New lived off Reed's reviews and a bursary for new Writing. writers (200 pounds over three years) that Reed had won from the publishers Hodder & His critical essay "The End of an Impulse" stoughton. appeared in New Writing and Daylight in 1943. A second, expanded version of the collection, It confronted his most important contemporary A Map of Verona and Other Poem, was pub- influences, Auden, Cecil Day-Lewis, Stephen lished in 1947 in the United Stated, including . Spender, MacNeice, and the modernists, and u~h~porest," u~~ti~~~~,-and the "Ishmael" claimed their impact was waning. Yet that essay sequence. On both sides of the Atlantic the poems was simultaneous with the journal publications were praised, most notably by John Berryman, A of "Naming of Parts" (1942), "Judging Distances" Map of Verona was Reed's most significant (1943), and "Iseult Blaunchesmains" (Isolde of contribution to posterity. Those twenty-six poems the White Hands, 1943), which show evidence of were the basis of his reputation in his lifetime, continuing modernist influences on Reed. Further- and the "Naming of Parts" gave Reed a place in more, the essay preceded the first publication of innumerable anthologies of twentieth-century the Auden-influenced "Hiding Beneath the verse and war poetry. Furze." The essay therefore shows--rhat.-the- reed^ was- a-poet who wrote best in series. stimulus of these writers persisted but was not The collection is divided into "Preludes," the uncontested. By 1946 it would seem Reed had most successful section; "The Dessert," which is come to terms with this heritage. In a book com- deeply influenced by Eliot; "Tintagel," with its missioned by the British Council, The Novel retelling of the story of Tristram and Iseult; and a - ---!.. *- Since 1939, he surveyed contemporary fiction as "Tryptych" of dramatic monologues by characters- -~3: :: , - T- ,~" it had developed through the Second World War. . , from Sophocles as well as three poems later ,-1- , :* :-? -~;=-w:k In it, Reed claimed centrality still resided with included in Lessons of the Wax The "Preludes" l ;,, i 1 ~.1 HENRY REED

section is probably named after Eliot's series words. The epigraph is from the French Symbol- nublished in Prufrock and Othel- Poenzs (1917). ist Arthur Rimbaud's prose poem "Villes" (Cities) r "I "Hiding Beneath the Furze: Autumn 1939" is in Les Illztnzinations (1886). Les Illz~niinations was influential in the development of frce verse stylistically similar to Spanish Civil War poems in English, and "A Map of Verona" is written in such as Auden's "0 What Is That Sound" or quatrains of irregular-length lines. In addition, "Spain, 1937," with the refrain "And this can the poems in Les Illuminations were written after never happen ever again" (p. 13). Creative rewrit- - - the breakup of Rimbaud's tempestuous affair with ing of the words and works of others was-always-- another poet, Paul Verlaine. This doomed love is to be integral to Reed's gift: his mimicking of - silently_contrasted with "Juliet's tomb" (p. 4). army officers, translatkns from GZeKFi%ncK (Shakespeare's Romeo and Juliet was set in and Italian, versions for the radio of medieval or Verona.) Reed would again use the myths of star- _classical sources, or nineteenth-century novels by -crossed lovers in his Tristram and Iseult series, Hardy or Herman Melville. However, Reed "Tintagel" (1943-1 945). brought his own sensitive ear, emotional honesty, and ability to imaginatively remake the works. As he himself described his work, in the introduc- tion to The Streets of Pompeii, his words were "NAMING OF PARTS" AND LESSONS OF THE WAR "stolen, malformed, sometimes inverted, almost "Naming of Parts" is perhaps the most quoted invariably fantasised over" (p. xiii). By the end and anthologized poem of the Second World War. of his life even the most original and unique Yet the poem does not confront head-on the aspects of his writing had become the basis for experience of fighting or the death of soldiers, rewriting himself in poems such as "Three unlike poems of the First World War such as Wil- Words." Yet the similarities were not all deriva- fred Owen's "Strange Meeting" and "Dulce et tive; sometimes they were prophetic. In among Decorum Est," Lawrence Binyon's "For the the echoes of Auden, MacNeice, and Hardy are Fallen," or John McCrae's "In Flanders Fields." precursors to the Movement poets, such as Philip Unlike other Second World War poems, the poem Larkin or Kingsley Amis (whose war poem, "0 does not consider the enemy, soldiers at rest, or Captain, My Captain" of 1942, seems modeled the experience of civilians under aerial bombard- on "Naming of Parts," published that year). ment, like Keith Douglas' "Vergissmeinnicht,~' The eponymous poem of A Map of Verona F. T. Prince's "Soldiers Bathing," or Edith describes the poet looking at a map of the Italian Sitwell's "Still Falls the Rain." Instead, Reed's city and remembering an earlier visit. The map poem is antiheroic, where .outdated equipment, was once a key to the experience of wandering boredom, and unsuitable recruits compete, lazily, its streets, to its enchantments, and to love. Now for the attention of the poet. (That the NCOs- the map is no more than a two-dimensional depic- noncommissioned officers--do not have a piling tion of the city and a memory. The evocation of swivel is due to a change in armaments, and not time and place, and the failure of memory or to a lack of equipment as is sometimes claimed. description to make the golden past present, is The sergeant is demonstrating using an older rifle, exquisitely balanced, poignantly between open- with an extra attachment to facilitate easy storage ness (for "the map ... is open," p. 3) and enclosure in the field.) At no point in any of the poems in ("talk restrains me," p. 4), between the "good Lessons of the War do the men fire a gun, wrestle arms" that embrace him as the river embraces the with the enemy, or manage to describe, correctly, city and the "good Arms" of the current war, the terrain. which will "take them away" (p. 4). There are two modes of speech in the poems These "good arms" (quels bons bras) are of Lessons of the War: a military voice, which from the French epigraph to the poem. They are repeats the lessons the men are supposed to learn; translated as the first three lines of the final stanza and an inner voice, which muses on the natural and then turned upside down through the play on world, love, emotions, and philosophy. The inner -- -- HENRY REED

voice is more usually read as the voice of the language. In order to open the breech, in "Nam- recruit, not yet trained to think like a solider. In a ing of Parts" the recruits are told to slide the bolt 19b6 radio performance, Henry Reed recited the along the barrel of the rifle: inner voice and Frank Duncan the sergeant, sug- gesting that we associate the "recruit" with the We can slide it poet's voice. This recruit is characterized as "the Rapidly backwards and forwards: we call this Easing the spring. And rapidly backwards and -ow atdhe end, asleep," who is told to come to forwards attention and-- answer a question aboutthelancL -Thiearly2Ee3s aTe assaulting and fumbling the flow- scape, which he does in typically poetic language, ers: describing the sun and shadows-a~2~Vestmenteof They call it easing the Spring. purple and gold" (Collected Poems, p. 50). In (P 49) "Returning of Issue" the two voices clearly -belongtot~ecrrk~-th~-sergeant-- The assault weapon is5ansformed into a sexual "Movement of Bodies" and "Psychological advance, the mechanism of the rifle becomes the Warfare" the two voices are the private soliloquy season of new growth. Reed is careful to maintain of the sergeant and his public lecture, where his the erotic images within a masculine hidden humanity is allowed to slip out while par- environment. Even the Horatian epigraph from roting instructions to yet another group of Odes 3:26, celebrating Horace's conquests of conscripts. In "Naming of Parts" and "Unarmed women and in battle, is inverted. In the poem Combat" it is indeterminate to whom the voices "Vixi duellis nuper idoneus / Et militavi non sine belong. gloria" (I have lived battle-ready till now I and This issue of the assignment of voices in Les- as a solider not without fame, p. 47), is rendered sons of the War is one of the most problematic, in the closing lines of "Unarmed Combat" as because the voices compete for validity and sug- "And battle-fit we lived, and ... Not without glory gest Reed's own valuation of their insights. That fought" (p. 76). Yet, whereas originally Horace is to say, the military voice and the poetic voice had lived fit for girls, "slyly, Reed turns upside are both assumed by Reed, and both voices en- down the p of puellis (girls), to give 'duellis' able ways of seeing the world differently, of (battles)," as Stallworthy notes (p. xxv). describing that world. Furthermore, our sympathy, In "Judging Distances," Reed contrasts the which is initially with the recruit, is transferred military and civilian modes of seeing landscapes when the instructor is allowed his own interior and maps. Referring back to "A Map of Verona," dialogue. Ian Scott-Kilvert suggests that the Reed writes that "maps are of time, not place, so recruit's voice "appears less and less perceptible far as the army I Happens to be concerned" (p. -as the trilogy unfolds, maybe in order to suggest 50). The poetic description of the countryside that the recruit is becoming assimilated to the and a pair of lovers is translated into military army and learning the martial virtues" (p. 422). jargon: "under some poplars a pair of what ap- Joseph Petite, on the other hand, argues that the pear to be humans I Appear to be loving." In recruit is less important than the instructor, whose "Movement of Bodies" however, during the at- psychology is far more complex. So finely judged tempt to describe the tray containing a model and so seamless are the changes from one voice landscape for demonstrating military tactics, the to another, and so varied the uses to which- -- -- he -- instructor-wanders into an Eliot-lilce musing: puts the two registers that they suggest Reed "even this tray is different to what I had thought I intended the poems, and the allocation of the These models are somehow never always the voices, to remain ambiguous. same" (p. 53). This is one of the later poems, Therefore, these two voices encourage hear- written in 1950, longer than the others and more ing double, and double entendres and puns are philosophical. In it the issue of masculinity is extremely important to Reed's poetic. Reed uses more explicitly addressed: reminded of the pos- them to make the shift from military to amorous sibility of dead friends littering the landscape, HENRY REED

men cry, or faint in the classroom. "Try to behave referred to in the earlier poems but here spelled like men." the instructor barks (p. 53). out: "I think you all know what I mean: In the This matter of representation, of behaving or Holy Scriptures the word begins with an 0, 1 acting, is central to the sequence. The distinction Though in modern parlance it usually begins with between appearance and actuality is constantly an M" (Collected Poeins, p. 137). Earlier poems destabilized and debated. The recruits are told to make use of guns and bees as phallic symbols. In "behave" like men, to act. The first poem was on "Psychological Warfare," Reed is more direct, -a lesson about a gun the recruits did-noGhave+in------including exposed genitals and "being kicked in the second, things may only "appear" or seem; the crutch." In this longer and uncensored poem, ~~~n~€~thiY&th~-~Sn3s~dy-a-model~Thethe psychology of the instructor and Reed's at- instructor repeats his reminder to his students, "It titude toward his sexuality are more easily dis- will not be a tray you will fight on" (p. 52). cernable, and the poem thus serves as a useful W~I: In the final two poems, "Unarmed Combat" -addendum to Lessons of the (1946) and "Returning of Issue" (1970), the inner Lessons of the War is not only Reed's most voice is even more philosophical. In "Unarmed republished sequence and the source of two of Combat" the spealker borrows a line from Hamlet, his most commonly anthologized poems; it was "The readiness is all" to begin his own soliloquy also the most intensively rewritten of his series. (Hamlet 5.2). In "Returning of Issue," the voice Growing from a trilogy in A Map of Verona connects the hectoring sergeant with his father, (1946), "Movement of Bodies" was published in "And you, oh father, father, once sony too," who the Listener in 1950 and "Returning of Issue" becomes associated with God the Father, "Father was added in 1970 when "Psychological Warfare" I have sinned against Heaven" from the parable was written but withheld. The sequence shows of the prodigal son (pp. 57-58). The recruit's the craftedness but also the craftiness of Reed's choice to remain at the end of his nine-weeks' rhetorical talent. In "Returning of Issue" the training is here described as an expiation, an at- recruit speaks of remaining to "teach: / A rhetoric tempt at the impossible reconciliation with his instead of words." The poem is constructed with own father, and the recognition that the outside, Pinteresque dramatic pauses, "(Silence and natural world and his poetic gift were not Eden disbelief)" (p. 57). By 1970 rhetoric not only but a place that had failed him. At least being "a signified propaganda and military jargon but also personnel," rather than a person, "was good, and Reed's time teaching poetic forms to students in simple" (p. 57). Seattle. The sergeant reads his choice as bravery, that "here is a man, men" (p. 57), yet this man is tearful, fearful, vacillating, and weak. In Lessons AT THE BBC of the War, the masculinity of the recruits is In January 1947 Moby Dick was broadcast on the explicitly confronted. Grown men, and even more Third Programme, the new highbrow station of so soldiers, are presented in these poems as far the BBC. It was the first of nearly forty plays from heroic, but instead frightened, weeping, and programs Reed would produce for the incompetent youths. In other words, the soldiers corporation over the next thirty years. In the are depicted as effeminate. 1940s and 1950s, radio drama was a vital and "Movement of Bodies" and the men as influential genre with large audiences. In Britain "privates" (recalling the jocular World War I it was more important than television until the memoir by Frederic Manning, Her Privates We, 1960s. Radio attracted many talented writers, 1930), both have sexual double meanings. composers, and actors to work in it, including However, the sexual orientation is carefully Louis MacNeice, Dylan Thomas, and Benjamin nonspecific. "Psychological Warfare" was unpub- Britten, and Reed was undoubtedly one of the lished in Reed's lifetime, no doubt owing to the talents. The radio play was linked closely to the sexual content that was punningly or cunningly renaissance in British stage drama in the 1950s at SENRY REED

the Royal Court, with plays such as Look Back in play. Although the plays contain much autobiog- Anger by John Osborne. raphy, they do not belong to him, Reed maintains, Reed was always a freelance writer for the because the plays are collaborations. This not corporation. Until 1950-he wouIhtraveI in to the owning is also a disowning: he asserts that "1 still think of plays for the theatre" as "1-eal plays" London offices from Marnhull and then from Yet- (p, xii). At the same time as working for the minster in Dorset. A number of his old friends BBC, Reed was translating Italian plays for the and- colleagues- were also now working for-the- stage. --BBC, includingl3eggie Smith, Walter-Allen,land- Dorothy Baker. Louis MacNeice was a full-time Reed three other radio plays on Ital- writer and producer for the Features-Department, ian subjects before he returned to Italy. Tlze Great where he had spent the war writing propagandist Desire I Had tracks Guglielmo (William) Shakes- verse dramas. His play for radio, The Dark Tower peare to Italy as he attempts to recover from -writer'sbloekhrthis-pfay, -Italy again is repre------(I 946);-was-seen-by-Rmhs"the way rad?mnX go if it is to be worth listening to" (letter, Louis sented as a golden, hospitable place where a MacNeice, p. 344). The BBC was a place for writer gains inspiration and renewed energy. En- many collaborations and with an active social cenzo narrates, through the eyes of his four wives, scene. Reed quickly came to know the poet Dy- the life of Vincenzo I Gonzaga (1562-1612), lan Thomas as he commuted from Wales, the duke of Mantua, patron of the baroque composer producer Edward Sackville-West, and the leading Claudio Monteverdi, and student of James Crich- British serialist composer Elisabeth Lutyens. ton (the Admirable Crichton), whom he killed in Unusually, Reed attended all the rehearsals for a quarrel over a woman. his plays, and so he also became close to the ac- In 1951 Reed traveled once again to Verona. tors who performed them. Following that visit, Reed wrote The Streets of Reed was beginning to work on his first Pompeii (broadcast 1952), which won an Italia major translations of Giacomo Leopardi and Prize, the highest European prize for radio drama. wrote plays about him for broadcast: The Un- The Streets of Pompeii contrasts the ancient city blest: A Study of the Italian Poet Giacorno Leop- before the volcanic explosion with the experi- ardi as a Child and in Early Manhood (1949) ences of modern visitors to the ruins. and The Monument: A Study of the Last Years of Unlike Reed's poems, the many speaking the Italian Poet Giacomo Leopardi (1950). In voices in the plays he wrote for broadcast and 1950 Ramsbotham left Reed, after a difficult the translations he made of .Italian dramas are period, and Reed moved to London. But Reed's given lives of their own: they do not blur into interest in Italy was continued with one of his two parts of the one psyche, although figures best plays for radio: Return to Naples (1950). In who can be seen as representing the poet still Return to Naples, the speaker, H (standing for appear. His ability to alchemically rewrite works, himself, Henry, as Reed makes clear in his 1971 fusing his own style with another's, made him an introduction, p. xiii), provides a history of his excellent adqpter. In Moby Dick he had taken relationship with the city and its inhabitants Melville's symbolic and circumlocutory prose stretching back to the mid-1930s. The returnwas and turned it into successful verse. The repeated only in his mind: Reed would not physically "We are hunting a white whale" in the novel revisit the south of Italy for another year. The -becomes a refrain between stanzas (Collected play was published in The Streets of Pornpeii and Poems, p. 90). The play was published by Other Plays (1971) with an introduction that, Jonathan Cape in 1947. though brief, illuminates Reed's attitude to Italy Reed was now a recognized man of letters. and radio drama. Italy is a woman, perhaps a In 1953 he was invited by the Arts Council to mother, as he writes of "the love I have always contribute a lyric to a cycle of modem madrigals felt for her" (p. xiii), inviting comparison with for the Coronation of Elizabeth 11. Reed col- the warmhearted Italian mother character in the laborated on "Aubade" with the composer Arthur HENRY REED

Bliss, vith whom he had recently written the These plays formed a loose series, and A Vew scena The Enchantress (1951, in Collected Po- Great Man Indeed, The Private Life of Hilda ems, ww. 122-125). Tablet, A Hedge, Backwa~ds,and The Primal LA Scene, As It Were were published by BBC books Also in 1953 Reed began the series for which in 1971. In the introduction to the volume Reed he is best remembered on radio. A Very Great discusses all seven scripts ("the number is Man Indeed was swiftly followed by The Private sometimes given as nine; but people exaggerate" - Radio Life of Hi2da Tablet: A Parenthesis for (p. 8), though Emily Butter and Musique Discrkte (May 24, 1954) and five other sequels. A Very were musical parodies unsuitable for publication Great-Man-Indeed concerns-theresearch on-the without-the -music provided by Swann. The deceased novelist Richard Shewin (suggesting a problem of censorship still affected his writing: "shoo-in," an easy winner of a fixed race) by his in the plays many cuts had to be made owing to -h-a-gapher-HerberRcevHz jokeenthe- what Reed calls "indelicacy," though in The confusion between Sir Herbert Read, the eminent Private Life of Hilda Tablet "full frontal nudity modernist, and the younger Henry Reed). was heard on the radio for the first time" (p. 8). Shewin's family and friends make up the motley cast of characters, of which Hilda Tablet, the modernist composeress, is most significant. She REED THE TRANSLATOR convinces Reeve to turn from his Shewin biogra- phy and instead write about her Private Life. Soon after beginning the Hilda Tablet plays, he Elisabeth Lutyens was one of the models for abandoned the biography of Hardy, which had Hilda Tablet, and she was so incensed by the become such a burden. Instead he turned to Tablet plays she considered suing for libel. translations from the Italian, particularly of Ugo Emily Butter: An-Occasion Recalled (1954) Betti. The first was The Queen and the Rebels is a parody of one of Tablet's operas, with an all- (1954), followed by The Burnt Flower-Bed, Holi- female cast and music by the popular comic day Land, and Summertime (1955), Crinze on composer Donald Swann. (It is a parody of Goat Island (1956), Irene (1957), Corruption in Benjamin Britten's 195 1 all-male opera, Billy the Palace of Justice (1958), and The House on Budd.) In A Hedge, Backwards (1956), Shewin's the Water (1961). Five of the plays were broad- play depicting a homosexual love affair has to be cast and three produced on stage. They were rewritten to suit the censor. This leads to comedy, published as Three Plays (including The Queen as sense disintegrates under uneven editing: the and the Rebels, The Burnt Flower-Bed, and final line of the play remains "The law may be Summertime) in 1956 after all three were pro- against us, ... but ordinary people aren't," incon- duced on the London stage in 1955 and on the gruous with the now innocuous characters (p. radio in 1954-1955. Crime on Goat Island was 145). The Primal Scene, As It Were: Nine Studies published in 1960, following productions on radio in Disloyalty (1958) brings to the fore a number in 1956 and in New York as Island of Goats of minor characters from the earlier plays, (1955). particularly General Gland, as they cruise around Reed also translated plays by Pirandello, All the Mediterranean on a yacht owned by Tablet's for the Best (1953), The Two Mrs. Morlis (1971), multimillionaire patron. Not a Drum Was Heard and Room for Argument (1974), as well as plays (1959) continues the military memoirs of General by Natalia Ginzburg, Dino Buzzati, Paride Arthur Gland, who is Shewin's brother's wife's Rombi, Virginio Puecher, Samy Faya, Jacques brother; the confusing genealogy is deliberate on Audiberti, Silvio Giovaninetti, and Giuseppe Reed's part. The final play is Musique Discrkte: Giacosa. This constituted one of the major at- A Request Programme of Music by Dame Hilda tempts to make contemporary Italian drama avail- Tablet (1959) on the fictional occasion of Miss able to the English-speaking world. Six of his Tablet receiving the honor of becoming a Dame translations were performed in New York, of the British Empire. London, Oxford, or Edinburgh between 1955 and HENRY REED

1963 (and a number in mere than one city), and His nzoutlz r01vald.s Act. bid four thousand, nine were published. Of his translations, the most Four thousand, any advance upon. iinportu~ltremain Ugo Betti's Three Phys pub- Aizd stil: bejo~?dfour thousand fifty. lished by Gollancz in 1956, and the novel (P. 72) translated from the French, Eugknie Grandet by Reed had not written an original radio script since Honor6 de Balzac, published by the New Arneri- - - Musique Discrkte, the last Hilda Tablet play in can Library in 1964. - -- - -1959,Hawever, his translations and reviews were There was an overlap between the dramas, bringing him to ever wider audiences. the translations, and the-poetry of Henry-Reed. For example, the speech of the Sibyl in The Streets of Pompeii is, for the most part, a version REED IN AMERICA --of-histra~~z~Y'The room"-byGiacomo -- Leopardi. Other translations of Leopardi were In 1964, for the first time, Reed traveled to the read aloud on air, or published in the Listenel; or United States, having been invited by Robert both. The sequence of five poems "Ishmael," Heilman as a visiting lecturer at the University of published in the New York edition of A Map of Washington in Seattle. Reed was asked to teach Verona, had come from the play Moby Dick: "If poetry for one semester, replacing Theodore Ro- you touch at the islands," "Whiteness is lovely," ethke after the poet's sudden death. Reed so ap- "Can you think what that life is like," "Oh higher preciated this opportunity (and the financial than albatross soaring," and of course, "We are stability, though not the teaching) that he ar- hunting a white whale." In the same vein, a song ranged to return the following year. Like MacNe- from Moby Dick ("Cabaco's Song") was later ice before him, Reed had become intellectually published as a stand-alone poem in-the academic snobbish, though unlike his erstwhile teacher, he journal Music and Letters (October 1953). had an excellent speaking voice and read poetry Reed's financial standing was always precari- well aloud. Reed resented, however, having to ous, and the royalties he was paid for his writ- teach courses such as the lecture on the Brontes, ings were less for translations than for original which was the cause of his first argument with works. In 1964 he had published only one new the head of the department. His students recalled poem in the last fourteen years, "The Auction him being charming if he liked them but supercil- Sale," in Encounter (October 1956). "The Auc- ious if he did not. They appreciated Reed's tion Sale" is reminiscent of Hardy, with the technical teaching, his skill as a raconteur, and, "quiet" young farmer who bids all he has to own when not aimed at them, his brilliant sense of a beautiful Italian painting of Mars and Venus. humor. The second year, he shared the teaching Had he won, he would have been financially with Elizabeth Bishop, and the two became close ruined but, having lost the bidding to a profes- friends. When she fell ill Reed took on her classes sional from London in grey, is later seen "strid- and read her poems out, which she would not. ing beneath the sodden trees" and "weeping bit- Reed and ~isho~talked teaching and poetry, terly" (p. 73). The antiphonal technique Reed drank too much, and decided to get fit together. had used so well in Lessons of the War is used in The fitness regime was short-lived, but the friend- the italicized descriptions of the pdnting; beauty, ship remained. love, and "the Paduan air," an alternate vision of Reed was interested in the technical aspects color and art, is presented to the "grey," "damp," of poetry, the only aspect of teaching he did and shabby surroundings of the sale, disposing of enjoy. He valued the rhetoric and the forms. The the effects of one recently deceased. At the height involvement with literary and academic circles of the bidding, the two world visions mesh: was valuable to Reed's writing. He broadcast The Complete Lessons of the War on Valentine's Day Venus upon the sunwarmed nods, 1966. In 1968 he returned for a final semester in Abandoned Cupids danced and nodded, Seattle, and by the time he returned to London in HENRY REED

1969 his writing was invigorated and new poems And have elsewhere suddenly known I would love began to appear in print. you forever. And there will be two occasions? and those not together, FINAL YEARS .When you and I,will be suddenly 'silent forever. "The Interval" appeared in the Listener in (P. 77) November 1969, and over the next five years The poem is one of Reed's finest. The ability to !The River," "Three Words," "The To.wn-21tself," rewrite his own style enabled him to rewrite its "The Blissful Land," and "Four People" were flaws and make them virtues. publishedflReturn-of-IssueE+vas- written,-and-a neT970s%~eii a period of consolidation. As new Lessons of the War was published. Reed well as the new Lessons of the War; in 1971 the considered a new collection, The Auction Sale B_BC published his two collections of radio and-iheYP8eWs. As h-"TheSAmtia-&ah$%- was still the "shining" world whose "memories drama: The Streets of Pompeii and Other Plays for Radio and Hilda Tablet and Others: Four calm this winter of expectation," as he had writ- Pieces for Radio (reprinted in 1976). The BBC ten in "A Map of Verona" (p. 4). He returned to featured a new production of Moby Dick. Reed that image of Italy as "The Blissful Land" in was also continuing with his translations, writing both the poem of that name and in "The Town a further ten versions of Italian dramas. Itself' (both 1974). However, in these later poems he comes to see Italy as an Eden from which However, Reed was now in his sixties. His expulsion is inevitable. In "A Map of Verona," health had never been strong and his physical fit- Reed expects that when he arrives he will be ness never great. He was a heavy smoker and welcomed with opened "good arms" and will drinker and lived on Complan, a powdered-milk repay that with "new devotion" (p. 4). In the nutritional supplement drink, which Reed may later poems, he is "an interloper" (in the autobio- have gained a taste for in the armed forces, where graphical "The Changeling," p. 64), and on reach- it was introduced. Furthermore, it looked as if ing "The Town Itself' he expects "The police radio drama was about to be inevitably eclipsed will knock at the door, and I shall be told to go" by television. Drama, even excellent verse drama (p. 78), or, even more horrifically, that the town or works by the best contemporary European will scream, "It was not you that we wanted! playwrights, does not display to its best on the How dared you come here alone?' (''The Blissful page, and most radio plays are broadcast only Land," p. 81). In these poems, Reed invites us to once, meaning much of his work was beginning elide the persona of the poem and the poet. to fall mute. Reed was starting to rue the fact In "L'Envoi," "De Arte Poetica," and "Three that so much of his creative effort had been spent Words," however, he turns his attention to his on the Third Programme, which was replaced by own writing. Through teaching about writing in a classical music station, Radio 3, and a spoken America, Reed had become self-conscious about word station, Radio 4, in 1970. his own poetical practice. In "Three Words" he Reed's poetic output had always been marked notices "that the words I had always used / In by his perfectionism, but now that perfectionism every poem were 'suddenly' and 'forever' and was preventing him from completing works. After 'silence"' (1970, p. 77). To these three words "Bocca di Magra" in 1975, Reed published no ought to be added "golden," "sparkle," and more poems and no more plays, though he "shine," and the image of "gardens." Yet these continued to work on The Auction Sale and Other repetitions are turned to good effect in this late Poems or perhaps an edition of collected poems, poem, as Reed subtly and poignantly plays on to revise old poems, and to write a new verse them: play, a long poem, and a dramatic monologue, as well as new translations of Eugenio Montale's And I have once suddenly known I had lost you Motetti and Sophocles' Ajax. A Map of Verona forever. and Lessons of the War make up only half of the HENRY REED

Collected Poems. Of these projected plans, Stall- Prince's other work remains largely unknown.

worthy prints three revised short poems, "The Tiller also worked for the BBC from 1946 and 52r.W Sound of Horses Hooves," "The Vow," and produced little poetry (though tliiee collections 5-=- -gq "L'Envoi" in his section "Early Poems, Drafts more than Reed) thereafter. -9:@ -3 and Fragments." These would not be made public In the Collected Poems, finally, these late ...x- -- until five Years after Reed's death, when Jon works have been brought to a public beyond $3- E - Stallworthy produced the Collected Poems for poetry journals or the archive of the now defunct + ---Oxford University Press. On December-8,1PSh,ristene~ With the publication of the Collected t at age seventy-five, Reed died. Poems in paperback (2007), a book-length study a 771 ------(2003), and a large Web presence, Reed's work is a-- once again obtainable for readers, for the first .i, *I POSTHUMOUS CUZTICAL RECEPTION time since the 1970s, and a reassessment is LX, -- - - - undEKaj4%yeonnCrthe academic study of radio =- "Naming of Parts" is by far the most common of -- drama. Reed,s achievement is now seen to --- Reed's Poems to be anthologized, particularly in encompass more than a few anthology pieces. war poem The poem is an Furthermore, Reedrs in building sequences piece. It is short, Pregnant, over a number of poems means his series ought - 'lever*and poignant' One to be read as long poems rather than selections. needs no notes Or As his works become available to a wider audi- - counts t' understand and enjoy the ence, he can now be seen not only as a subtle, Because of the absence of a Collected or Selected witty, intelligent, and accessible poet but also a Poems in his lifetime, it was in anthologies that poet of versatilify and breadth. Reed's poems were kept in print. However, a survey of collections proves thatReed was rarely represented by more than three poems. The satire "Chard Whitlow" zppears regularly, both in seri- ous and comic anthologies such as Kingsley Selected Bibliography Amis' New Oxford Book of English Light Verse (1978) and Cleanth Brookes and Robert Penn Warren's Understanding Poetry (1976). In WORKS OF HENRY REED volumes attempting a more representative cover- age, ''Judging Distances" is also often inc~uded ARCHIVES The papers of Hen,.),Reed are held at the (Iniversiry of (such as Helen Gardner's New Oxford Book of Birmingham (Special Collection GB 0150 MS031), English Verse, 1972). The most representative including drafts of poems, plays and his Hardy biography. sample is in Kenneth Allot's anthology The The collection also includes his letters to his sistel; and Penguin Book of Contemporary Verse, 191860 the correspondence with Michael Ramsbotham (which (1962), which reprinted "Naming of Parts," are restricted until Ramsbotham's death). Contracts, memos and letters relating to Reed's work for the BBC "Judging Distances," "Philoctetes," "Chard Whit- are held at the BBC Written Archives Centre, Caversham. low," "Iseult la Belle," "King Mark," "Tristram," and "Iseult Blaunchesmains." POETRY Before the publication of A Map of Verona, A Map of Verona: Poems. London: Jonathan Cape, 1946. Stephen Spender predicted a glittering future for American edition, New York: Reynal & Hitchcock, 1947. Reed along with F. T. Prince and Terence Tiller Lessons of the Wax New York: Chilrnark Press, 1970. (in Poetry Since 1939, the companion volume to Collected Poems. Edited by Jon Stallworthy. Manchester: Reed's The Novel Since 1939). This was to prove Carcanet, 2007. (First edition, Oxford: Oxford University Press, 1991.) ironically prophetic. For many years Reed has been compared to F. T. Prince, whose poem PUBLISHEDRADIO PLAYS "Soldiers Bathing" has had a similar history, as a Moby Dick: A Play for Radio from Herman Melville's Novel. single, often anthologized war poem, while London: Jonathan Cape, 1947. HENRY REED

The Streets of Porrzpeii and Other Plays for Radio. London: Naming of Parts. Film. Directed by Robert Bloomberg. BBC Publications, 197 1. (Contains Leopardi: The Un- Contemporary Films/McGraw-Hill, 1972. blest, The Monument, The Great Desire I Had, Retlils~to Nnple~;and V71zcerzzo.o.) Hilda Tablet and Others: Four Pieces for Radio. London: CRITICAL AND BIOGRAPHICAL STUDIES BBC Publications, 1971. (Contains A Ve~yGreat Man Beggs, James S. Naiizirzg of Parts: The Poetic Character of Indeed, The Private Life of Hilda Tahlet, A Hedge, Back- Heniy Reed. Hull, England: University of Hull Press, wards, and The Primal Scene, As It Were....) 1999. Berryman, John. "Waiting for the End, Boys." Partisan PUBLISHEDTRANSLATIONS Review 15, no. 2254-267 (February 15, 1948). -Romb~Padde~Perd~Nev~YorkrHatper1954. --- GunteF;I;iz;XdJim-Linebarger. "Tone and Voice in Henry Betti, Ugo. Three Plays. London: Gollancz, 1956. (Contains Reed's 'Judging Distance [sic].' " Notes on Contetpora?y The Queen and the Rebels, The Burnt Flower-Bed, and Literature 18, no. 2:9-10 (March 1988). - --Summertinze;)------Kowell, Anthony. "Modernist ManquC." Loizdon Magazine, -Crime on Goat Island. London: French, 1960. April-May 2003, pp. 40-45. -. Corruption in the Palace of Justice. In The New Petite, Joseph. "'Naming of Parts,' 'Judging Distances,' Theatre of Europe. Edited by R. W. Corrigan. New York: Literary Snobbery and Careless Reading in the Analysis Dell, 1962. Pp. 321-380. of Henry Reed's 'Lessons of the War."' Journal of Buzzati, Dino. Larger Than Life. London: Secker & War- Evolutionary Psychology 26, nos. 1-2:66-84 (March burg, 1962. 2005). Balzac, Honor6 de. Eugenie Grandet. New York: New Pritchett, V. S. "Moby Dick." New Statesman and Nati0~1, American Library, 1964. January 31, 1948, pp. 101-102. (Review of Reed's Moby Ginzburg, Natalia. The Advertisement. London: Faber, 1969. Dick: A Play for Radio JLorn Herman Melville's Novel.) Savage, Roger. 'The Radio Plays of Henry Reed." In British Radio Drama. Edited by John Drakakis. Cambridge, CRITICISM U.K.: Cambridge University Press, 1981. Pp. 158-190. "The End of an Impulse." New Writing and Daylight, sum- mer 1943, pp. 111-123. Scott-Kilvert, Ian, ed. "Poets of World War 11." Vol. 7, Brit- ish Writers: Sean O'Casey to Poets of World War II. New The Novel Since 1939. London: Longmans, Green for the York: Scribners, 1984. Pp. 422-423. British Council, 1946. Stallworthy, Jon. Louis MacNeice. New York: Norton, 1995. "'Richard': Review of Narrative of a Child Analysis, by Melanie Klein." Listener 65, no. 1667:44546 (March 9, . "Reed, Henry (1914-1986)." In O$ord Dictionaly 1961). of National Biography. Oxford: Oxford University Press, 2004. Strickland, Geoffrey. "Dumb Insolence?'Encounter 36, no. MUSICALS~GS AND FILMS 2:78-79 (May 1971). The Enchantress. Scena for Contralto and Orchestra. Music by Arthur Bliss, libretto by Henry Reed. First perfor- mance: Manchester, 1952. &HER SOURCES "Aubade." Music by Arthur Bliss, lyrics by Henry Reed. Fountain, Gary, and Peter Brazeau. Remembering Elizabeth First performed in A Garland for the Queen, London, Bishop: An Oral Biography. Arnherst: University of Mas- Royal Festival Hall, 1953. sachusetts Press, 1994. Reagan. Ronald, Supp. IV: 485 Rrcollectio~rsof the Lake Poets (De Reeve's Ede, The (Chaucer), I: 37.41 "Real and Made-Up People" (Amis), Qaincey), IV: 14611,155 "Reflection from Anita Loos" (Empson), Supp. 11: 10 "Reconcilement between Jacob Tonson Supp. 11: 183-184 "Real Esta~e"(Wallace-Crebbel, VIII: and Mr. Congreve, The" (Aowe), 11: Rejections (Greene), Retro. Supp. TI: 318 324 166-167 Real Inspector Hound, The (Stoppard), "Record, The" (Warner), Supp. VII 371 "Reflections" (Thomas), Supp. XII: 291 Supp. I: 443-444; Retro. Supp. 11: "Record of Badalia Herodsfoot, The" "Reflections of a Kept Ape" (McEwan), 345-346 (Kipling), VI: 167, 168 Supp. IV: 394 Real Robert Louis Steverlson, The, and Record of Friendship, A (Swinburne), V: "Reflections on a Peninsula" (Koestler), Other Critical Essav.~(Thompson), V: 333 Supp. I: 34 450,451 Record-of__Fr&ndsJzip and Criticism, A Rejections on Hanging (Koestler), Supp. "Real Thing, The" (James), VI: 48, 69 (Smith), V: 391, 396, 398 I: 36 Real Thing, The (Stoppard), Supp. I: Records of a Family of Engineers "Reflections on Leaving a Place of Retire-

- -45 1452;RetroSupp;-Uz353454=- - (Stevenson), V: 387,396 -z-- ment" (Coleridge), IV: M "Real World, The" (Hart), Supp. XI: 127 Recoveries (Jennings), Supp. V: 21 1 "Reflections on the Death of a Porcupine" Realists, The (Snow), VII: 338-339 "Recovery" (Conn), Supp. XIII: 75 (Lawrence), W: 103-104, 110, 119 "Realm of Possibility" (Conn), Supp. "Recovery, The" (Vaughan), 1I: 185 Rejections on fhe French Revolution -- XIII+80- --Reeruitittfie-Thevarquhar). 11: (Burke), 111: 195, 197, 201-205; 1.k Realms of Gold, The (Drabble). Supp. 353, 358-359, 360, 361, 362,364 xv, 127; Supp. III: 371,467,468,470 IV: 230, 232,243-245.246, 248, 251 "Rector, The" (Oliphant), Supp. X: 214 Rejections on the Lute Alam~ingBank- "Realpolitik" (Wilson), Supp, I: 154, 157 Rector and the Doctor's Family, The ruptcies in Scotland (Boswell), 111: Reardon, Derek, Supp. IV: 445 (Oliphant), Supp. X: 214-215 248 "Rear-Guard, The" (Sassoon), VI: 431; Rectory Umbrella and Mischmasch. The Rejections on the Psalms (Lewis), Supp. Supp. 111: 59 (Carroll), V: 264, 273 III: 249, 264 "Reason. The" (Thomas), Supp. XII: 290 "Recycling" (Dutton), Supp. XIk 89 Rejections on Violence (Hulme), Supp. Reason and Sensuality (Lydgate), I: 57, "Red"(Hughes), Retro. Supp. II: 218 VI: 145 64 Red Badge of Courage, The (Crane), Rejections upon Ancient and Modern Reason of Church Government Urg'd Supp. IV: 116 Learning (Wotton), m: 23 Against Prelaty, The (Milton), 11: 162, Red Book, The (Delahunt), Supp. XIV: ReJections upon the Lute Great Revolu- 175; Retro. Supp. 11: 269, 276 59-63 tion (Defoe), Retro. Supp. I: 64 "Reason our Foe, let us destroy" Red Christmas (Hill, R.), Supp. IX: 116- Rejector (periodical), IV: 80 (Wycherley), II: 321 117 Reformation of Manners (Defoe), III: 12 Reason Why, The (Rendell), Supp. IX: Red Cotton Night-Cap Country "Refusal to mourn, A" (Thomas), Supp.

196 --- - - (Browning), IV: 358, 369, 371, 374 I: 178 Reasonable Life, The: Being Hints for Red Days and White Nights (Koestler), Refutation of Deism, in a Dialogue, A Men and Women (Bennett), see Mental Supp. I: 23 (Shelley), IV: 208 Eficiency Red Dog (De Bernikres), Supp. XII: 65, "Refutation of Philosophies" (Bacon), I: Reasons Against the Succession of the 69,77 263 House of Hanover (Defoe), 111: 13 "Red Front" (Warner), Supp. VII: 372 "Regency Houses" (Day Lewis), Supp. "Reawakening" (Conn), Supp. XIE 74 "Red Graveyard, The" (Kay), Supp. III: 127-128 Rebecca (du Maurier), Supp. III: 134, XIII: 104 Regeneration (Barker), Supp. IV: 45, 46, 135, 137-138, 139, 141, 142, 143, Red Harvest (Hammett), Supp. II: 130 57-59 144, 145-146, 147 Red House Mystery, The (Milne), Supp. Regeneration (Haggard), Supp. HI: 214 Rebecca and Rowena: A Romance upon V. 310 "Regeneration" (Vaughan), 11: 185, 187 Romance (Thackelay), V: 38 Red Peppers (Coward), Supp. Ik 153 Regent, The (Bennett), VI: 259,267 Rebel General, The (Wallace-Crabbe), "Red, Red Rose, A" (Burns), III: 321 Regicide, The (Smollett), 1J.k 158 VIII: 314, 318 Red Roses for Me (O'Casey), W: 9 "Regina Cara" (Bridges), VI: 81 "Rebel General, The" (Wallace-Crabbe), "Red Rubber Gloves" (Brooke-Rose)), Reginald (Saki), Supp. VI: 240-242 VIII: 315 Supp. IV: 104 "Reginald at the Theatre" (Saki), Supp. Rebels, The (Ngiigi), VIZI: 222 "Redeeming the Time" (Hill), Supp. V: VI: 241-242 Rebus: The St. Leonard's Years (Rankin), 186 Reginald in Russia and Other Sketches Supp. X: 251,253 "Redemption" (Herbert), 11: 126-127 (Saki), Supp. VI: 243-246 "Recall" (Crawford), Supp. XI: 75 Redgauntlet (Scott), IV: xviii, 31, 35, 39 "Reginald on the Academy" (Saki), Supp. Recalled to Life (Hill, R.), Supp. IX: Redgrove, Peter, Supp. VI: 225-238 VI: 240 120-121 "Red-Headed League, The" (Doyle), "Reginald's Choir Treat" (Saki), Supp. "Recantation, A" (Kipling), VI: 192-193 Supp. Ik 170 VI: 241, 249 "Receipt to Restore Stella's Youth . . . , Redirniculum Matellarum [A Necklace of Region of the Summer Stars, The A" (Swift), III: 32 Chamberpots] (Bunting), Supp. VII: (Williams, C. W. S.), Supp. IX: 283 "Recessional" (Kipling), VI: 203 4 "Regret" (Swinburne), V: 332 Recklings (Hughes), Supp. I: 346, 348 "Redriff' (Jones), Supp. VII: 176 "Regrets" (Aidoo), Supp. XV: 10 "Reckoning of Meter", See HLttatal Reed, Henry, VII: 422-423, 449; Supp. Rehabilitations (Lewis), Supp. Ilk 249 "Recollection, A" (Cornford), VIII: 103, XV: 243-257 Rehearsal, The (Buckingham), 11: 206, 112 Reed, J. W., 1I1: 249 294 "Recollections" (Pearsall Smith), VI: 76 "Reed, A" (Browning), IV: 313 Rehearsal Transpros'd, The (Marvell), Recollectio~lsof Christ's Hospital (Lamb), Reed Bed, The (Healy), Supp. IX: 96, 11: 205, 206-207, 209, 218, 219; IV: 85 106, 107 Retro. Supp. II: 257-258,264-266 "Recollections of Journey from Essex" Reef (Gunesekera), Supp. X: 85-100 Reid, Alastair, Supp. VI'I: 323-337 (Clare), Supp. XI: 62 Rees-Mogg, W., 11: 288 Reid. J. C., IV: 254. 267 "Recollections of Solitude" (Bridges), VI: Reeve, C., In: 345 Reign of Sparrows, The (Fuller), Supp. 74 Reeve. Clara, 111: 80 VII: 79