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Documenting the quest to track down everything written by (and written about) the poet, translator, critic, and radio dramatist, Henry Reed.

An obsessive, armchair attempt to assemble a comprehensive bibliography, not just for the work of a poet, but for his entire life.

Read "Naming of Parts."

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Henry Reed, ca. 1960


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Dusty Answer: Young, privileged, earnest Judith falls in love with the family next door.
The Heat of the Day: In wartime London, a woman finds herself caught between two men.
Cold Comfort Farm: Sensible Flora Poste moves in with her eccentric country relatives.


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Reeding Lessons: the Henry Reed research blog

1.9.2015


M.L. Rosenthal was an American contemporary of Henry Reed, born in 1917 in Washington, D.C., and teaching at New York University for more than 50 years. Rosenthal was a poet, editor, and critic, and is credited with attributing "confessional" to the Confessional Poetry movement.

An early review by Rosenthal, "Experience and Poetry," appears in the New York Herald Tribune for October 17, 1948: Rosenthal reviews Henry Reed, Laurie Lee's The Sun My Monument, E.J. Pratt's Behind the Log, Louis O. Coxe's The Sea Faring, Robert McKinney's Hymn to Wreckage, and Four Poems by Rimbaud, translated by Ben Belitt.

New York Herald Tribune

Experience and Poetry
A MAP OF VERONA AND OTHER POEMS.
By Henry Reed. . . . 92 pp. . . . .
New York: Reynal and Hitchcock. . . . $2.50.


Reviewed by M. L. Rosenthal

HENRY REED shares with Laurie Lee, another young English "war poet," a kind of hurt pacifism and the familiar irony that sell so cheaply of late. They share, too, in that unhappy vice of young intellectuals—a certain blandness of which the ever-simple irony is a symptom and which allows them, at a moment's notice, to discuss everything as though it were nothing and vice versa. But Reed has the more inclusive sensibility, and he has been able to protect it by skills of craft, fashioning an armor of rhythmic, stanzaic, and musical structure. Despite their common conviction that the world is flat, Reed has written more verse in the rich "lyric-contemplative" mode and has used mythological themes from Homer to Melville to help him get his bearings. He is further into his art: such places as "Judging Distances," "Sailor's Harbor," and the title-poem achieve something fine and honest, with a dramatic tension that resolves itself by a narrowing of focus from general to intimate personal awareness: "reversal" with the true tragic shock of painful realization.
Rosenthal published two popular poetry books in 1967: a book of criticism, The New Poets: American and British Poetry since World War II (London: Oxford University Press); and and anthology, The New Modern Poetry; British and American Poetry since World War II (New York, Macmillan). As far as I can tell, however, Reed doesn't appear in either.

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1508. Birmingham Post, Obituary for Henry Reed. 10 December 1986.
Reed's obituary in the Birmingham Post.


In 1950 and 1951, there was a series of broadcasts on the BBC's Home Service, produced by Brandon Acton-Bond, wherein three travellers would make the same journey separately, and record their impressions.

There were four programs, in all: "Pictures of a Road: Coleford to Newnham through the Forest of Dean" (June, 1950, with Audrey Russell, Henry Reed, and Ralph Wightman); "Pictures of a River: The Dart from Dartmouth to Totnes" (August, 1950, William Aspden, Georgie Henschel, and Johnny Morris); "Pictures of a Railway Journey: Plymouth to Princetown" (May, 1951, Georgie Henschel, Ralph Wightman, and Johnny Morris); and "Pictures of a Ferry-Boat Journey: Lymington to Yarmouth (Isle of Wight)" (June, 1951, Audrey Russell, Charles Causley, and Brian Vesey-Fitzgerald).

The first program, broadcast on Sunday, June 18, 1950, was apparently not well-received by the locals. It featured Audrey Russell, Ralph Wightman, and Henry Reed walking through the Forest of Dean from Coleford to Newnham, and resulted in this criticism of their reporting in the Gloucester Citizen for June 22, 1950:

Gloucester Citizen
Foresters angry about broadcast
"NOT A TRUE PICTURE"

THERE was sharp criticism in the Forest of Dean yesterday of the B.B.C. broadcast about a walk that Audrey Russell, Ralph Wightman and Henry Reed took from Coleford to Newnham.

"If the purpose of the broadcast was to convey a true picture of the district they traversed," said the vicar of St. Stephen's, Cinderford (the Rev. D .R Griffiths) in an interview, "then the descriptions given were very unfiar and misleading.
"Henry Reed said that when he got into sight of Cinderford he found stretching out in front of him for miles a place of 'grey and pink hideousness.' We can allow poets to indulge in any amount of license, but to use 'hideous' as a term of Cinderford is an exaggeration.
"Ralph Wightman said that St. Stephen's Church is just as 'Victorian and ugly as the huge chapels in the main street! Mr. Wightman doubtless knows a lot about pigs, poultry and sheep, but we cannot take his judgment on church architecture as possessing any value. The church was built just over 60 years ago, designed by a fine architect named Lingen Barker. The design was approved by the Ecclesiastical Commissioners Building Board of that time which had a panel of 13 architects. St. Stephen's church cannot be described as beautiful, but it is not ugly."

Said Henry Reed of Coleford "I didn't think Coleford had looked after itself very well. The cottages on its outskirts were horribly dilapidated; its church tower had no church; the little Town Hall, with its blue egg cosy on top, was one of the oddest buildings I've ever seen. I was only persuaded that it WAS the Town Hall by the backs of five uncomfortable-looking chairs in a first floor bow window."

Audrey Russell noticed that when the town clock struck the hour the hands were two minutes to.
Said Mr. C. E. Gillo (chairman of the Coleford Parish Council): "The Forest of Dean has suffered at the hand of the B.B.C. I am tired of people coming here and running down the place. We are painfully aware of the lack of amenities and the ugly blots, but the Forest of Dean has suffered years of industrial depression and was often governed by men with a retarded outlook.
"We are now trying to catch up on what we have lost. We are not helped by those who come here and condemn. It is grossly unfair to be measured by what might be called the municipal yardstick."
Imagine my delight, when perusing the travelled route through Google Street View, to find that Coleford's church tower still has no church.

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1507. Daily Telegraph, Obituary for Henry Reed. 10 December 1986.
Reed's obituary in the Telegraph.


In the Spring, 1972 issue of the journal of the Society of Teachers of Speech and Drama there appears an argument for the release of recordings of Henry Reed's radio plays. Jane Gregg reviews two collections of Reed's plays produced for the BBC Third Programme, published in 1971 by BBC Publications: Hilda Tablet and Others: Four Pieces for Radio, and The Streets of Pompeii and Other Plays for Radio.

Gregg calls the Hilda Tablet plays "the funniest and most sustained piece of social comedy written for radio," and expresses concern over the ephemeral medium of "aural" art such as radio, arguing that Reed's plays should get the same treatment as Dylan Thomas' Under Milk Wood, and be released as recordings.

Advertisement

Hilda Tablet and Others — four pieces for radio
by HENRY REED. BBC: £2.10.

The Streets of Pompeii and other plays for Radio
by HENRY REED. BBC: £3.15.

All Third Programme listeners please note that the plays of Henry Reed you so enjoyed between 1949 and 1958 are now in print—a permanent memorial of the radio drama which otherwise has no permanent life.

As Reed says in a most interesting foreword to The Streets of Pompeii, 'They were not for the most part written with any idea that they might appear in print. When it was suggested that they should, I was naturally delighted: it seemed to imply that they had not entirely gone in one ear and out of the other'.

I have just taken up knitting and when reading the pattern I have tried to visualise the finished article. Possibly knit two together through back loops creates a picture for the experienced knitter but even so it remains for most of us simply a code. In the same way the printed word is a poor substitute for radio drama. 'Cross-fade rapidly' needs a great deal of aural imagination.

Hilda Tablet and Others consists of four pieces from what many regard as the funniest and most sustained piece of social comedy written for radio. They are A Very Great Man Indeed, The Private Life of Hilda Tablet, A Hedge, Backwards, and The Primal Scene, as it were. The productions were all by Douglas Cleverdon, with music by Donald Swann and the casts include most of the great BBC repertory names: Hugh Burden, Carleton Hobbs, Gwen Cherrell, Mary O'Farrell, Marjorie Westbury . . . (dear Marjorie Westbury as Steve in Paul Temple — there's nostalgia for you) . . . the list is endless and very well-loved. The plays arise out of the research by Reed's alter-ego Reeve into the life of Richard Shewin, novelist.

The Streets of Pompeii on the other hand contains those plays which have Italian themes and settings. They are Leopardi in two parts: The Unblest and The Monument; The Streets of Pompeii, Return to Naples, The Great Desire I Had, and Vincenzo. Again the productions were by Douglas Cleverdon with a cast which sounds like Who's Who in Radio.

The BBC are of course quite right and to be commended for publishing Henry Reed's radio plays but now, before they disappear aurally altogether, may we have them recorded? After listening to the record of Under Milk Wood recorded by Argo with the cooperation of the BBC, I am convinced that there is a market for radio plays on record.
JANE GREGG.
I note with some dismay that a quick search of the British Library Sound & Moving Image Catalogue reveals no recordings of A By-Election in the 'Nineties (1951), The Great Desire I Had (1952), A Hedge, Backwards (1956), The Primal Scene, As It Were (1958), or Musique Discrète (1959). Perhaps, however, the current Save of Sounds project might turn a few up.

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1506. MacGregor-Hastie, Roy. "The Poet in His Workshop: No 4—The Great Unclassified." Arena 48 (March 1958): 10-13 [12-13].
MacGregor-Hastie shows great respect for Reed in this series on the state of poetry (but little regard for the poets of the 'Thirties).


On the inaugural International Dylan Thomas Day, Twitter turns up treasure! @DylanThomasNews posted a programme for a May 14, 1946 poetry recital performed for the Queen (and Princesses Elizabeth and Margaret) at Wigmore Hall, organized by the Society of Authors and featuring everyone who was anyone in mid-century poetry and theater:

Progamme

Poems were introduced by David Lloyd James, with readings by John Masefield (Poet Laureate at the time), Edith Evans, John Gielgud, John Laurie, Flora Robson, Edith Evans, Dylan Thomas, Valentine Dyall, C. Day Lewis, Walter de la Mare, T.S. Eliot, Edith Sitwell, and Louis MacNeice.

Progamme

The organizing committee consisted of George Barker, Walter de la Mare, John Lehmann, C. Day Lewis, Louis MacNeice, none other than Henry Reed, Denys Kilham Roberts (Chairman), Vita Sackville-West, Edith Sitwell, Dylan Thomas, and Lawrence Whistler.

Previously, we posted about how this particular poetry reading impacted the career of Vita Sackville-West.

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1505. Orwell, George. "Young Writers." Review of New Writing and Daylight (Summer 1943), edited by John Lehmann. Spectator (30 July 1943): 110.
Orwell says of "The End of an Impulse," Reed's criticism of the Auden-Spender school of poetry, 'Henry Reed's essay contains some valuable remarks on the dangers of group literature.'


Henry Reed was for many years a member of the Savile Club, Mayfair, London, where he spent much of his idle time drinking, playing bridge, drinking, and occasionally dining with friends (or the occasional boyfriend). Reed was probably introduced to the Savile by one of his more-established peers — Walter Allen or Louis MacNeice — but the attraction of the Savile surely resided in the fact that it had been the club of Reed's hero, Thomas Hardy.

A history of the club by Garrett Anderson, Hang Your Halo in the Hall: The Savile Club from 1868 (London: Savile Club, 1993), contains a section devoted to poets who were members of the club. Anderson relates a delightful anecdote concerning Reed having to appear in court to explain his inability to pay his council tax:
For his eightieth birthday in 1989 the Savile organized one of its more Lucullan Soirées to celebrate Sir Stephen's [Spender] years of membership and, as Patric Dickinson observed on the other occasion, nobody stopped talking for long. It is a pity that one of Spender's old friends, one of the more brilliant talkers in recent times, another Savile poet, Henry Reed, could not have been present.

Like several of his lyrical colleagues at the Savile, Henry brought translations of his classical predecessors as well as his own distinctive verse to a wider public through the medium of radio, and like Spender and Pudney he had been much influenced in his youth by Auden; like Pudney too he had served in Intelligence during the war and had produced one of the most famous poems in English to come out of it — "Naming of Parts". In 1946 his fellow Savilian Edward Sackville-West persuaded him to write a dramatization for radio of Moby Dick which was produced a year later featuring two other Savile members, Ralph Richardson and Bernard Miles. It won the Premio della Radio Italiana and established Henry with the critics as a radio dramatist with a rare poetic gift.

In 1970 a collection of his poems, The Lessons of War, was published to wide acclaim and in 1971 the texts of his poetic dramas for radio were published as The Streets of Pompeii. A Very Great Man and its sequels Hilda Tablet and Others also appeared, between them revealing much of the man himself, a master of comedy with a deeply sombre interior. In manner and appearance he resembled a classically educated Tony Hancock, presenting a lugubrious exterior from which emanated surprising flashes of wit. Many contemporary members will retain happy memories of evenings spent in his company. On one occasion when he was suffering one of his regular bouts of financial starvation he regaled the long table with an account of his appearance that morning before the magistrates to explain his inability to pay the rates: "And what, Mr Reed, is your profession?" asked the magistrate. Diffidently, Henry admitted that he was a poet. "Yes, yes," said the magistrate testily, "but what do you do for a living?"
It should be pointed out that it was Reed's The Streets of Pompeii (1952) which won the Radio Italiana prize, for 1953.

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1504. Ludwig, Jennifer. "Lessons of the War: Henry Reed." In vol. 2, Literature of War: Experiences, edited by Thomas Riggs. Detroit, MI: St. James Press, 2012. 359-361.
A relatively lengthy assessment of Reed's influences, position, and the impact resulting from his famous sequence of poems, Lessons of the War.


An antipodean appearance of Henry Reed, in the Wellington, New Zealand literary magazine Arena (Noel Farr Hoggard, ed.), from March, 1958, where Roy MacGregor-Hastie wrote a contentious, four-part series of articles on the state of poetry, titled "The Poet in His Workshop."

Arena cover

MacGregor-Hastie first mentions Reed in Part 2 of his series, "The Vertical Men" (from the Auden poem, "Let us honour if we can / The vertical man, / Though we value none / But the horizontal one"):
There is little of the morbid, though a great deal of the introspective in the writing of Henry Reed, who I should have liked to have included in this article as a vertical man. However, he is at an angle of ninety degrees to himself, so I shall leave him for the Miscellaneous section of this series, and deal with Alexander Tvardovsky, a contemporary Soviet poet.
Arena, no. 46 (March 1957): 18.
The promised Reed finally arrives in Part 4, "The Great Unclassified," where MacGregor-Hastie places Reed in a European miscellany, after Alfredo Panzini, Giuseppe Ungaretti, and Joaquín de Entrambasaguas (I can only guess: MacGregor-Hastie has written "Juan de Estrembasagua"), but only after thoroughly bashing the old guard—Auden, Eliot, Stephen Spender, and C. Day-Lewis—for their complacency and selling-out:
In England the work of any poet who is unfortunate enough to be under thirty is ignored completely, anyway by the larger publishers; if in the nineteenth century poets had to be both famous and dead before they were owned by their families, in the twentieth century, after the pre-war flood of slim volumes of garnered fancies, publication of verse has dried up. Only the little magazines can guarantee to the dedicated poet any frequency of publication, and their solvency is not always as great as one would wish; the Listener, the New Statesman and Nation, the Times Literary Supplement—these are the major media now and only publish the sort of verse you would expect....

There is probably only one man who remains cheerful through it all and unperturbed by the commercialism and disinterest he finds in the world of the Arts. His name is Henry Reed and he is sui generis, unclassified and unclassifiable. He published a collection of poems in 1946 called the 'Map of Verona', which established him in English Literature as perhaps the only living poet who could have written Lawrence's 'Innocent England' and write more; he published in this collection a series of poems about the war itself and the duality of experience of the sensitive soldier, his preoccupation more with the trivial detail of Army life than with the consequences to some other person's family of his firing the rifle—he is at such pains to be clean in the regulation way. In one of these poems, 'Naming of Parts' he shows his extreme sensitivity and ability to approach the emotional through the every day experiences of the world of trivia. He is being taught the names of the parts of his rifle, and the beauty of his surroundings intrudes into the lesson:
. . . . rapidly backwards and forwards
the early bees are assaulting the flowers;
They call it easing the Spring.

They call it easing the Spring: it is perfectly easy
if you have any strength in your thumb:
like the bolt and the breech and the cocking piece, and the point of balance,
which in our case we have not got; and the almond blossom
silent in all of the gardens, and the bees going backwards and forwards
For today we have naming of parts.
And that is my epilogue. The most valid commentary on this our civilisation so-called, which tries to live without the Arts, which are its flowers—
the point of balance
which in our case we have not got.
Arena, no. 48 (March 1958): 12-13.
MacGregor-Hastie's respect and appreciation for Reed is laudable, if a bit idealized: Reed, even as early as the late 1950s, was hardly remaining 'cheerful' and 'unperturbed', and he probably would have taken more than some offense at the author's rough-handling of his friends, Spender and Day-Lewis—not to mention his idols and authorities, Auden and Eliot.



1503. King, Francis. Yesterday Came Suddenly: An Autobiography. London: Constable, 1993. 79-80.
Mentions Henry Reed and Angus Wilson making fun of the Bletchley Park Writers' Circle.


Online since October 2014, the BBC Genome project contains the text of program listings in the Radio Times from 1923 through 2009.

BBC Genome

The search function at the top of the page allows keyword (and advanced) searching, as well as browsing by service, year, and issues in pull-down menus.

The search result for "Henry Reed" yields 1,013 results (many belonging to a popular band leader of the same name), but setting limits in the advanced options for "Radio only" brings us to Reed's possible first billing, for "New Poems" on August 3, 1944: 'The ninth of a monthly selection of very recent or unpublished poems : "The Jungle," by Alun Lewis , and "Philoctetes," by Henry Reed.'

The listings are OCR text which contain many errors, and there are no images from the original magazines — but the project does allow users to submit corrections (or notice of changes to the original schedule).

Read about the BBC's Genome at the About the BBC blog.

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1502. Reed, Henry. Poetry Reading. The Poet Speaks. British Council recording, no. 1636. 12 March 1970. Co-sponsored by the British Council and the Woodberry Poetry Room in the Lamont Library of Harvard University. TAPE ARCHIVE PR6035.E32 A6 1970x, Woodberry Poetry Room, Houghton Library, Harvard University.
Henry Reed reads a selection of his poems for the British Council series, The Poet Speaks.



1st lesson:

Reed, Henry (1914-1986). Born: Birmingham, England, 22 February 1914; died: London, 8 December 1986.

Education: MA, University of Birmingham, 1936. Served: RAOC, 1941-42; Foreign Office, Bletchley Park, 1942-1945. Freelance writer: BBC Features Department, 1945-1980.

Author of: A Map of Verona: Poems (1946)
The Novel Since 1939 (1946)
Moby Dick: A Play for Radio from Herman Melville's Novel (1947)
Lessons of the War (1970)
Hilda Tablet and Others: Four Pieces for Radio (1971)
The Streets of Pompeii and Other Plays for Radio (1971)
Collected Poems (1991, 2007)
The Auction Sale (2006)


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