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

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Henry Reed, ca. 1960



I Capture the Castle: A girl and her family struggle to make ends meet in an old English castle.
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.




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«  Bridie Pipes Up  »

Reeding Lessons: the Henry Reed research blog


Bridie Pipes Up

Henry Reed was the radio critic for the New Statesman and Nation for five months, writing the "Radio Notes" column for the Arts and Entertainment section. Between October, 1947, and February, 1948, Reed's byline appears after seventeen reviews of various music programs, interviews, debates, speeches, and plays.

One such review resulted in a letter to the editor from none other than James Bridie, the Scottish playwright and screenwriter. Among his many film credits, Bridie worked on the scripts for no fewer than three films with Alfred Hitchcock, including The Paradine Case, in 1947.

In his January 31, 1948 "Radio Notes" column, Reed comments on an adaptation of The Bronze Horse, recorded previously and broadcast on Friday, January 16, on the BBC Third Programme:

Dull, verbose and platitudinous as a play, Mr. James Law Forsyth's Bronze Horse was given a production of unparalleled variety and magnificence by M. Michel St. Denis. It set a new standard for radio, and one hopes resident producers will not ignore it, for it suggested space and perspective in a way one had thought impossible on the air. The actors responded to the detailed drilling, and seemed to have overcome that boredom which usually sets in among them if a play is rehearsed for more than a day and a half. Mr. Ralph Truman and Mr. Paul Scofield were outstanding; I hope we may hear more of Mr. Scofield than we have hitherto.

Here is Mr. Bridie's letter to the editor, from the January 31 New Statesman (p. 96):

Sir, the only reply to flat, bumptious assertion is flat, bumptious assertion. I therefore assert that Mr. Forsyth's play The Bronze Horse is not dull, flat and platitudinous and that Mr. Henry Reed must be a very stupid fellow.

Bridie obviously held Forsyth in high regard, as a playwright and a fellow Scot. Reed apparently declined to respond. As luck would have it, Bridie's letter appeared on the same day as a letter from Mr. Hans Redlich, to whom Reed did reply.

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Notation for "Bridie Pipes Up":
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What is Henry Reed's first name?

1537. Radio Times, "Full Frontal Pioneer," Radio Times People, 20 April 1972, 5.
A brief article before a new production of Reed's translation of Montherlant, mentioning a possible second collection of poems.

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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