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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«  Generals, Giants, and Conjurers  »

Reeding Lessons: the Henry Reed research blog


Generals, Giants, and Conjurers

In 1930, at the beginning of his professional career, Louis MacNeice took a post as an Assistant Lecturer in Greek at the University of Birmingham. Despite finding it difficult to adjust to life in Birmingham after coming up at Oxford, and discovering that work and married life were somewhat at odds with his creativity, during this time MacNeice managed to publish his first novel and his second collection of poetry.

According to Alec Reid in Time Was Away: The World of Louis MacNeice (Google Book Search), in 1934 MacNeice had written to his friend Anthony Blunt that he was working on no fewer than five projects for publication: '1 Poems; 2 Novel; 3 Play; 4 Latin Humour; 5 Analytic Autobiography' ("MacNeice in the Theatre," p. 73).

It's the play that MacNeice was working on during this time that is of interest, here. Reid elaborates:

According to William T. McKinnon, the play MacNeice hoped to see published in 1934-5 is 'presumably' Station Bell. It had given him [MacNeice] a great deal of trouble and was still unfinished by 8 June 1934. A note, probably in MacNeice's writing, attached to an imperfect copy of the play in the Library of the University of Texas at Austin reads 'completed c. 1935, performed by the Birmingham University Dramatic Society c. 1936.' Making all allowances for textual imperfections, Station Bell is a strange work. Written in an obviously 'Irish' idiom and set in Dublin in the near future, it centres on the seizure of political power by a female 'nationalist' dictator, Julia Brown, and on her unsatisfactory marriage to a tired but essentially humane and balanced academic. The other principal characters are a shabby military leader, a testy capitalist complete with saxophone, and a mad clergyman who is dispensing drink in a station bar in Act I and eloping for America with Julia in Act III. In between there is a very funny scene in which Julia and the General recruit a Propaganda Corps to represent the brave new Ireland. This includes a negro Celt who can dance an Irish jig, a mannequin complete with toy dog representing an ancient Irish wolf-hound, a conjurer, Séamus Stein, who materializes glasses of Guinness out of thin air, an epileptic drummer, and two Carnival giants.

The Birmingham production, with a cast including Walter Allen, R.D. Smith, and Henry Reed, seems to have been a somewhat hasty affair (p. 74).

(Presumably, Reid is referring to McKinnon's book, Apollo's Blended Dream: A Study of the Poetry of Louis MacNeice [OCLC WorldCat]. I'll have to check that out.)

So, here we have four friends who would go on to become powerhouses of the 'thirties and 'forties, putting on a play together at university: MacNeice, Walter Allen, Reggie Smith, and Henry Reed. I can't help wondering, reading the description of the play (which was never published or performed professionally), what were their respective roles? Did Reed play the 'mad clergyman'? The conjurer? The corrupt general? The answer is probably buried in the annals of the University of Birmingham's student magazine, The Mermaid. Reid quotes a March, 1937 review of the university production:

Mr. MacNeice is fairness itself. And since his frankness is both flattering and amusing, we had an evening of high jinks with the Dublin dictatress, giants and generals. The play has slapstick, satire and moments of real tension. I could not tell how much the failure to knit together as a whole was due to the hasty charade-like production and how much was due to the author's liking for action on various planes and his tendency to do too many things at once. In retrospect it is possible to appreciate the device reconciling the dictatress and her husband against the background of fumbling giants; in the theatre it can only be fidgety (p. 75).

There is also a handwritten fragment of the Station Bell in MacNeice's papers at the Berg Collection of English and American Literature at the New York Public Library, and I see only one other reference to the play being produced: at Manchester University by the amateur "Unnamed Society" in 1937.

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Notation for "Generals, Giants, and Conjurers":
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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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