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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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Contact:
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Reeding:
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The Savage Detectives: In 1970s Mexico City, two young poets start a militant literary movement, the Visceral Realists.
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The Last Picture Show: The poolhall, all-night cafe, parked cars, and picture show in a one-stoplight town in Texas.
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The Terror: A tale of the Franklin expedition, lost trying to find the Northwest Passage.
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Elsewhere:
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All posts for "ChardWhitlow"
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5.7.2008
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Dr. William Turner Levy, who died this past January, was an author, professor, and an ordained Episcopal priest ( LA Times obituary), who called among his friends First Lady Eleanor Roosevelt, the director Frank Capra, and T.S. Eliot. Levy chronicled his friendship with the poet in Affectionately, T.S. Eliot, The Story of a Friendship: 1947-1965 (.pdf).
T.S. Eliot, Pencil and Chalk Drawing from life,
by his sister-in-law Theresa G. Eliot, 1955.
A strange convergence took place on Sunday, April 27, 1958, when Eliot was returning from appearing at an exhibition of his first editions and personal papers at the University of Texas at Austin. He and his second wife, Valerie Fletcher, stopped in New York to pay Levy a visit. Eliot arrived wearing a ten-gallon hat, having been made an honorary sheriff (I'm not making this up). After attending church with Levy's parents, the group retired to Levy's study for a martini brunch. Levy proudly showed off some books and papers he had purchased:
I next showed Tom another new acquisition, two pages in Dylan Thomas's handwriting, from a notebook which he had used during his poetry readings. The pages contained the poem " Chard Witlow" [ sic] by Henry Reed, a facetious take-off on Tom's " Burnt Norton." Tom gave it a close scrutiny, and remarked, "You know, I've been chairman of the British group that has been raising funds for Dylan Thomas's family. Caitlin, his wife, asked me to—a very sad business." Thomas's death in New York had left his family almost penniless.
Tom removed his fountain pen from inside his breast pocket and wrote on the bottom of the second of the two pages. When he finished, he handed it to my parents, who read it and passed it to Valerie. When it reached my hands, Tom said, "You know, William, this is the only piece of paper in existence that has both Dylan's writing on it and mine."
I read what he had written: "Not bad. But I think I could write a better parody myself. T.S. Eliot, 27.iv.58."
Somewhere, out there in the world, in a drawer or filed away in some box, is a page from Dylan Thomas' notebooks, with a wry, handwritten note by T.S. Eliot. Not to mention the possibility of photographs of T.S. Eliot in a cowboy hat.
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1331. Palmer, Herbert. "English Poetry: 1938-1950—I." Fortnightly 1017 N.S. (September 1951): 624-628 [627].
Reed is included in the roll of poets who 'made their first appearance, or chief appearance, after 1937....'
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Last September, I complained of not being able to find the source of an oft-quoted comment by T.S. Eliot, who remarked that Reed's poem, " Chard Whitlow," was the only parody deserving of its success. Realizing that I have been less than devoted to updating here, and that I have been stockpiling items worthy of posting, let us begin at the top of the pile: Dwight Macdonald's (Wikipedia) Parodies: An Anthology from Chaucer to Beerbohm—and After (WorldCat).
Here, it seems, is the original source (.pdf) of Eliot's comment:
This famous parody was originally an entry in a New Statesman contest. 'Most parodies of one's own work strike one as very poor,' Mr. Eliot writes. 'In fact one is apt to think one could parody oneself much better. (As a matter of fact some critics have said that I have done so.) But there is one which deserves the success it has had, Henry Reed's Chard Whitlow.' Broadness is the sin of most Eliot parodies; Mr. Reed's alone seems to me to escape it. The one following, by 'Myra Buttle,' who is a Cambridge don, does not. I have included it because it is funny and because I thought some sample of The Sweeniad should be given.
(I apologize for the lousy scan from Parodies. I need to report that misbehaving copier to the library staff.)
Alas, Mr. Macdonald does not credit or cite the source of his 'Mr. Eliot writes'. As an editor of The Partisan Review, he did have reason to correspond with Eliot, and letters from Eliot in Macdonald's papers do appear from the right time period: 1959-1960 (see the " Guide to the Dwight Macdonald Papers," 230 page .pdf, from the Manuscripts and Archives department at Yale University Library).
Macdonald is careful to include permissions for using other quoted material in his text, but none is provided for Eliot. Did he write Eliot and ask the poet's opinion of his parodists? Is Eliot's letter residing in some box at Yale?
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1330. Pritchett, V.S., ed. Turnstile One: A Literary Miscellany from the New Statesman and Nation. London: Turnstile Press, 1948. 144.
Collects "Naming of Parts," originally published in the New Statesman and Nation in August, 1942.
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"Weird" Al Yankovic has an excellent song, "Bob," which is not simply a parody of Bob Dylan's "Subterranean Homesick Blues," but also an intelligent exercise in palindromes. The music video (YouTube) for "Bob" is a faithful re-creation of the opening sequence to the 1967 Dylan documentary by D.A. Pennebaker, Don't Look Back.
All this reminded me of a promotional gizmo which came out for the release of the Dylan retrospective on CD last year, which we will now use for our own purposes to summarize Henry Reed's poem, " Chard Whitlow," in ten cue cards or less:
"Chard Whitlow" is itself a parody of T.S. Eliot's Four Quartets, so the circle of life and satire is now complete.
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1329. Sinclair, Andrew. Dylan the Bard: A Life of Dylan Thomas. New York: St. Martin's Press, 1999. 140.
Mentions Rayner Heppenstall bringing Reed and other writers to the Stag's Head pub.
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The Rt Hon. Kenneth Baker, in his excellent anthology Unauthorized Versions: Poems and Their Parodies (OCLC WorldCat), assiduously includes this explanatory note with Henry Reed's famous send-up of Eliot's Four Quartets:
This parody by a poet celebrated in his own right won a competition in the New Statesman. Eliot himself commented: 'In fact one is apt to think one could parody oneself much better. (As a matter of fact some critics have said that I have done so.) But there is one which deserves the success it has had, Henry Reed's "Chard Whitlow".' There is no single poem to put beside Reed's parody, which cleverly manages to summon echoes from almost all Eliot's work, but a few examples are given here.
Lord Baker places "Chard Whitlow" side-by-side with lines from Eliot's "Little Gidding," "Gerontion," "Ash Wednesday," and "Choruses from 'The Rock'."
It seems unlikely (if not impossible) that Reed was parodying "Little Gidding," since that poem was written in 1942, after the publication of " Chard Whitlow" (.pdf). It's more likely Reed had in mind the earlier verse of Eliot's Four Quartets, such as "Burnt Norton" (1935). The possibility exists, therefore, that Reed's poem actually influenced Eliot's. Stephen Spender, however, in his book T.S. Eliot (New York: Viking, 1975), says that Eliot, in fact, 'relished' the parody, but that he was not seeking to 'emulate' it (p. 177).
Regardless of who influenced whom, the real mystery is the source of Eliot's admiration of "Chard Whitlow," quoted above. Baker's anthology includes acknowledgments for the poems he has compiled, but I'm fairly certain there is no attribution for Eliot's words, and no footnotes accompany the explanatory notes. Does anyone have a copy they can double-check for me?
The quote appears in numerous places on the web (including Robert Pinsky's article for Slate magazine), but always lifted from Baker's anthology, it would seem.
Where did Baker take Eliot's quote from? What is the original source?
Incidentally, for his winning poem in the New Statesman's parody contest, Reed was awarded "the usual prize" of two Guineas (42 shillings).
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1328. Times (London). "Broadcasting." 26 October 1946, 6.
Reed's talk on the poetry of Edith Sitwell is scheduled this evening on the Third Programme's "The Poet and His Critic."
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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, GC&CS, 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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