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."

Henry Reed Henry Reed
Henry Reed Henry Reed
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.




Weblogs, etc.

All posts for "Ewart"

Reeding Lessons: the Henry Reed research blog


Footnote to Who's Who

Let us take note of this footnote to a Gavin Ewart poem. Ewart (1916-1995) is known around these parts for his frequent comparison to Reed — Ewart's contemporary — particularly for his Second World War poem, "The Bofors A.A. Gun."

In Ewart's Collected Poems: 1980-1990, we find the following piece of light verse (Google Book Search snippet view):

The Beginning of an Ode on Who's Who
I'm terribly excited—
I have been invited
to join that great bunch of nonentities
who have the inflated identities,
such as Lord Leatherhead and Viscount Foxford
(who knew all the right—or were they the wrong?—
people at Oxford),

metallurgists, musicians,
phenomenologists, physicians
(and almost anyone in Debrett is
sure to be in with the celebrities—
but it's not so common for the neglected scribbler
to get into this exclusive club before he's senile
or a dribbler);

though there you might someday find it,
when you were halt, lame and blinded,
your name—is it really a good dropping one?
Though once one's in there's no stopping one,
one can drawl, like MacBeth, 'Oh course I'm in Who's Who now,'
one's poetic specific gravity is certainly multiplied
by more than two now!

I'll be there with the great ones,
the truly honoured-by-the-State ones,
in that Never-Never-Land fathers
never reached (though both my grandfathers),
with conservative academics, donnish and prudish;
among the old women of both sexes my name may seem
a tiny bit rudish?

But the military, the Naval, the flying
(who don't mind people dying),
the Earls and the epistemologists,
the dentists, divines and Catholic apologists,
those who in stately homes discuss a cru or a crumpet,
though they won't like it at all, I'm sure, will just
have to lump it!
[pp. 118-119]
And the MacBeth footnote? (The Scottish poet, not the play.) I've pieced it back together, in toto:


I am particularly fond of the sequence "Pinter Pitter Porter," which I think transforms the footnote into a sort of list poem, and makes it an integral part of Ewart's ode.

Reed seems to have become equally disenchanted with his appearance in Who's Who: he was first added to the rolls as early as 1952, but his 1977 entry contains his personal revisions to his bio and publications.

«  Ewart Poetry  0  »

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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