Criticism, Analysis, and Interpretation for the Poet Henry Reed

Harold Branam's entry for Reed includes a biography, analysis of the central works, and a brief bibliography.

In her review of the American edition of Reed's first volume of poems, Karsell says 'each line in the collection has been cut and finished with precision. One believes that no other form or words could have been used.'

The American poet and critic Randall Jarrell's curt review of A Map of Verona and Other Poems, in which he compares Reed to 'a nap after dinner.'

Phillips reviews the new, paperback release of Reed's Collected Poems. External link.

A glowing 1948 review by John Berryman of A Map of Verona and Other Poems.

Time & Tide:

Walter Allen's early review of A Map of Verona was quoted for the dust jacket blurb: 'No better first book of poetry has appeared for many years....'

"The Auction Sale"

Poet Jon Stallworthy's critical and biographical introduction to the Collected Poems.

Douglas Cleverdon's biographical note, focusing on Reed's radio drama, with a brief bibliography.

The Dictionary of National Biography:

A biography of Reed by poet Jon Stallworthy, with comments on the poems, radio plays, and translations.

Jenkins feels that Reed's best poetry displays 'a special feeling for romantic potentiality, the moment before something tremendous happens or after it has receded.'

Lomas found Reed's poetry boring in 1946, and he finds little more redeeming about it in 1992: 'Reed is simply not interesting enough linguistically.'

Frank Kermode's evaluation of the Collected Poems, with personal reminiscences of Reed in London and Seattle.

A brief biography outlining Reed's radio plays, poetry, and translations.

Thorpe asserts that Reed's Lessons of the War sequence 'deserves far greater recognition.'

In his 1992 review of the Collected Poems, David Pascoe finds "The Auction Sale" to be Reed's best, and his translations are to be admired, but feels that Eliot will always be Reed's 'R.S.M.'

PN Review:

This 1992 review of the Collected Poems portrays Reed as an anachronism whose later work could never compare to his 'outstanding' earlier poems.

Pybus believes Reed's poems are 'worth saving for his distinctive note of exclusion from and loss of love, paradise, fulfilment.'

Of several contemporaries of Thomas and Auden, the author considers Reed to be the 'most considerable.'

Brownjohn feels Reed's 'shorter lyric pieces... [are] coherent and approachable, carefully shaped, both tender and sinister in mood.'

A 1991 review by Julian Symons of Reed's Collected Poems, with some biographical background.

"The Blissful Land"

Jenkins feels that Reed's best poetry displays 'a special feeling for romantic potentiality, the moment before something tremendous happens or after it has receded.'

Frank Kermode's evaluation of the Collected Poems, with personal reminiscences of Reed in London and Seattle.

A 1991 review by Julian Symons of Reed's Collected Poems, with some biographical background.

"Bocca di Magra"

Poet Jon Stallworthy's critical and biographical introduction to the Collected Poems.

Jenkins feels that Reed's best poetry displays 'a special feeling for romantic potentiality, the moment before something tremendous happens or after it has receded.'

"The Builders"

Critic William Arrowsmith proclaims Reed 'professional, original, and articulate' in this review of the American edition of A Map of Verona.

Our Time:

Randall Swingler describes Reed as being in regions 'where our maps are useless and the compass variation is enormous.'

"The Changeling"

Poet Jon Stallworthy's critical and biographical introduction to the Collected Poems.

Lomas found Reed's poetry boring in 1946, and he finds little more redeeming about it in 1992: 'Reed is simply not interesting enough linguistically.'

Frank Kermode's evaluation of the Collected Poems, with personal reminiscences of Reed in London and Seattle.

Thorpe asserts that Reed's Lessons of the War sequence 'deserves far greater recognition.'

Pybus believes Reed's poems are 'worth saving for his distinctive note of exclusion from and loss of love, paradise, fulfilment.'

"Chard Whitlow"

Boyd feels that Reed 'can be deliberately ingenuous or rise to a tragic intensity all in the same poem...', and proclaims that 'Everything in this small book is of interest.'

Martin finds Reed's solution to the 'distrust of the large-scale statement, empty rhetoric, and vague romanticism' of the 1930s and 40s, 'unique'.

Louis MacKay believes that Reed 'shows a neat wit and humanity in parodies of army instruction and of T.S. Eliot,' and his monologues 'combine admirably a sustained relevance to their dramatic situation with a broader reference to problems that are perhaps more pressing and more universal now than they have ever been.'

Poet Jon Stallworthy's critical and biographical introduction to the Collected Poems.

Contemporary Authors:

This encyclopedic entry has a short biography of Reed, and a bibliography which includes an extensive list of his radio dramas.

Poet Elizabeth Jennings' analysis of Reed's poetry, with a brief biography and a lengthy bibliography.

Furioso:

Ambrose Gordon, Jr. is stunned by the brilliance of the American edition of A Map of Verona, but seems to have doubts about Reed's originality.

The Guardian (Manchester), Dec. 1986:

Richard Boston's obituary for Reed remembers him as the playwright and the poet.

Jenkins feels that Reed's best poetry displays 'a special feeling for romantic potentiality, the moment before something tremendous happens or after it has receded.'

The Listener's reviewer calls Reed's A Map of Verona 'one of those rare books... which give new heart to dispirited poets.'

Lomas found Reed's poetry boring in 1946, and he finds little more redeeming about it in 1992: 'Reed is simply not interesting enough linguistically.'

Frank Kermode's evaluation of the Collected Poems, with personal reminiscences of Reed in London and Seattle.

A brief biography outlining Reed's radio plays, poetry, and translations.

Wilfrid Mellers compares Geoffrey Grigson and Reed, and finds Grigson to be merely a 'verse-maker', while Reed is a 'poet', in this review from 1946.

G.W. Stonier's review was quoted for the A Map of Verona dust jacket: 'Mr. Henry Reed is a rare poet in more senses than one.'

Phillips reviews the new, paperback release of Reed's Collected Poems. External link.

A short, but admirably thorough biography of Reed, focusing on the Lessons of the War, but also touching on the translations and radio plays.

In his 1992 review of the Collected Poems, David Pascoe finds "The Auction Sale" to be Reed's best, and his translations are to be admired, but feels that Eliot will always be Reed's 'R.S.M.'

A glowing 1948 review by John Berryman of A Map of Verona and Other Poems.

A brief, flattering biographical note by poet and editor Kenneth Allott: "Naming of Parts" and "Judging Distances" are 'among the best and most intelligent poems produced during the war.'

Pybus believes Reed's poems are 'worth saving for his distinctive note of exclusion from and loss of love, paradise, fulfilment.'

The Sewanee Review:

Leonard Unger's 1948 review of Reed's collection, A Map of Verona and Other Poems.

Of several contemporaries of Thomas and Auden, the author considers Reed to be the 'most considerable.'

The Sunday Telegraph, December 1986:

Derwent May, former editor at the Listener, reminisces about Henry Reed, shortly after his death in 1986.

Brownjohn feels Reed's 'shorter lyric pieces... [are] coherent and approachable, carefully shaped, both tender and sinister in mood.'

The Times (London), Dec. 1986:

Reed's obituary, and notice of memorial funeral service.

A 1991 review by Julian Symons of Reed's Collected Poems, with some biographical background.

Voices:

David Lougée's succinct and scathing review of the American edition of A Map of Verona and Other Poems calls Reed's collection a 'serious hoax.'

Biography of Reed, with commentary on his major works and a short bibliography.

"The Chateau"

Lomas found Reed's poetry boring in 1946, and he finds little more redeeming about it in 1992: 'Reed is simply not interesting enough linguistically.'

Frank Kermode's evaluation of the Collected Poems, with personal reminiscences of Reed in London and Seattle.

Thorpe asserts that Reed's Lessons of the War sequence 'deserves far greater recognition.'

PN Review:

This 1992 review of the Collected Poems portrays Reed as an anachronism whose later work could never compare to his 'outstanding' earlier poems.

Brownjohn feels Reed's 'shorter lyric pieces... [are] coherent and approachable, carefully shaped, both tender and sinister in mood.'

"Chrysothemis"

A short review of Reed's first book of poems from Alex Comfort, the author of The Joy of Sex.

The Bell:

Of A Map of Verona, Valentin Iremonger says 'Henry Reed's is one of the most impressive first volumes I have seen for some time.'

A blurb announcing the publication of Reed's A Map of Verona, 'The first book of a distinguished poet and critic.'

Martin finds Reed's solution to the 'distrust of the large-scale statement, empty rhetoric, and vague romanticism' of the 1930s and 40s, 'unique'.

Harold Branam's entry for Reed includes a biography, analysis of the central works, and a brief bibliography.

Reed's A Map of Verona is mentioned in a survey of the previous five years of English poetry.

Furioso:

Ambrose Gordon, Jr. is stunned by the brilliance of the American edition of A Map of Verona, but seems to have doubts about Reed's originality.

John Lehmann considers Reed's poems, and reflects on their early correspondence.

The American poet and critic Randall Jarrell's curt review of A Map of Verona and Other Poems, in which he compares Reed to 'a nap after dinner.'

Vita Sackville-West speaks admirably of Reed's poetry, and was personally 'taken with the poem called "Lives," which seemed to express so admirably Mr. Reed's sense of the elusiveness as well as the continuity of life.'

A glowing 1948 review by John Berryman of A Map of Verona and Other Poems.

William Elton's short review of A Map of Verona and Other Poems, comparing Reed with T.S. Eliot.

Simon reviews the American edition of A Map of Verona and Other Poems, and finds 'Reed's purpose is to suggest more than to describe.'

Scrutiny:

A 1946 review of Reed's first book, A Map of Verona, by G.D. Klingopulos.

Of several contemporaries of Thomas and Auden, the author considers Reed to be the 'most considerable.'

Time & Tide:

Walter Allen's early review of A Map of Verona was quoted for the dust jacket blurb: 'No better first book of poetry has appeared for many years....'

The Times Literary Supplement, May 1946:

Uncredited early review of A Map of Verona, calls Reed a '[master] of many moods.'

"De Arte Poetica"

In his 1992 review of the Collected Poems, David Pascoe finds "The Auction Sale" to be Reed's best, and his translations are to be admired, but feels that Eliot will always be Reed's 'R.S.M.'

"The Door and the Window"

Commonweal:

A brief book review by Henry Rago of the American edition of A Map of Verona.

Poet Elizabeth Jennings' analysis of Reed's poetry, with a brief biography and a lengthy bibliography.

Wilfrid Mellers compares Geoffrey Grigson and Reed, and finds Grigson to be merely a 'verse-maker', while Reed is a 'poet', in this review from 1946.

Phillips reviews the new, paperback release of Reed's Collected Poems. External link.

Poetry Since 1939:

Written before Reed's first collection was published, Spender believes Reed will soon 'take his place with F.T. Prince, Vernon Watkins, and Terence Tiller as one of the really significant younger poets.'

Tomorrow, Oct. 1948:

Although Deutsch feels that Lessons of the War have a 'restrained power,' and some of Reed's poems 'exhibit a melancholy loveliness,' the book as a whole is left wanting.

"Envoy"

Douglas Cleverdon's biographical note, focusing on Reed's radio drama, with a brief bibliography.

Poets and Pretenders:

The anonymous critic finds 'little to praise or blame' in A Map of Verona.

"The Forest"

William Elton's short review of A Map of Verona and Other Poems, comparing Reed with T.S. Eliot.

"Hiding Beneath the Furze"

Wilfrid Mellers compares Geoffrey Grigson and Reed, and finds Grigson to be merely a 'verse-maker', while Reed is a 'poet', in this review from 1946.

PN Review:

This 1992 review of the Collected Poems portrays Reed as an anachronism whose later work could never compare to his 'outstanding' earlier poems.

Biography of Reed, with commentary on his major works and a short bibliography.

"The Interval"

A 1991 review by Julian Symons of Reed's Collected Poems, with some biographical background.

"The Intruder"

Poet Jon Stallworthy's critical and biographical introduction to the Collected Poems.

Thorpe asserts that Reed's Lessons of the War sequence 'deserves far greater recognition.'

A 1991 review by Julian Symons of Reed's Collected Poems, with some biographical background.

"Iseult Blaunchesmains"

Arthuriana:

Roger Simpson contemplates Reed's "Tintagel" poems, concerning the Tristan and Iseult legends.

Boyd feels that Reed 'can be deliberately ingenuous or rise to a tragic intensity all in the same poem...', and proclaims that 'Everything in this small book is of interest.'

Martin finds Reed's solution to the 'distrust of the large-scale statement, empty rhetoric, and vague romanticism' of the 1930s and 40s, 'unique'.

Harold Branam's entry for Reed includes a biography, analysis of the central works, and a brief bibliography.

John Lehmann considers Reed's poems, and reflects on their early correspondence.

A contemporary French language review of Reed's A Map of Verona.

A brief, flattering biographical note by poet and editor Kenneth Allott: "Naming of Parts" and "Judging Distances" are 'among the best and most intelligent poems produced during the war.'

Time & Tide:

Walter Allen's early review of A Map of Verona was quoted for the dust jacket blurb: 'No better first book of poetry has appeared for many years....'

Hodge finds 'dry charm as well as quiet wit' in "Judging Distances," but overall feels Reed is 'diffuse and not sufficiently accomplished.'

"Iseult La Belle"

Arthuriana:

Roger Simpson contemplates Reed's "Tintagel" poems, concerning the Tristan and Iseult legends.

Boyd feels that Reed 'can be deliberately ingenuous or rise to a tragic intensity all in the same poem...', and proclaims that 'Everything in this small book is of interest.'

A blurb announcing the publication of Reed's A Map of Verona, 'The first book of a distinguished poet and critic.'

Martin finds Reed's solution to the 'distrust of the large-scale statement, empty rhetoric, and vague romanticism' of the 1930s and 40s, 'unique'.

Harold Branam's entry for Reed includes a biography, analysis of the central works, and a brief bibliography.

Reed's A Map of Verona is mentioned in a survey of the previous five years of English poetry.

The Expository Times:

Reviews of recent poetry mentions publication of Reed's A Map of Verona, and quotes from his poem, "Iseult la Belle."

Critic William Arrowsmith proclaims Reed 'professional, original, and articulate' in this review of the American edition of A Map of Verona.

John Lehmann considers Reed's poems, and reflects on their early correspondence.

A contemporary French language review of Reed's A Map of Verona.

A brief, flattering biographical note by poet and editor Kenneth Allott: "Naming of Parts" and "Judging Distances" are 'among the best and most intelligent poems produced during the war.'

Scrutiny:

A 1946 review of Reed's first book, A Map of Verona, by G.D. Klingopulos.

Time & Tide:

Walter Allen's early review of A Map of Verona was quoted for the dust jacket blurb: 'No better first book of poetry has appeared for many years....'

Hodge finds 'dry charm as well as quiet wit' in "Judging Distances," but overall feels Reed is 'diffuse and not sufficiently accomplished.'

"Ishmael"

Furioso:

Ambrose Gordon, Jr. is stunned by the brilliance of the American edition of A Map of Verona, but seems to have doubts about Reed's originality.

A brief biography outlining Reed's radio plays, poetry, and translations.

William Elton's short review of A Map of Verona and Other Poems, comparing Reed with T.S. Eliot.

Preface to Moby Dick: A Play for Radio:

Reed's preface to his adaptation of Melville's novel for BBC radio.

Voices:

David Lougée's succinct and scathing review of the American edition of A Map of Verona and Other Poems calls Reed's collection a 'serious hoax.'

"Judging Distances"

A short review of Reed's first book of poems from Alex Comfort, the author of The Joy of Sex.

Against Oblivion:

Reed's chapter from Ian Hamilton's survey of twentieth-century poets, with analysis and biography.

Listen to BBC recordings of Henry Reed and actor Frank Duncan reading "The Complete Lessons of the War."

The Bookman:

Edmund Blunden says Reed's Lessons of the War poems 'have captured something of the time-spirit and ambiguity of the recent war in a style of wit and deep feeling united.'

Martin finds Reed's solution to the 'distrust of the large-scale statement, empty rhetoric, and vague romanticism' of the 1930s and 40s, 'unique'.

Harold Branam's entry for Reed includes a biography, analysis of the central works, and a brief bibliography.

Encounter:

Geoffrey Strickland's review of Reed's 1970 collection, Lessons of the War.

Reed's A Map of Verona is mentioned in a survey of the previous five years of English poetry.

An Exercise in Collaboration:

Collaborative, hypertext, class project on "Judging Distances." External link.

Experience and Poetry:

Rosenthal says Reed shares with Laurie Lee 'that unhappy vice of young intellectuals—a certain blandness of which the ever-simple irony is a symptom.'

The Guardian (Manchester), Dec. 1986:

Richard Boston's obituary for Reed remembers him as the playwright and the poet.

Henry Reed and Existential Temporality:

A student paper relates Reed's poem to Heidegger's theories on the perception of time.

John Lehmann considers Reed's poems, and reflects on their early correspondence.

The Listener's reviewer calls Reed's A Map of Verona 'one of those rare books... which give new heart to dispirited poets.'

Lomas found Reed's poetry boring in 1946, and he finds little more redeeming about it in 1992: 'Reed is simply not interesting enough linguistically.'

G.W. Stonier's review was quoted for the A Map of Verona dust jacket: 'Mr. Henry Reed is a rare poet in more senses than one.'

The New York Times Book Review:

Harvey Breit's 1947 review of A Map of Verona and Other Poems.

Not Without Glory:

Vernon Scannell's commentary on Reed's series of poems, Lessons of the War.

Notes on Contemporary Literature:

An analysis of "Judging Distances," concerning the duality of tone, or voices, in the poem.

A short, but admirably thorough biography of Reed, focusing on the Lessons of the War, but also touching on the translations and radio plays.

In his 1992 review of the Collected Poems, David Pascoe finds "The Auction Sale" to be Reed's best, and his translations are to be admired, but feels that Eliot will always be Reed's 'R.S.M.'

A glowing 1948 review by John Berryman of A Map of Verona and Other Poems.

A brief, flattering biographical note by poet and editor Kenneth Allott: "Naming of Parts" and "Judging Distances" are 'among the best and most intelligent poems produced during the war.'

A Poetry Chronicle:

An excerpt from Ian Hamilton's series of essays on the poetry of the 1940s, regarding Reed's poems "Judging Distances" and "Naming of Parts."

Sound and Sense:

Suggests study questions for "Naming of Parts" and "Judging Distances" to assist in reading and understanding the poems in class.

Brownjohn feels Reed's 'shorter lyric pieces... [are] coherent and approachable, carefully shaped, both tender and sinister in mood.'

Touchstones:

The poet Marvin Bell considers Reed's "Naming of Parts," comparing it with his own experience training and serving in the U.S. Army.

Hodge finds 'dry charm as well as quiet wit' in "Judging Distances," but overall feels Reed is 'diffuse and not sufficiently accomplished.'

Under Siege:

Contains an excellent examination of the 'military/poetic' problem in Reed's "Judging Distances," and "Unarmed Combat."

War Poetry: An Anthology:

Using Reed's poetry as an example of the 'individual's response' to the Second World War, Jones discusses the contrasts, irony, and ambiguities found in the Lessons of the War.

Biography of Reed, with commentary on his major works and a short bibliography.

"King Mark"

Arthuriana:

Roger Simpson contemplates Reed's "Tintagel" poems, concerning the Tristan and Iseult legends.

Boyd feels that Reed 'can be deliberately ingenuous or rise to a tragic intensity all in the same poem...', and proclaims that 'Everything in this small book is of interest.'

Martin finds Reed's solution to the 'distrust of the large-scale statement, empty rhetoric, and vague romanticism' of the 1930s and 40s, 'unique'.

Harold Branam's entry for Reed includes a biography, analysis of the central works, and a brief bibliography.

John Lehmann considers Reed's poems, and reflects on their early correspondence.

Jenkins feels that Reed's best poetry displays 'a special feeling for romantic potentiality, the moment before something tremendous happens or after it has receded.'

A contemporary French language review of Reed's A Map of Verona.

G.W. Stonier's review was quoted for the A Map of Verona dust jacket: 'Mr. Henry Reed is a rare poet in more senses than one.'

A brief, flattering biographical note by poet and editor Kenneth Allott: "Naming of Parts" and "Judging Distances" are 'among the best and most intelligent poems produced during the war.'

Time & Tide:

Walter Allen's early review of A Map of Verona was quoted for the dust jacket blurb: 'No better first book of poetry has appeared for many years....'

"L'Envoi"

Poet Jon Stallworthy's critical and biographical introduction to the Collected Poems.

Frank Kermode's evaluation of the Collected Poems, with personal reminiscences of Reed in London and Seattle.

London Review of Books, Oct. 1991:

A letter to the editor from Ed Leimbacher recalls Reed's days as a visiting professor in Seattle.

"Lives"

Martin finds Reed's solution to the 'distrust of the large-scale statement, empty rhetoric, and vague romanticism' of the 1930s and 40s, 'unique'.

The Listener's reviewer calls Reed's A Map of Verona 'one of those rare books... which give new heart to dispirited poets.'

Voices:

David Lougée's succinct and scathing review of the American edition of A Map of Verona and Other Poems calls Reed's collection a 'serious hoax.'

"A Map of Verona"

A blurb announcing the publication of Reed's A Map of Verona, 'The first book of a distinguished poet and critic.'

Poet Elizabeth Jennings' analysis of Reed's poetry, with a brief biography and a lengthy bibliography.

Harold Branam's entry for Reed includes a biography, analysis of the central works, and a brief bibliography.

Four Poets:

A short review calls A Map of Verona more pretentious than C.C. Abbott's The Sand Castle; influenced by Eliot, Auden, MacNeice, and Day Lewis.

Furioso:

Ambrose Gordon, Jr. is stunned by the brilliance of the American edition of A Map of Verona, but seems to have doubts about Reed's originality.

Halcyon:

Sissman reviews William Jay Smith, Karl Shapiro, Richard Eberhart, Thomas Merton, Henry Reed, and Stephen Spender.

John O'London's Weekly:

Church describes Reed 'as a man of wry, almost sly humour, endowed with a shrewd critical mind that gives his first work a matter-of-factness wholly acceptable to the fastidious reader's palate.'

New Mexico Quarterly Review:

This 1948 review of A Map of Verona and Other Poems compares Reed's poetry with that of his American contemporary, John Berryman.

G.W. Stonier's review was quoted for the A Map of Verona dust jacket: 'Mr. Henry Reed is a rare poet in more senses than one.'

The New York Times Book Review:

Harvey Breit's 1947 review of A Map of Verona and Other Poems.

A short, but admirably thorough biography of Reed, focusing on the Lessons of the War, but also touching on the translations and radio plays.

The Poetry of the Forties:

Two excerpts concerning Reed's poems from A.T. Tolley's book about English poetry of the 1940s.

Poetry Since 1939:

William Elton's short review of A Map of Verona and Other Poems, comparing Reed with T.S. Eliot.

Publishers Weekly:

A note on the publication of the American edition of Reed's A Map of Verona.

Simon reviews the American edition of A Map of Verona and Other Poems, and finds 'Reed's purpose is to suggest more than to describe.'

Scrutiny:

A 1946 review of Reed's first book, A Map of Verona, by G.D. Klingopulos.

The Spectator, August 1946:

Sheila Shannon's brief review of Reed's first volume of poetry, "written by someone with an ear and a self-indulgent appreciation of words and their musical and evocative power."

Voices:

David Lougée's succinct and scathing review of the American edition of A Map of Verona and Other Poems calls Reed's collection a 'serious hoax.'

"Morning"

Critic William Arrowsmith proclaims Reed 'professional, original, and articulate' in this review of the American edition of A Map of Verona.

William Elton's short review of A Map of Verona and Other Poems, comparing Reed with T.S. Eliot.

Simon reviews the American edition of A Map of Verona and Other Poems, and finds 'Reed's purpose is to suggest more than to describe.'

"Movement of Bodies"

Listen to BBC recordings of Henry Reed and actor Frank Duncan reading "The Complete Lessons of the War."

Douglas Cleverdon's biographical note, focusing on Reed's radio drama, with a brief bibliography.

Encounter:

Geoffrey Strickland's review of Reed's 1970 collection, Lessons of the War.

A short, but admirably thorough biography of Reed, focusing on the Lessons of the War, but also touching on the translations and radio plays.

Touchstones:

The poet Marvin Bell considers Reed's "Naming of Parts," comparing it with his own experience training and serving in the U.S. Army.

"Naming of Parts"

A short review of Reed's first book of poems from Alex Comfort, the author of The Joy of Sex.

Against Oblivion:

Reed's chapter from Ian Hamilton's survey of twentieth-century poets, with analysis and biography.

The Art of Poetry:

Speech and diction in Reed's "Naming of Parts." External link, .pdf file.

Listen to BBC recordings of Henry Reed and actor Frank Duncan reading "The Complete Lessons of the War."

The Bookman:

Edmund Blunden says Reed's Lessons of the War poems 'have captured something of the time-spirit and ambiguity of the recent war in a style of wit and deep feeling united.'

British Poetry of the Second World War:

Mentioned several times in discussing British poetry of World War II, Shires looks at "Naming of Parts" at some length.

Martin finds Reed's solution to the 'distrust of the large-scale statement, empty rhetoric, and vague romanticism' of the 1930s and 40s, 'unique'.

British Writers:

Discusses Reed's contribution to the poetry of the Second World War.

Poet Jon Stallworthy's critical and biographical introduction to the Collected Poems.

Poet Elizabeth Jennings' analysis of Reed's poetry, with a brief biography and a lengthy bibliography.

Harold Branam's entry for Reed includes a biography, analysis of the central works, and a brief bibliography.

Dead White Males:

Contains a podcast on the use of tone in poetry, and the difficulties inherent in interpreting Reed's "Naming of Parts." External link, contains .mp3 file.

Douglas Cleverdon's biographical note, focusing on Reed's radio drama, with a brief bibliography.

The Dictionary of National Biography:

A biography of Reed by poet Jon Stallworthy, with comments on the poems, radio plays, and translations.

Encounter:

Geoffrey Strickland's review of Reed's 1970 collection, Lessons of the War.

Exploring the Language of Poems, Plays, and Prose:

Reed's A Map of Verona is mentioned in a survey of the previous five years of English poetry.

The Explicator:

Richard Condon's summary and critical analysis of Reed's poem, "Naming of Parts."

Examines the linguistic qualities and style variation in Reed's "Naming of Parts."

Functions of Style:

Visual semiotician Michael O'Toole analyzes "Naming of Parts" within a systemic-functional framework.

The Guardian (Manchester), Dec. 1986:

Richard Boston's obituary for Reed remembers him as the playwright and the poet.

The Guardian (Manchester), Nov. 1971:

An excellent interview with Reed, for a retrospective of the Hilda Tablet series of radio plays.

John Lehmann considers Reed's poems, and reflects on their early correspondence.

The Imagery of Genesis:

A student paper considers Eden imagery in Reed's most famous poem. External link, archived copy.

Jenkins feels that Reed's best poetry displays 'a special feeling for romantic potentiality, the moment before something tremendous happens or after it has receded.'

Kirkus Reviews:

Kirkus reviews A Map of Verona, contrasting Reed against Richard Wilbur.

The Listener's reviewer calls Reed's A Map of Verona 'one of those rare books... which give new heart to dispirited poets.'

Lomas found Reed's poetry boring in 1946, and he finds little more redeeming about it in 1992: 'Reed is simply not interesting enough linguistically.'

Masterplots II:

A detailed explication of Reed's most famous poem by Major Edward F. Palm, USMC (Ret.), including comments on the poetic forms and devices used, and interpretation of themes and meanings.

A brief biography outlining Reed's radio plays, poetry, and translations.

Modern Poetry in the Classroom:

Analysis, study questions, and lesson plans for teaching Reed's poem "Naming of Parts" in class.

Naming of Parts (Film):

Short film adaptation of Henry Reed's poem, showing scenes of young trainees receiving instruction in rifle assembly, and contrasting scenes of the life-affirming beauty of blossoms, branches, and bees.

G.W. Stonier's review was quoted for the A Map of Verona dust jacket: 'Mr. Henry Reed is a rare poet in more senses than one.'

The New York Times Book Review:

Harvey Breit's 1947 review of A Map of Verona and Other Poems.

The New Yorker:

Reed's 'ironic "Naming of Parts"... is one of the few memorable pieces of verse produced during the war years.'

Not Without Glory:

Vernon Scannell's commentary on Reed's series of poems, Lessons of the War.

Thorpe asserts that Reed's Lessons of the War sequence 'deserves far greater recognition.'

A short, but admirably thorough biography of Reed, focusing on the Lessons of the War, but also touching on the translations and radio plays.

In his 1992 review of the Collected Poems, David Pascoe finds "The Auction Sale" to be Reed's best, and his translations are to be admired, but feels that Eliot will always be Reed's 'R.S.M.'

A glowing 1948 review by John Berryman of A Map of Verona and Other Poems.

A brief, flattering biographical note by poet and editor Kenneth Allott: "Naming of Parts" and "Judging Distances" are 'among the best and most intelligent poems produced during the war.'

Piling Swivel FAQ:

Essay on the lowly and peculiar piling swivel, featured in Reed's "Naming of Parts."

PN Review:

This 1992 review of the Collected Poems portrays Reed as an anachronism whose later work could never compare to his 'outstanding' earlier poems.

A Poetry Chronicle:

An excerpt from Ian Hamilton's series of essays on the poetry of the 1940s, regarding Reed's poems "Judging Distances" and "Naming of Parts."

Pybus believes Reed's poems are 'worth saving for his distinctive note of exclusion from and loss of love, paradise, fulfilment.'

The Poetry of the Forties:

Two excerpts concerning Reed's poems from A.T. Tolley's book about English poetry of the 1940s.

Poetry Since 1939:

Publishers Weekly:

A note on the publication of the American edition of Reed's A Map of Verona.

Scrutiny:

A 1946 review of Reed's first book, A Map of Verona, by G.D. Klingopulos.

Of several contemporaries of Thomas and Auden, the author considers Reed to be the 'most considerable.'

Sound and Sense:

Suggests study questions for "Naming of Parts" and "Judging Distances" to assist in reading and understanding the poems in class.

The Sunday Telegraph, December 1986:

Derwent May, former editor at the Listener, reminisces about Henry Reed, shortly after his death in 1986.

Brownjohn feels Reed's 'shorter lyric pieces... [are] coherent and approachable, carefully shaped, both tender and sinister in mood.'

Time & Tide:

Walter Allen's early review of A Map of Verona was quoted for the dust jacket blurb: 'No better first book of poetry has appeared for many years....'

The Times (London), Dec. 1986:

Reed's obituary, and notice of memorial funeral service.

Tomorrow, Oct. 1948:

Although Deutsch feels that Lessons of the War have a 'restrained power,' and some of Reed's poems 'exhibit a melancholy loveliness,' the book as a whole is left wanting.

Touchstones:

The poet Marvin Bell considers Reed's "Naming of Parts," comparing it with his own experience training and serving in the U.S. Army.

Under Siege:

Contains an excellent examination of the 'military/poetic' problem in Reed's "Judging Distances," and "Unarmed Combat."

Voices:

David Lougée's succinct and scathing review of the American edition of A Map of Verona and Other Poems calls Reed's collection a 'serious hoax.'

War Poetry: An Anthology:

Using Reed's poetry as an example of the 'individual's response' to the Second World War, Jones discusses the contrasts, irony, and ambiguities found in the Lessons of the War.

Biography of Reed, with commentary on his major works and a short bibliography.

"Outside and In"

Commonweal:

A brief book review by Henry Rago of the American edition of A Map of Verona.

Frank Kermode's evaluation of the Collected Poems, with personal reminiscences of Reed in London and Seattle.

William Elton's short review of A Map of Verona and Other Poems, comparing Reed with T.S. Eliot.

Simon reviews the American edition of A Map of Verona and Other Poems, and finds 'Reed's purpose is to suggest more than to describe.'

Tomorrow, Oct. 1948:

Although Deutsch feels that Lessons of the War have a 'restrained power,' and some of Reed's poems 'exhibit a melancholy loveliness,' the book as a whole is left wanting.

"Philoctetes"

A short review of Reed's first book of poems from Alex Comfort, the author of The Joy of Sex.

The Bell:

Of A Map of Verona, Valentin Iremonger says 'Henry Reed's is one of the most impressive first volumes I have seen for some time.'

The Bookman:

Edmund Blunden says Reed's Lessons of the War poems 'have captured something of the time-spirit and ambiguity of the recent war in a style of wit and deep feeling united.'

Boyd feels that Reed 'can be deliberately ingenuous or rise to a tragic intensity all in the same poem...', and proclaims that 'Everything in this small book is of interest.'

A blurb announcing the publication of Reed's A Map of Verona, 'The first book of a distinguished poet and critic.'

Martin finds Reed's solution to the 'distrust of the large-scale statement, empty rhetoric, and vague romanticism' of the 1930s and 40s, 'unique'.

Poet Elizabeth Jennings' analysis of Reed's poetry, with a brief biography and a lengthy bibliography.

Harold Branam's entry for Reed includes a biography, analysis of the central works, and a brief bibliography.

Reed's A Map of Verona is mentioned in a survey of the previous five years of English poetry.

John Lehmann considers Reed's poems, and reflects on their early correspondence.

Frank Kermode's evaluation of the Collected Poems, with personal reminiscences of Reed in London and Seattle.

A contemporary French language review of Reed's A Map of Verona.

The American poet and critic Randall Jarrell's curt review of A Map of Verona and Other Poems, in which he compares Reed to 'a nap after dinner.'

G.W. Stonier's review was quoted for the A Map of Verona dust jacket: 'Mr. Henry Reed is a rare poet in more senses than one.'

A glowing 1948 review by John Berryman of A Map of Verona and Other Poems.

A brief, flattering biographical note by poet and editor Kenneth Allott: "Naming of Parts" and "Judging Distances" are 'among the best and most intelligent poems produced during the war.'

Simon reviews the American edition of A Map of Verona and Other Poems, and finds 'Reed's purpose is to suggest more than to describe.'

Scrutiny:

A 1946 review of Reed's first book, A Map of Verona, by G.D. Klingopulos.

Brownjohn feels Reed's 'shorter lyric pieces... [are] coherent and approachable, carefully shaped, both tender and sinister in mood.'

Time & Tide:

Walter Allen's early review of A Map of Verona was quoted for the dust jacket blurb: 'No better first book of poetry has appeared for many years....'

The Times Literary Supplement, May 1946:

Uncredited early review of A Map of Verona, calls Reed a '[master] of many moods.'

Hodge finds 'dry charm as well as quiet wit' in "Judging Distances," but overall feels Reed is 'diffuse and not sufficiently accomplished.'

Biography of Reed, with commentary on his major works and a short bibliography.

"The Place and the Person"

Four Poets:

A short review calls A Map of Verona more pretentious than C.C. Abbott's The Sand Castle; influenced by Eliot, Auden, MacNeice, and Day Lewis.

The Listener's reviewer calls Reed's A Map of Verona 'one of those rare books... which give new heart to dispirited poets.'

Wilfrid Mellers compares Geoffrey Grigson and Reed, and finds Grigson to be merely a 'verse-maker', while Reed is a 'poet', in this review from 1946.

G.W. Stonier's review was quoted for the A Map of Verona dust jacket: 'Mr. Henry Reed is a rare poet in more senses than one.'

In his 1992 review of the Collected Poems, David Pascoe finds "The Auction Sale" to be Reed's best, and his translations are to be admired, but feels that Eliot will always be Reed's 'R.S.M.'

Simon reviews the American edition of A Map of Verona and Other Poems, and finds 'Reed's purpose is to suggest more than to describe.'

The Sewanee Review:

Leonard Unger's 1948 review of Reed's collection, A Map of Verona and Other Poems.

"Psychological Warfare"

Against Oblivion:

Reed's chapter from Ian Hamilton's survey of twentieth-century poets, with analysis and biography.

London Review of Books, Oct. 1991:

A letter to the editor from Ed Leimbacher recalls Reed's days as a visiting professor in Seattle.

Thorpe asserts that Reed's Lessons of the War sequence 'deserves far greater recognition.'

Brownjohn feels Reed's 'shorter lyric pieces... [are] coherent and approachable, carefully shaped, both tender and sinister in mood.'

A 1991 review by Julian Symons of Reed's Collected Poems, with some biographical background.

"The Return"

Lomas found Reed's poetry boring in 1946, and he finds little more redeeming about it in 1992: 'Reed is simply not interesting enough linguistically.'

Wilfrid Mellers compares Geoffrey Grigson and Reed, and finds Grigson to be merely a 'verse-maker', while Reed is a 'poet', in this review from 1946.

William Elton's short review of A Map of Verona and Other Poems, comparing Reed with T.S. Eliot.

Simon reviews the American edition of A Map of Verona and Other Poems, and finds 'Reed's purpose is to suggest more than to describe.'

Scrutiny:

A 1946 review of Reed's first book, A Map of Verona, by G.D. Klingopulos.

"Returning of Issue"

Listen to BBC recordings of Henry Reed and actor Frank Duncan reading "The Complete Lessons of the War."

Encounter:

Geoffrey Strickland's review of Reed's 1970 collection, Lessons of the War.

A short, but admirably thorough biography of Reed, focusing on the Lessons of the War, but also touching on the translations and radio plays.

Brownjohn feels Reed's 'shorter lyric pieces... [are] coherent and approachable, carefully shaped, both tender and sinister in mood.'

Touchstones:

The poet Marvin Bell considers Reed's "Naming of Parts," comparing it with his own experience training and serving in the U.S. Army.

"The River"

A 1991 review by Julian Symons of Reed's Collected Poems, with some biographical background.

"Sailor's Harbour"

Experience and Poetry:

Rosenthal says Reed shares with Laurie Lee 'that unhappy vice of young intellectuals—a certain blandness of which the ever-simple irony is a symptom.'

A brief biography outlining Reed's radio plays, poetry, and translations.

G.W. Stonier's review was quoted for the A Map of Verona dust jacket: 'Mr. Henry Reed is a rare poet in more senses than one.'

"The Sound of Horses' Hooves"

PN Review:

This 1992 review of the Collected Poems portrays Reed as an anachronism whose later work could never compare to his 'outstanding' earlier poems.

"South"

Poet Jon Stallworthy's critical and biographical introduction to the Collected Poems.

Critic William Arrowsmith proclaims Reed 'professional, original, and articulate' in this review of the American edition of A Map of Verona.

PN Review:

This 1992 review of the Collected Poems portrays Reed as an anachronism whose later work could never compare to his 'outstanding' earlier poems.

"Three Words"

Frank Kermode's evaluation of the Collected Poems, with personal reminiscences of Reed in London and Seattle.

A 1991 review by Julian Symons of Reed's Collected Poems, with some biographical background.

"The Town Itself"

Poet Jon Stallworthy's critical and biographical introduction to the Collected Poems.

Frank Kermode's evaluation of the Collected Poems, with personal reminiscences of Reed in London and Seattle.

PN Review:

This 1992 review of the Collected Poems portrays Reed as an anachronism whose later work could never compare to his 'outstanding' earlier poems.

A 1991 review by Julian Symons of Reed's Collected Poems, with some biographical background.

"Tristram"

A short review of Reed's first book of poems from Alex Comfort, the author of The Joy of Sex.

Arthuriana:

Roger Simpson contemplates Reed's "Tintagel" poems, concerning the Tristan and Iseult legends.

Boyd feels that Reed 'can be deliberately ingenuous or rise to a tragic intensity all in the same poem...', and proclaims that 'Everything in this small book is of interest.'

A blurb announcing the publication of Reed's A Map of Verona, 'The first book of a distinguished poet and critic.'

Poet Elizabeth Jennings' analysis of Reed's poetry, with a brief biography and a lengthy bibliography.

Harold Branam's entry for Reed includes a biography, analysis of the central works, and a brief bibliography.

Reed's A Map of Verona is mentioned in a survey of the previous five years of English poetry.

Furioso:

Ambrose Gordon, Jr. is stunned by the brilliance of the American edition of A Map of Verona, but seems to have doubts about Reed's originality.

John Lehmann considers Reed's poems, and reflects on their early correspondence.

Jenkins feels that Reed's best poetry displays 'a special feeling for romantic potentiality, the moment before something tremendous happens or after it has receded.'

The Listener's reviewer calls Reed's A Map of Verona 'one of those rare books... which give new heart to dispirited poets.'

A contemporary French language review of Reed's A Map of Verona.

The American poet and critic Randall Jarrell's curt review of A Map of Verona and Other Poems, in which he compares Reed to 'a nap after dinner.'

G.W. Stonier's review was quoted for the A Map of Verona dust jacket: 'Mr. Henry Reed is a rare poet in more senses than one.'

Phillips reviews the new, paperback release of Reed's Collected Poems. External link.

A glowing 1948 review by John Berryman of A Map of Verona and Other Poems.

A brief, flattering biographical note by poet and editor Kenneth Allott: "Naming of Parts" and "Judging Distances" are 'among the best and most intelligent poems produced during the war.'

Time & Tide:

Walter Allen's early review of A Map of Verona was quoted for the dust jacket blurb: 'No better first book of poetry has appeared for many years....'

The Times Literary Supplement, May 1946:

Uncredited early review of A Map of Verona, calls Reed a '[master] of many moods.'

A 1991 review by Julian Symons of Reed's Collected Poems, with some biographical background.

Hodge finds 'dry charm as well as quiet wit' in "Judging Distances," but overall feels Reed is 'diffuse and not sufficiently accomplished.'

Biography of Reed, with commentary on his major works and a short bibliography.

"Unarmed Combat"

A short review of Reed's first book of poems from Alex Comfort, the author of The Joy of Sex.

Listen to BBC recordings of Henry Reed and actor Frank Duncan reading "The Complete Lessons of the War."

The Bookman:

Edmund Blunden says Reed's Lessons of the War poems 'have captured something of the time-spirit and ambiguity of the recent war in a style of wit and deep feeling united.'

Boyd feels that Reed 'can be deliberately ingenuous or rise to a tragic intensity all in the same poem...', and proclaims that 'Everything in this small book is of interest.'

Martin finds Reed's solution to the 'distrust of the large-scale statement, empty rhetoric, and vague romanticism' of the 1930s and 40s, 'unique'.

British Writers:

Discusses Reed's contribution to the poetry of the Second World War.

Encounter:

Geoffrey Strickland's review of Reed's 1970 collection, Lessons of the War.

Reed's A Map of Verona is mentioned in a survey of the previous five years of English poetry.

John Lehmann considers Reed's poems, and reflects on their early correspondence.

The Listener's reviewer calls Reed's A Map of Verona 'one of those rare books... which give new heart to dispirited poets.'

Wilfrid Mellers compares Geoffrey Grigson and Reed, and finds Grigson to be merely a 'verse-maker', while Reed is a 'poet', in this review from 1946.

G.W. Stonier's review was quoted for the A Map of Verona dust jacket: 'Mr. Henry Reed is a rare poet in more senses than one.'

Not Without Glory:

Vernon Scannell's commentary on Reed's series of poems, Lessons of the War.

A short, but admirably thorough biography of Reed, focusing on the Lessons of the War, but also touching on the translations and radio plays.

A glowing 1948 review by John Berryman of A Map of Verona and Other Poems.

William Elton's short review of A Map of Verona and Other Poems, comparing Reed with T.S. Eliot.

Scrutiny:

A 1946 review of Reed's first book, A Map of Verona, by G.D. Klingopulos.

Touchstones:

The poet Marvin Bell considers Reed's "Naming of Parts," comparing it with his own experience training and serving in the U.S. Army.

Under Siege:

Contains an excellent examination of the 'military/poetic' problem in Reed's "Judging Distances," and "Unarmed Combat."

War Poetry: An Anthology:

Using Reed's poetry as an example of the 'individual's response' to the Second World War, Jones discusses the contrasts, irony, and ambiguities found in the Lessons of the War.

"The Wall"

The Bell:

Of A Map of Verona, Valentin Iremonger says 'Henry Reed's is one of the most impressive first volumes I have seen for some time.'

Wilfrid Mellers compares Geoffrey Grigson and Reed, and finds Grigson to be merely a 'verse-maker', while Reed is a 'poet', in this review from 1946.