An early review by Rosenthal, "Experience and Poetry," appears in the New York Herald Tribune for October 17, 1948: Rosenthal reviews Henry Reed, Laurie Lee's The Sun My Monument, E.J. Pratt's Behind the Log, Louis O. Coxe's The Sea Faring, Robert McKinney's Hymn to Wreckage, and Four Poems by Rimbaud, translated by Ben Belitt.
Experience and Poetry
A MAP OF VERONA AND OTHER POEMS.Rosenthal published two popular poetry books in 1967: a book of criticism, The New Poets: American and British Poetry since World War II (London: Oxford University Press); and and anthology, The New Modern Poetry; British and American Poetry since World War II (New York, Macmillan). As far as I can tell, however, Reed doesn't appear in either.
By Henry Reed. . . . 92 pp. . . . .
New York: Reynal and Hitchcock. . . . $2.50.
Reviewed by M. L. Rosenthal
HENRY REED shares with Laurie Lee, another young English "war poet," a kind of hurt pacifism and the familiar irony that sell so cheaply of late. They share, too, in that unhappy vice of young intellectuals—a certain blandness of which the ever-simple irony is a symptom and which allows them, at a moment's notice, to discuss everything as though it were nothing and vice versa. But Reed has the more inclusive sensibility, and he has been able to protect it by skills of craft, fashioning an armor of rhythmic, stanzaic, and musical structure. Despite their common conviction that the world is flat, Reed has written more verse in the rich "lyric-contemplative" mode and has used mythological themes from Homer to Melville to help him get his bearings. He is further into his art: such places as "Judging Distances," "Sailor's Harbor," and the title-poem achieve something fine and honest, with a dramatic tension that resolves itself by a narrowing of focus from general to intimate personal awareness: "reversal" with the true tragic shock of painful realization.