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The original and classic The Collected Poems of Dylan Thomas is available once again, now with a brilliant new preface by Paul Muldoon.
The Collected Poems of Dylan Thomas contains poems that Thomas personally decided best represented his work. A year before its publication Thomas died from swelling of the brain triggered by excessive drinking. (A piece of New Directions history: it was our founder James Laughlin who identified Thomas’ body at the morgue of St. Vincent’s Hospital.)
Since its initial publication in 1953, this book has become the definitive edition of the poet’s work. Thomas wrote “Prologue” addressed to “my readers, the strangers” — an introduction in verse that was the last poem he would ever write. Also included are classics such as “And Death Shall Have No Dominion,” “Do Not Go Gentle into that Good Night,” and “Fern Hill” that have influenced generations of artists from Bob Dylan (who changed his last name from Zimmerman in honor of the poet), to John Lennon (The Beatles included Thomas’ portrait on the cover of Sgt. Pepper’s Lonely Hearts Club Band); this collection even appears in the film adaptation of Cormac McCarthy’s The Road when it is retrieved from the rubble of a bookshelf.
And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and their clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again,
Though lovers be lost love shall not:
And death shall have no dominion.
(From “And Death Shall Have No Dominion”)
The most complete and current edition of Dylan Thomas' collected poetry in a beautiful gift edition celebrating the centenary of his birth
The reputation of Dylan Thomas (1914-1953) as one of the greatest poets of the twentieth century has not waned in the fifty years since his death. A Welshman with a passion for the English language, Thomas’s singular poetic voice has been admired and imitated, but never matched.
This exciting, newly edited annotated edition offers a more complete and representative collection of Dylan Thomas’s poetic works than any previous edition. Edited by leading Dylan Thomas scholar John Goodby from the University of Swansea, The Poems of Dylan Thomas contains all the poems that appeared in Collected Poems 1934-1952, edited by Dylan Thomas himself, as well as poems from the 1930-1934 notebooks and poems from letters, amatory verses, occasional poems, the verse film script for “Our Country,” and poems that appear in his “radio play for voices,” Under Milk Wood. Showing the broad range of Dylan Thomas’s oeuvre as never before, this new edition places Thomas in the twenty-first century, with an up-to-date introduction by Goodby whose notes and annotations take a pluralistic approach.
In print for fifty years, this gem of lyric prose has enchanted both young and old from its very first edition.
Dylan Thomas, one of the greatest poets and storytellers of the twentieth century, captures a child's-eye view, and an adult's fond memories, of a magical time of presents, aunts and uncles, the frozen sea, and in the best of circumstances, newly fallen snow.
This gathering of all Dylan Thomas's stories, ranging chronologically from the dark, almost surrealistic tales of Thomas's youth to such gloriously rumbustious celebrations of life as A Child's Christmas in Wales and Adventures in the Skin Trade, charts the progress of "The Rimbaud of Cwmdonkin Drive" toward his mastery of the comic idiom.
Here, too, are stories originally written for radio and television and, in a short appendix, the schoolboy pieces first published in the Swansea Grammar School Magazine. A highpoint of the collection is Thomas's Portrait of the Artist as a Young Dog, a vivid collage of memories from his Swansea childhood that combines the lyricism of his poetry with the sparkle and sly humor of Under Milk Wood. Also here is the fiction from Quite Early One Morning, a collection planned by Thomas shortly before his death.
Altogether there are more than forty stories, providing a rich and varied literary feast and showing Dylan Thomas in all his intriguing variety-somber fantasist, joyous word-spinner, comedian of smalltown Wales. The book includes an entertaining, informative reflection on Thomas by another Welsh poet and storyteller, Leslie Norris, as well as a brief listing of publication details by Professor Walford Davies, editor of Dylan Thomas: Early Prose Works.
A story collection full of a fantastic and whimsical assortment of odd characters only Dylan Thomas could have conceived.
This collection of the poet Dylan Thomas's fiction––and what an extraordinary storyteller he was!––holds special interest because it ranges from the early stories such as "The School for Witches" and "The Burning Baby," with their powerful inheritance of Welsh mythology and wild imagination, to the chapters he completed before his death of the alas unfinished novel Adventures in the Skin Trade. Adventures is the story, written in a shrewd, sly, deadpan vein of picaresque comedy, of young Samuel Bennet, who runs away from his home in Wales to seek his fortune in London.
The impossible always happened in making Under Milk Wood. At times, its luck exceeded incredulity and vanished into Celtic mist. Like a necromancer juggling the elements, any Merlin of the screen has to mix the gold of the backers with the stars in their courses and come up with a horoscope that guarantees fair heavens and a safe return. To go at all, Under Milk Wood had to find a time when Richard Burton, Elizabeth Taylor, and Peter O’Toole were all available to work and in this island, which was rather like fixing a weekend between Howard Hughes, Elizabeth the Second and Puck. Then the gold had to be conjured in double-quick time from the state and a merchant bank, both of whom were rightly foolish enough to buck the wisdom of Wardour Street and think there could be profit as well as art in the wild warm words of that people’s poet, Dylan Thomas. Then there had to be hayfield sun in March in Fishguard, which would be a blessing not seen in thirty years. (“Wales in winter!” said the drenched warriors streaming home from Polanski’s protracted Macbeth. “Jesus ! Not only did Banquo blow off his horse, but the bloody horse blew away too.”) Then we had a forty days’ budget about as fat as Our Lord’s when he had the same schedule in the wilderness. What with sixty sets and seventy actors, we had to spend a quarter of our time just shifting from scene to scene; we shot on the run, with the mighty heroes of Lee Electrics humping the hundredweight brute lights as casually as kittens on their shoulders. Everything and everyone had to work too well, beyond normal and halfway to dream. The technicians would mutter about “Andrew the Luck.” And I would answer, “Miracles happen daily.” Frankly they had to, so they did.
Collected here are eight particularly enjoyable Dylan Thomas stories, stories hailed by The New Statesman as "the unself-conscious classics, compassionate, fresh, and very funny... radiating enthusiasm and delight in the telling."
This story collection includes The End of The River, The School for Witches, The Peaches, Just Like Little Dogs, Old Garbo, One Warm Saturday, Plenty of Furniture, The Followers