Reading Ralph Maud’s Poet In The Making (1968) and his Dylan Thomas/The Notebook Poems (1989) has confirmed my sense of Thomas’s major achievement. I use the term major advisedly, having in mind the attacks, or the more subtly depreciating commentary, upon his worth as a poet (and a man) by poets still living whose work (in this reader’s opinion) have little chance of being within sight of Thomas’s achievement.


Secondary Theme Welsh Language Edenic Vision Compound Adjective Dead Woman 
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  1. Dylan Thomas, Collected Poems 1934–1952 (London, Dent, 1952).Google Scholar
  2. Ralph N. Maud (ed.), Poet in the Making (London, Dent, 1968).Google Scholar
  3. Ralph N. Maud (ed.), The Notebook Poems 1930–1934 (London, Dent, 1989).Google Scholar
  4. Dylan Thomas, Under Milk Wood: A Play for Voices (London, Dent, 1955 (1954)).Google Scholar
  5. William Empson, Argufying: Essays on Literature and Culture, edited by John Haffenden (Iowa City, University of Iowa Press, 1987).Google Scholar
  6. Walford Davies, Dylan Thomas (Cardiff, University of Wales Press and The Welsh Arts Council, 1990).Google Scholar
  7. Constantine FitzGibbon, The Life of Dylan Thomas (London, Dent, 1975 (1965)).Google Scholar
  8. Winifred Nowottny, The Language Poets Use (London, University of London, The Athlone Press, 1968), pp. 187–203.Google Scholar
  9. Seamus Heaney, ‘Dylan the Durable? on Dylan Thomas’, in The Redress of Poetry (London, Faber and Faber, 1995), pp. 124–45.Google Scholar

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© Jon Silkin 1997

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  • Jon Silkin

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