Dylan Thomas

Life and career

Early life

Dylan Thomas was born on 27 October 1914 in Swansea, the son of Florence Hannah (née Williams; 1882–1958), a seamstress, and David John 'Jack' Thomas (1876–1952), a teacher. His father had a first-class honours degree in English from University College, Aberystwyth, and ambitions to rise above his position teaching English literature at the local grammar school. Thomas had one sibling, Nancy Marles (1906–1953), who was eight years his senior.

The red-brick, semi-detached house at 5 Cwmdonkin Drive (in the Uplands area), in which Thomas was born and lived until he was 23, had been bought by his parents a few months before his birth.

At the 1921 census, Nancy and Dylan are noted as speaking both Welsh and English. Their parents were also bilingual in English and Welsh, and Jack Thomas taught Welsh at evening classes. One of their Swansea relations has recalled that, at home, "Both Auntie Florrie and Uncle Jack always spoke Welsh." There are three accounts from the 1940s of Dylan singing Welsh hymns and songs, and of speaking a little Welsh.

Thomas's father chose the name Dylan, which could be translated as "son of the sea" after Dylan ail Don, a character in The Mabinogion. His middle name, Marlais, was given in honour of his great-uncle, William Thomas, a Unitarian minister and poet whose bardic name was Gwilym Marles. The name Dylan being pronounced [ˈdəlan] in Welsh caused his mother to worry that he might be teased as the "dull one". When he broadcast on Welsh BBC early in his career, he was introduced using this pronunciation. Thomas later favoured the typical anglicised pronunciation and gave instructions that it should be pronounced that way (the same as Dillon ).

Thomas wrote a number of accounts of his childhood growing up in Swansea, and there are also accounts available by those who knew him as a young child. Thomas wrote several poems about his childhood and early teenage years, including "Once it was the colour of saying" and "The hunchback in the park", as well as short stories such as The Fight and A Child's Christmas in Wales.

Thomas's four grandparents played no part in his childhood. For the first ten years or so of his life, Thomas's Swansea aunts and uncles helped with his upbringing. These were his mother's three siblings, Polly and Bob, who lived in the St Thomas district of Swansea and Theodosia, and her husband, the Rev. David Rees, in Newton, Swansea, where parishioners recall Thomas sometimes staying for a month or so at a time. All four aunts and uncles spoke Welsh and English.

London, 1933–1939

Thomas was a teenager when many of the poems for which he became famous were published: "And death shall have no dominion", "Before I Knocked" and "The Force That Through the Green Fuse Drives the Flower". "And death shall have no dominion" appeared in the New English Weekly in May 1933. In May 1934, Thomas made his first visit to Laugharne, "the strangest town in Wales", as he described it in an extended letter to Pamela Hansford Johnson, in which he also writes about the town's estuarine bleakness, and the dismal lives of the women cockle pickers working the shore around him.

From 1933 onwards, poet Victor Neuburg edited a section called "The Poet's Corner" in a British newspaper, the Sunday Referee. Here he encouraged new talent by awarding weekly prizes. One prize went to the then-unknown Thomas, and the publisher of the Sunday Referee sponsored and Neuburg arranged for the publication of Thomas's first book, 18 Poems, in December 1934. The anthology was published by Fortune Press, in part a vanity publisher that did not pay its writers and expected them to buy a certain number of copies themselves. 18 Poems was noted for its visionary qualities which led to critic Desmond Hawkins writing that the work was "the sort of bomb that bursts no more than once in three years". The volume was critically acclaimed, netting him new admirers from the London poetry world, including Edith Sitwell and Edwin Muir. When "Light breaks where no sun shines" appeared in The Listener in 1934, it caught the attention of three senior figures in literary London, T. S. Eliot, Geoffrey Grigson and Stephen Spender.

In December 1935, Thomas contributed the poem "The Hand That Signed the Paper" to Issue 18 of the bi-monthly New Verse. In 1936, his next collection Twenty-five Poems, published by J. M. Dent, also received much critical praise. Two years later, in 1938, Thomas won the Oscar Blumenthal Prize for Poetry; it was also the year in which New Directions offered to be his publisher in the United States. In all, he wrote half his poems while living at Cwmdonkin Drive before moving to London. During this time Thomas's reputation for heavy drinking developed.

By the late 1930s, Thomas was embraced as the "poetic herald" for a group of English poets, the New Apocalyptics. Thomas refused to align himself with them and declined to sign their manifesto. He later stated that he believed they were "intellectual muckpots leaning on a theory". Despite this, many of the group, including Henry Treece, modelled their work on Thomas's.

Wartime 1939–1945

In 1939, a collection of 16 poems and seven of the 20 short stories published by Thomas in magazines since 1934, appeared as The Map of Love. Ten stories in his next book, Portrait of the Artist as a Young Dog (1940), were based less on lavish fantasy than those in The Map of Love and more on real-life romances featuring himself in Wales. Sales of both books were poor, resulting in Thomas living on meagre fees from writing and reviewing. At this time he borrowed heavily from friends and acquaintances. Hounded by creditors, Thomas and his family left Laugharne in July 1940 and moved to the home of critic John Davenport in Marshfield near Chippenham in Gloucestershire. There Thomas collaborated with Davenport on the satire The Death of the King's Canary, though due to fears of libel the work was not published until 1976.

At the outset of the Second World War, worried about conscription, Thomas unsuccessfully sought employment in a reserved occupation with the Ministry of Information. However, an "unreliable lung", as he described his chronic condition – coughing sometimes confined him to bed, and he had a history of bringing up blood and mucus – proved to be the grounds for the military authorities to allocate him a C3 category medical exemption which meant that he would be among the last to be called up for service. He would subsequently be recognised as engaged in essential war work through his role in broadcasting for the BBC and documentary film making, work he took up in 1941 after he and Caitlin moved to London, leaving their son with Caitlin's mother at Blashford. Thomas produced film scripts for the Strand Film Company, work which provided him with a much needed financial mainstay throughout the war years and his first regular source of income since working for the South Wales Daily Post.

In February 1941, Swansea was bombed by the Luftwaffe in the Three Nights' Blitz. Castle Street was one of many streets that suffered badly; rows of shops, including the Kardomah Café, were destroyed. Thomas walked through the bombed-out shell of the town centre with his friend Bert Trick. Upset at the sight, he concluded: "Our Swansea has died". Thomas later wrote a feature programme for the radio, Return Journey, describing how: "The Kardomah Café was razed to the snow, the voices of the coffee drinkers - poets, painters, and musicians in their beginnings - all lost". The programme, produced by Philip Burton, was first broadcast on 15 June 1947. The Kardomah Café reopened on Portland Street after the war.

In early 1943, Thomas began a relationship with Pamela Glendower, one of several affairs he had during his marriage. The affairs either ran out of steam or were halted after Caitlin discovered his infidelity. In March 1943, Caitlin gave birth to a daughter, Aeronwy, in London. They lived in a run-down studio in Chelsea, made up of a single large room with a curtain to separate the kitchen.

Making films 1941–1948

From September 1941 Thomas worked for the Strand Film Company in London. Strand produced films for the Ministry of Information and Thomas produced film scripts for six such films in 1942: This is Colour (on aniline dye processing), New Towns for Old, Balloon Site 568 (a recruitment film), CEMA (on arts organisation), Young Farmers and Battle for Freedom. He also scripted and produced Wales – Green Mountain, Black Mountain, a British Council commission and a bi-lingual production. These Are The Men (1943) was a more ambitious piece in which Thomas's verse accompanies Leni Riefenstahl's footage of an early Nuremberg Rally. Conquest of a Germ (1944) explored the use of early antibiotics in the fight against pneumonia and tuberculosis. Our Country (1945) was a romantic tour of Britain set to Thomas's poetry.

Thomas continued to work in the film industry after the war, working on feature film scripts which included: No Room at the Inn (1948), The Three Weird Sisters (1948), The Doctor and the Devils (1944 - not produced until 1985) and Rebecca's Daughters (1948 – not produced until 1992). His screenplay for The Beach of Falesá, not produced as a film, received a BBC Radio 3 production in May 2014. Altogether in his work in the film industry Thomas produced 28 film scripts (not all of which reached production) as well as acting as producer and director in some cases. When recession overtook the film industry in the late 1940s he lost his most reliable source of income. The experience he gained in his film work was a significant factor, according to Walford Davies, in the maturation of Under Milk Wood.

Broadcasting years 1945–1949

Although Thomas had previously written for the BBC, it was a minor and intermittent source of income. In 1943, he wrote and recorded a 15-minute talk titled "Reminiscences of Childhood" for the Welsh BBC. In December 1944, he recorded Quite Early One Morning (produced by Aneirin Talfan Davies, again for the Welsh BBC) but when Davies offered it for national broadcast BBC London turned it down. On 31 August 1945, the BBC Home Service broadcast Quite Early One Morning and, in the three years beginning in October 1945, Thomas made over a hundred broadcasts for the corporation. Thomas was employed not only for his poetry readings, but for discussions and critiques.

In the second half of 1945, Thomas began reading for the BBC Radio programme, Book of Verse, broadcast weekly to the Far East. This provided Thomas with a regular income and brought him into contact with Louis MacNeice, a congenial drinking companion whose advice Thomas cherished. On 29 September 1946, the BBC began transmitting the Third Programme, a high-culture network which provided opportunities for Thomas. He appeared in the play Comus for the Third Programme, the day after the network launched, and his rich, sonorous voice led to character parts, including the lead in Aeschylus's Agamemnon and Satan in an adaptation of Paradise Lost. Thomas remained a popular guest on radio talk shows for the BBC, who regarded him as "useful should a younger generation poet be needed". He had an uneasy relationship with BBC management and a staff job was never an option, with drinking cited as the problem. Despite this, Thomas became a familiar radio voice and within Britain was "in every sense a celebrity". The publication of Deaths and Entrances in February 1946 was a major turning point for Thomas. Poet and critic Walter J. Turner commented in The Spectator, "This book alone, in my opinion, ranks him as a major poet".

The following year, in April 1947, the Thomases travelled to Italy, after Thomas had been awarded a Society of Authors scholarship. They stayed first in villas near Rapallo and then Florence, before moving to a hotel in Rio Marina on the island of Elba. On their return, Thomas and family moved, in September 1947, into the Manor House in South Leigh, just west of Oxford, purchased and rented to Thomas for £1 per week by Margaret Taylor. He continued with his work for the BBC, completed a number of film scripts and worked further on his ideas for Under Milk Wood, including a discussion in late 1947 of The Village of the Mad (as the play was then called) with the BBC producer Philip Burton. He later recalled that, during the meeting, Thomas had discussed his ideas for having a blind narrator, an organist who played for a dog and two lovers who wrote to each other every day but never met.

America, Iran, and Under Milk Wood, 1950–1953

American poet John Brinnin invited Thomas to New York, where in February 1950 they embarked on a lucrative three-month tour of arts centres and campuses. The tour, which began in front of an audience of a thousand at the Kaufmann Auditorium of the Poetry Centre in New York, took in about 40 venues. During the tour, Thomas was invited to many parties and functions and on several occasions became drunk – going out of his way to shock people – and was a difficult guest. Thomas drank before some of his readings, though it is argued he may have pretended to be more affected by it than he actually was. The writer Elizabeth Hardwick recalled how intoxicating a performer he was and how the tension would build before a performance: "Would he arrive only to break down on the stage? Would some dismaying scene take place at the faculty party? Would he be offensive, violent, obscene?" Caitlin said in her memoir, "Nobody ever needed encouragement less, and he was drowned in it."

On returning to Britain, Thomas began work on two further poems, "In the white giant's thigh", which he read on the Third Programme in September 1950, and the incomplete "In country heaven". In October, Thomas sent a draft of the first 39 pages of 'The Town That Was Mad' to the BBC. The task of seeing this work through to production as Under Milk Wood was assigned to the BBC's Douglas Cleverdon, who had been responsible for casting Thomas in 'Paradise Lost'.

Despite Cleverdon's urgings, the script slipped from Thomas's priorities and in January 1951 he went to Iran to work on a film for the Anglo-Iranian Oil Company, an assignment which Callard has speculated was undertaken on behalf of British intelligence agencies. Thomas toured the country with the film crew, and his letters home vividly express his shock and anger with the poverty he saw around him. He also gave a reading at the British Council and talked with a number of Iranian intellectuals, including Ebrahim Golestan whose account of his meeting with Thomas has been translated and published. The film was never made, with Thomas returning to Wales in February, though his time in Iran allowed him to provide a few minutes of material for a BBC documentary Persian Oil. Thomas' journey through Iran has also been the subject of the 2024 documentary film Pouring Water on Troubled Oil. The film was written and directed by Nariman Massoumi, Department of Film and Television at the University of Bristol, with narration by Michael Sheen.

Later that year, Thomas published two poems, which have been described as "unusually blunt." They were an ode, in the form of a villanelle, to his dying father, Do not go gentle into that good night, and the ribald Lament.

Final tour and death in New York

Thomas left Laugharne on 9 October 1953 on the first leg of his fourth trip to America. He called on his mother, Florence, to say goodbye: "He always felt that he had to get out from this country because of his chest being so bad." Thomas had suffered from chest problems for most of his life, though they began in earnest soon after he moved in May 1949 to the Boat House at Laugharne – the "bronchial heronry", as he called it. Within weeks of moving in, he visited a local doctor, who prescribed medicine for both his chest and throat.

While waiting in London before his flight, Thomas stayed with the comedian Harry Locke and worked on Under Milk Wood. Locke noted that Thomas was having trouble with his chest, "terrible" coughing fits that made him go purple in the face. He was also using an inhaler to help his breathing. There were reports, too, that Thomas was also having blackouts. His visit to the BBC producer Philip Burton, a few days before he left for New York, was interrupted by a blackout. On his last night in London, he had another in the company of his fellow poet Louis MacNeice.

Thomas arrived in New York on 20 October 1953 to undertake further performances of Under Milk Wood, organised by John Brinnin, his American agent and Director of the Poetry Centre. Brinnin did not travel to New York but remained in Boston to write. He handed responsibility to his assistant, Liz Reitell. She met Thomas at Idlewild Airport and was shocked at his appearance. He looked pale, delicate and shaky, not his usual robust self: "He was very ill when he got here." After being taken by Reitell to check in at the Chelsea Hotel, Thomas took the first rehearsal of Under Milk Wood. They then went to the White Horse Tavern in Greenwich Village, before returning to the Chelsea Hotel.

The next day, Reitell invited him to her apartment, but he declined. They went sightseeing, but Thomas felt unwell and retired to his bed for the rest of the afternoon. Reitell gave him half a grain (32.4 milligrams) of phenobarbitone to help him sleep and spent the night at the hotel with him. Two days later, on 23 October, at the third rehearsal, Thomas said he was too ill to take part, but he struggled on, shivering and burning with fever, before collapsing on the stage.

The following day, 24 October, Reitell took Thomas to see her doctor, Milton Feltenstein, who administered cortisone injections and Thomas made it through the first performance that evening, but collapsed immediately afterwards. "This circus out there," he told a friend who had come back-stage, "has taken the life out of me for now." Reitell later said that Feltenstein was "rather a wild doctor who thought injections would cure anything."

Aftermath

Rumours circulated of a brain haemorrhage, followed by competing reports of a mugging or even that Thomas had drunk himself to death. Later, speculation arose about drugs and diabetes. At the post-mortem, the pathologist found three causes of death – pneumonia, brain swelling and a fatty liver. His liver showed no sign of cirrhosis. Many sources have criticised Feltenstein's role and actions, especially his incorrect diagnosis of delirium tremens and the high dose of morphine he administered. Dr C. G. de Gutierrez-Mahoney, the neurosurgeon who treated Thomas while at St. Vincents, concluded that Feltenstein's failure to see that Thomas was gravely ill and have him admitted to hospital sooner "was even more culpable than his use of morphine".

The publication of John Brinnin's 1955 biography Dylan Thomas in America cemented Thomas's reputation as a "roistering, drunken and doomed poet"; Brinnin focuses on Thomas's last few years and paints a picture of him as a drunk and a philanderer. Later biographies have criticised Brinnin's view, especially his coverage of Thomas's death. David Thomas in Fatal Neglect: Who Killed Dylan Thomas? writes that Brinnin, along with Reitell and Feltenstein, were culpable. Ferris in his 1989 biography references Thomas's heavy drinking, but is more critical of those around him in his final days and does not draw the conclusion that he drank himself to death. Whilst his heavy alcohol consumption is seen as a contributory factor to his final illness, Andrew Sinclair and George Tremlett express the view that Thomas was not an alcoholic. Likewise Constantine Fitzgibbon, his first biographer and friend, who was personally familiar with Thomas's drinking habits, notes that though there were multiple episodes of excessive alcohol consumption, there were also lengthy periods of relative abstinence.

Thomas's body was brought back to Wales for burial in the village churchyard at Laugharne. Thomas's funeral, which Brinnin did not attend, took place at St Martin's Church in Laugharne on 24 November. Six friends from the village carried Thomas's coffin. Caitlin, without her customary hat, walked behind the coffin with his childhood friend Daniel Jones at her arm and her mother by her side. The procession to the church was filmed and the wake took place at Brown's Hotel. Thomas's fellow poet and long-time friend Vernon Watkins wrote The Times obituary.

Though Thomas died intestate, with assets worth £100, substantial royalties would accrue from sales of his work, with half the proceeds allocated to Caitlin and half to the three children. A trust was established to administer the estate and protect the copyright of Thomas's work. Trustees included Daniel Jones, Wynford Vaughan Thomas and, in an unlikely development given his low opinion of Thomas, Kingsley Amis, who was appointed at the behest of the Thomas family solicitor and administrator of the trust, Stuart Thomas. After Caitlin, troubled by painful memories, left Laugharne to live in Italy, the Thomas family home, the Boathouse, became the home of her mother-in-law, Florence, for the last five years of her life. It was subsequently purchased by the trust from Margaret Taylor on behalf of Caitlin who sold it on to an educational charity before it was eventually acquired by Carmarthenshire County Council and opened to the public as a tourist attraction.

Poetry

Poetic style and influences

Thomas's refusal to align with any literary group or movement has made him and his work difficult to categorise. However the formative influence of the modernist symbolist and surrealist movements has been discerned throughout his poetic output and as especially evident in his poetry of the 1930s, the period in which he forged a unique modernist poetic which rejected the referential, discursive and often propagandist voice of his contemporaries for a relish of exuberant word-play and language itself.

Thomas took his major theme as the unity of all life in which the turmoil of sexuality and death linked the generations, envisaging men and women locked in cycles of growth, love, procreation, new growth, death, and new life. Thomas derived his imagery from sources which include the new scientific accounts of physiology and sexuality, the Bible, Welsh folklore, and Sigmund Freud as well as from the established literary canon.

Whereas earlier appraisals of his work have found an impasse in its obscurity

more recent accounts have given readings which have explored in depth the complexity of Thomas's allusions, accepting that obscurity, paradox and ambiguity are integral to his work. As Thomas wrote in a letter to Glyn Jones: "My own obscurity is quite an unfashionable one, based, as it is, on a preconceived symbolism derived (I'm afraid all this sounds wooly and pretentious) from the cosmic significance of the human anatomy".

Distinguishing features of Thomas's early poetry include its verbal density, use of alliteration, sprung rhythm and internal rhyme, with some critics detecting the influence of the English poet Gerard Manley Hopkins. Walford Davies suggests there is little else than "a coincidence of poetic temperament." Thomas himself wrote to Henry Treece, who had compared the two, denying any significant influence. Thomas also employed fixed verse form, such as in the villanelle "Do not go gentle into that good night".

Thomas greatly admired Thomas Hardy, who is regarded as an influence. When Thomas travelled in America, he recited some of Hardy's work in his readings. Other poets from whom critics believe Thomas drew influence include James Joyce, Arthur Rimbaud and D. H. Lawrence. William York Tindall, in his 1962 study, A Reader's Guide to Dylan Thomas, finds comparison between Thomas's and Joyce's wordplay, while he notes the themes of rebirth and nature are common to the works of Lawrence and Thomas. Although Thomas described himself as the "Rimbaud of Cwmdonkin Drive", he stated that the phrase "Swansea's Rimbaud" was coined by poet Roy Campbell. Critics have explored the origins of Thomas's mythological pasts in his works such as "The Orchards", which Ann Elizabeth Mayer believes reflects the Welsh myths of the Mabinogion.

Welsh poet

Thomas disliked being regarded as a provincial poet and decried any notion of 'Welshness' in his poetry. When he wrote to Stephen Spender in 1952, thanking him for a review of his Collected Poems, he added "Oh, & I forgot. I'm not influenced by Welsh bardic poetry. I can't read Welsh." Despite this his work was rooted in the geography of Wales. Thomas acknowledged that he returned to Wales when he had difficulty writing, and John Ackerman argues that "His inspiration and imagination were rooted in his Welsh background". Caitlin Thomas wrote that he worked "in a fanatically narrow groove, although there was nothing narrow about the depth and understanding of his feelings. The groove of direct hereditary descent in the land of his birth, which he never in thought, and hardly in body, moved out of."

Head of Programmes Wales at the BBC, Aneirin Talfan Davies, who commissioned several of Thomas's early radio talks, believed that the poet's "whole attitude is that of the medieval bards." Kenneth O. Morgan counter-argues that it is a 'difficult enterprise' to find traces of cynghanedd (consonant harmony) or cerdd dafod (tongue-craft) in Thomas's poetry. Instead he believes his work, especially his earlier more autobiographical poems, are rooted in a changing country which echoes the Welshness of the past and the Anglicisation of the new industrial nation: "rural and urban, chapel-going and profane, Welsh and English, Unforgiving and deeply compassionate." Fellow poet and critic Glyn Jones believed that any traces of cynghanedd in Thomas's work were accidental, although he felt Thomas consciously employed one element of Welsh metrics; that of counting syllables per line instead of feet. Constantine Fitzgibbon, who was his first in-depth biographer, wrote "No major English poet has ever been as Welsh as Dylan".

Although Thomas had a deep connection with Wales, he disliked Welsh nationalism. He once wrote, "Land of my fathers, and my fathers can keep it". While often attributed to Thomas himself, this line actually comes from the character Owen Morgan-Vaughan, in the screenplay Thomas wrote for the 1948 British melodrama The Three Weird Sisters. Robert Pocock, a friend from the BBC, recalled "I only once heard Dylan express an opinion on Welsh Nationalism. He used three words. Two of them were Welsh Nationalism." Although not expressed as strongly, Glyn Jones believed that he and Thomas's friendship cooled in the later years as he had not 'rejected enough' of the elements that Thomas disliked – "Welsh nationalism and a sort of hill farm morality". Apologetically, in a letter to Keidrych Rhys, editor of the literary magazine Wales, Thomas's father wrote that he was "afraid Dylan isn't much of a Welshman". Though FitzGibbon asserts that Thomas's negativity towards Welsh nationalism was fostered by his father's hostility towards the Welsh language.

Critical reception

Thomas's work and stature as a poet have been much debated by critics and biographers since his death. Critical studies have been clouded by Thomas's personality and mythology, especially his drunken persona and death in New York. When Seamus Heaney gave an Oxford lecture on the poet he opened by addressing the assembly, "Dylan Thomas is now as much a case history as a chapter in the history of poetry", querying how "Thomas the Poet" is one of his forgotten attributes. The Poetry Archive notes that "Dylan Thomas's detractors accuse him of being drunk on language as well as whiskey, but whilst there's no doubt that the sound of language is central to his style, he was also a disciplined writer who re-drafted obsessively". David Holbrook, who has written three books about Thomas, stated in his 1962 publication Llareggub Revisited, "the strangest feature of Dylan Thomas's notoriety—not that he is bogus, but that attitudes to poetry attached themselves to him which not only threaten the prestige, effectiveness and accessibility to English poetry but also destroyed his true voice and, at last, him." Holbrook's negative evaluation of Thomas's work, based on an ad hominem psychoanalytic reading, is rejected by Rhian Barfoot as reductive and outdated viewed in the context of more recent psychoanalytic theory as found in the work of Lacan and Kristeva, where the emphasis on the semiotic and the materiality of language is seen as corresponding to Thomas's poetic style and thus supportive of a positive critical evaluation of his work.

Many critics have argued that Thomas's work is too narrow and that he suffers from verbal extravagance. Those that have championed his work have found the criticism baffling. Robert Lowell wrote in 1947: "Nothing could be more wrongheaded than the English disputes about Dylan Thomas's greatness ... He is a dazzling obscure writer who can be enjoyed without understanding." Kenneth Rexroth said, on reading Eighteen Poems: "The reeling excitement of a poetry-intoxicated schoolboy smote the Philistine as hard a blow with one small book as Swinburne had with Poems and Ballads." Philip Larkin in a letter to Kingsley Amis in 1948, wrote that "no one can 'stick words into us like pins'... like he [Thomas] can", but followed that by stating that he "doesn't use his words to any advantage". Amis was far harsher, finding little of merit in his work, and claiming that he was 'frothing at the mouth with piss.' In 1956, the publication of the anthology New Lines featuring works by the British collective The Movement, which included Amis and Larkin among its number, set out a vision of modern poetry that was damning towards the poets of the 1940s. Thomas's work in particular was criticised. David Lodge, writing about The Movement in 1981 stated: "Dylan Thomas was made to stand for everything they detest, verbal obscurity, metaphysical pretentiousness, and romantic rhapsodizing."

Memorials

In Swansea's maritime quarter are the Dylan Thomas Theatre, home of the Swansea Little Theatre of which Thomas was once a member, and the former Guildhall, built in 1825 and now occupied by the Dylan Thomas Centre, a literature centre, where exhibitions and lectures are held and setting for the annual Dylan Thomas Festival.

Outside the centre stands a bronze statue of Thomas, by John Doubleday. Another monument to Thomas stands in Cwmdonkin Park, one of his favourite childhood haunts, close to his birthplace. The memorial is a small rock in an enclosed garden within the park cut by and inscribed by the late sculptor Ronald Cour with the closing lines from "Fern Hill".

Thomas's home in Laugharne, the Boathouse, is a museum run by Carmarthenshire County Council. His writing shed is also preserved. In 2004, the Dylan Thomas Prize was created in his honour, awarded to the best published writer in English under the age of 30. In 2005, the Dylan Thomas Screenplay Award was established. The prize, administered by the Dylan Thomas Centre, is awarded at the annual Swansea Bay Film Festival. In 1982 a plaque was unveiled in Poets' Corner, Westminster Abbey. The plaque is also inscribed with the last two lines of "Fern Hill".

In 2014, the Royal Patron of The Dylan Thomas 100 Festival was Charles, Prince of Wales, who in 2013 made a recording of "Fern Hill" for National Poetry Day.

In 2014, to celebrate the centenary of Thomas's birth, the British Council Wales undertook a year-long programme of cultural and educational works. Highlights included a touring replica of Thomas's work shed, Sir Peter Blake's exhibition of illustrations based on Under Milk Wood and a 36-hour marathon of readings, which included Michael Sheen and Sir Ian McKellen performing Thomas's work. The same year, Thomas was among the ten people commemorated on a UK postage stamp issued by the Royal Mail in their "Remarkable Lives" issue.

List of works

18 Poems, The Sunday Referee; Parton Bookshop, 1934

Portrait of the Artist as a Young Dog, London: Dent, 1940

Deaths and Entrances, London: Dent, 1946

A Child's Christmas in Wales, New Directions, 1955

The Collected Poems of Dylan Thomas: The New Centenary Edition. Ed. with Introduction and annotations by John Goodby. London: Weidenfeld & Nicolson, 2014

The Notebook Poems 1930–34, ed. Ralph Maud. London: Dent, 1989

Dylan Thomas: The Broadcasts, ed. Ralph Maud. London: Dent, 1991

Dylan Thomas: The Filmscripts, ed. John Ackerman. London: Dent, 1995

Dylan Thomas: Early Prose Writings, ed. Walford Davies. London: Dent, 1971

Collected Stories, ed. Walford Davies. London: Dent, 1983

Under Milk Wood: A Play for Voices, ed. Walford Davies and Ralph Maud. London: Dent, 1995

On the Air with Dylan Thomas: The Broadcasts, ed. R. Maud. New York: New Directions, 1991

Correspondence

Ferris, Paul (ed.) (2017), Dylan Thomas: The Collected Letters, 2 vols. Introduction by Paul Ferris. London: Weidenfeld & Nicolson

Vol I: 1931–1939

Vol II: 1939–1953

Watkins, Vernon (ed) (1957), Letters to Vernon Watkins. London: Dent.

Media portrayals

The Edge of Love, 2008 film with Thomas portrayed by Matthew Rhys and his wife, Caitlin, played by Sienna Miller.

Set Fire to the Stars, 2014 film with Thomas portrayed by Celyn Jones and John Brinnin by Elijah Wood.

Dominion, 2017 film with Thomas played by Rhys Ifans and Caitlin portrayed by Romola Garai.