Sunday, June 02, 2013

Auckland's New Unitary Plan:

A Warning from History


Don't you just love traffic?
Let's have lots more new roads and subdivisions!


I had the interesting experience of watching a TVNZ "report" on the controversy over Auckland's new Unitary Plan last week. There may have been more to it on other nights, but the two segments I watched, both presented by Nicole Bremner, seemed to me to sink significantly below the already rock-bottom levels of objectivity in New Zealand television journalism.

First of all came a segment on the Mayor and City Council's plan to try and centralise and focus the city more, thus improving its cohesion, and the viability of its public transport networks. Much of this report was spent on an interview with an old woman in Panmure (we heard from her more than once) who was terrified that she would no longer be able to grow vegetables in her back yard if Mayor Len Brown's dastardly plans went through.

I couldn't quite, myself, understand why her vegetables were so direly under threat under the new provisions, but the impression was clearly given that they are. The "pro" segment of the piece came from Len Brown himself, who was shown given bland assurances that all would be well. If there was more to his remarks (facts and figures, for instance), they were certainly not screened.



The second night focussed on alternatives to the Mayor's scheme: or, rather, the principal alternative of allowing the city to sprawl in all directions as it's doing at present. The centrepiece of this broadcast was a group of prosperous elderly suburbanites in the Orewa Bowls Club who agreed that city sprawl holds no fears for them. One might wonder why Ms. Bremner hadn't thought to interview a single commuter or person of employable age in her sample cross-section ...

However, even in the group she had selected it soon become clear that - rather than reacting to the prospect of Auckland's indefinite expansion into the surrounding countryside - the question they had really been asked was whether they would approve of a rapid-rail transport system running from Whangarei to Hamilton, a line along which future communities could be nested conveniently without having to build up the centre further.



Once again, Len Brown was shown, exclaiming feebly that all responsible overseas research backed up his Unitary Plan. He was not allowed to specify exactly what research he was talking about, though.

Is it just me, or is this unusually slanted reporting even for TVNZ? No doubt many of us would like to see a commmuter railroad running down the line of State Highway One. Is it a present priority of the government's, though? Is it likely to happen in any foreseeable real-world future? Even the (clearly mostly retired) members of the Bowls Club in Orewa could not be made to claim that they precisely enjoy the traffic grind into Auckland city. In order to make them seem to agree with the governments plans to continue the sprawl (and rich developers' profits), a largely irrelevant question had to be put to them.

It was, it seemed to me, basically a party political broadcast for central government, rather than balanced reporting on an issue.

The funny thing is, I know precisely what research Len Brown was talking about. I know why he thinks that the time is now, and that even at this late stage something can be salvaged of the "liveable" city we all dream of inhabiting. I know because I read history books, and find that they sometimes comment quite presciently on the issues of today.



Laurence Rees: The Nazis: A Warning from History (1997)


Years ago I watched a spine-chilling documentary series called The Nazis: A Warning from History. The warning I'm thinking about, though, comes from a book about New York, a city so vast and complex that virtually any problem faced by our own pint-sized metropolis can be paralleled in its own development decades ago. The book is called The Power-Broker: Robert Moses and the Fall of New York.



It doesn't sound that relevant, does it? The only reason I started to read it was because I'd been enjoying its author, Robert A. Caro's masterly multi-volume biography of President Lyndon B. Johnson, which focusses on the manipulation of power structures in a democracy (or is it really an oligarchy?). I saw that his earlier book on Robert Moses had been listed by the Modern Library as among the "top hundred" non-fiction books of the twentieth century. The top hundred: I have to admit that I imagined it standing alongside The Gulag Archipelago and If This is a Man? - that was before I saw the rather less impressive list the editors had actually chosen. Even so, though, how could any simple biography of a city official have that kind of heft?



Robert Moses (1888- 1981)


Well, I'm afraid it does. And, essentially, it's all about us. I'll leave to one side Caro's painstaking analysis of Moses' gradual evolution from young idealist to power-mad Boss in order to concentrate on his most frustrating legacy: the system of bridges and super-highways that still criss-crosses the modern city and its environs.



And what's wrong with that, you ask? The bridges, parks, expressways and parkways Moses was responsible for building during his thirty-year tenure as unelected official in charge of virtually all construction in the New York region dwarf the efforts of previous monument-mad rulers such as Cheops of Egypt, the First Emperor of Ch'in, or Baron Haussmann's Parisian boulevards ... They are, in conception, beautiful and majestic almost beyond belief.



But they were built by someone who came of age intellectually in the early years of the twentieth century, and who could never be made to realise that the automobile is at least as much of a curse as a blessing for modern cities. His undoubted racism and contempt for the poor and unwashed also led him to neglect all public transport systems during his thirty years of absolute power between 1934 and 1964, when Governor Nelson Rockefeller finally managed to get rid of him.

To give one example (described by Caro on pp.951-52 of his immense tome), a city official noticed one day that the cross-bridges on Moses' Long Island Expressway seemed unusually low. He measured one. It offered eleven feet of clearance. So did the next one. And the next. It turned out that all of the literally hundreds of miles of Moses's superhighways had been built with bridges of eleven - or even, at times, nine - feet's clearance. The average bus requires twelve feet of clearance. Fourteen feet is safer. Moses's legacy to the ages was this cunning device to insure that buses would never be able to use his motorways - without thousands of millions of dollars being spent on costly rebuilding of all the bridges and overpasses ...

Screw the poor. If you can't afford a car you're not really human, anyway - that was his attitude first and last.

There's a fascinating passage in Caro's crucial chapter 40, entitled "Point of No Return." In it he analyses the moment, sometime around the early fifties, when it would still have been possible for New York City and State to make up for their neglect of subways and trains and other mass-transit devices since the mid-thirties. Sections of the highways then being built could have been set aside for trains. Even if the money wasn't available at that precise moment to build the lines and buy the rolling stock, with a little foresight the land could have been acquired at little cost at the same time the highways were being pushed across it.

It wasn't. All such arguments were contemptuously rejected by Moses and his cronies (his immense interlocking system of incriminating dossiers on all local politicians ensured that few of them could ever vote against him). He simply couldn't seem to understand that each new road he opened simply made the situation worse - within weeks it would be as jammed as all the others. The roads actually created new traffic by encouraging more sprawl, more subdivisions, more two-car families ... Sound familiar?

Long Island held the last remaining largely undeveloped sections of open land within a reasonable distance of New York City. Planners almost wept as they begged Moses to set aside land in his new expressway - for buses, at least, if not trains: "but Moses replied by saying it was 'impossible' - and by refusing to discuss the matter." [p.946]. For "Moses" read Nick Smith - or John Key?



The Joy of Auckland Traffic (1): Northern Motorway


This is how Caro explains it:

Making provision for mass transport on the Long Island Expressway was in many ways not only Long Island's chance but its last chance.

Mass transportation systems work only if they are able to transport masses - people in numbers sufficient to pay the system's cost, to justify the immense public investment that created it. Such systems work only if there is high-density development around them, they do not work in an exclusively low-density subdivision landscape. Low-density subdivision had already inundated two-thirds of Nassau County. But the rest ... still lay largely unsubdivided - unshaped; great chunks of Long Island were in 1955 still a tabula rasa on which a design for the future could be etched with the lessons of the past in mind. For these areas - close to a thousand square miles of land - there was still time to insure a different, better, type of development - a different, better life for the millions of people who would one day be living on that land. But there wasn't much time. With the population of the two counties increasing at the rate of almost 100,000 per year, each year the tide covered almost five years more of the Island. If a change was to be made in the development pattern, it must be made at once.

Once the Long Island Expressway was built, no change would be possible. Construction of the great road would open the entire Island for development ... The time was now, before the Expressway was built, to insure not only that rapid transit would be provided, but that it would be used by enough people to ease the transportation burden from the backs of all the people on Long Island ... Build the Long Island Expressway with mass transit - or at least with provision for the future installation of mass transit - and Long Island might remain a good place to live and play. Build the Long Island Expressway without mass transit and Long Island would be lost - certainly for decades, probably for centuries, possible forever. [p.945]




The Joy of Auckland Traffic (2): Easy Going on the Bridge


For "Long Island" read Auckland. It may well be too late already. But Len Brown doesn't think so. He understands that complaisant inaction now, at the last possible moment to reverse the trend, will condemn all of us to a future of horrific traffic-jams and transport chaos. It will stifle our city as it has already stifled so many others.

By the time Robert Moses was dragged kicking and screaming from his last bastion, the luxurious headquarters he'd built for himself under the toll-booths on the Triborough Bridge, it was too late for New York. You can't neglect a mass transit system for thirty crucial years (literally no new subways or railway lines were built in New York between 1934 and 1964) and then just start again from where you left off. The damage done will be there for centuries.



So think about it a bit before you start spewing out your support for our present government's "plan" of completing the Auckland motorway networks (plannned in the 1950s) and encouraging new subdivisions off all of them. Where is all that new traffic going to end up? People tend to live near to train and bus stations because they have to walk to them each morning. In an automobile-dominated world, they each live on their little self-contained sections, hundreds of thousands of them, each requiring their little connecting roads, their arterial routes, and their main tributaries, guaranteeing ever-worsening traffic congestion forever.

None of this is "conjectural" - "debatable" - or (worst of all pejorative terms) "theoretical." It's all happened before. And it will happen again right here if we don't at least try to understand the logic behind Mayor Brown's plan. Shame on you, TVNZ.



The Joy of Traffic (California)


Saturday, May 25, 2013

Doubting Thomases (2): Dylan Thomas



[Dylan Thomas (1914-1953)]


I've always had rather an uneasy relationship with Dylan Thomas's poetry. On the one hand, it's certainly full of memorable, resonant phrases: "I see the boys of summer in their ruin" - "Do not go gentle into that good night" - "The hunchback in the park, a solitary mister" ... On the other hand, it's pretty difficult to construe it into sense much of the time.

I've always had a bias towards the plain and understated. My favourite poets when I was a kid were A. E. Housman and W. H. Auden. My brother Ken, by contrast, preferred Gerard Manley Hopkins and Dylan Thomas ...



[Dylan Thomas: The Caedmon Collection (2002)]


I did undergo a partial conversion when I bought a copy of the complete Caedmon recordings of his work a few years ago:
Thomas, Dylan. The Caedmon Collection. Read by the Author. 1952-53. Set of 11 CDs (complete). Introduced by Billy Collins. London: HarperCollins, 2002.
  1. from Dylan Thomas Reading A Child's Christmas in Wales and Five Poems / from Dylan Thomas Reading Over Sir John's Hill and Other Poems / from Dylan Thomas Reading from His Works [12 poems]
  2. from Dylan Thomas Reading Poem on His Birthday, And Death Shall Have No Dominion, Lament and Other Poems Volume 2 / from Dylan Thomas Reading Complete Recorded Poetry / from Dylan Thomas Reading Over Sir John's Hill and Other Poems [20 poems]
  3. from Dylan Thomas Reading Quite Early One Morning and Other Memories / from Dylan Thomas Reading from His Works [5 stories]
  4. from Dylan Thomas: In Country Heaven - The Evolution of a Poem / from Dylan Thomas and Edith Sitwell Read and Discuss Her Poetry [5 poems / 7 ES poems]
  5. from Dylan Thomas Reading A Visit to America and Poems / from An Evening with Dylan Thomas [3 poems / 25 poems by other authors]
  6. from Dylan Thomas Reads the Poetry of W. B. Yeats and Others / from Dylan Thomas Reading from His Works [18 poems by other authors]
  7. from Dylan Thomas Reads: A Personal Anthology / from Dylan Thomas: Return Journey to Swansea [22 poems by other authors]
  8. from Dylan Thomas Reading from King Lear and the Duchess of Malfi / from Dylan Thomas Reads: A Personal Anthology / from Dylan Thomas Reads the Poetry of W. B. Yeats and Others [17 excerpts by other authors]
  9. from Under Milk Wood [parts 1-3]
  10. from Under Milk Wood [part 4] / from Dylan Thomas: Return Journey to Swansea / from An Evening with Dylan Thomas / from Adventures in the Skin Trade [5 poems / 2 talks]
  11. from Dylan Thomas Reads from His Adventures in the Skin Trade and Two Poems [chapters I-II]

I have to say that his prose, in particular, was a revelation to me. It was so funny, so witty and unpretentious, so lacking in the portentous solemnity of much of his poetry. Possibly this is the best way to experience it, though - through its own author's readings.

Another attraction of this series is a full recording of the original version of Under Milk Wood, recorded almost by accident one evening in New York shortly before Thomas's death, with the Welsh wizard himself in the cast.



[Dylan Thomas: Collected Poems 1934-1953 (1998)]


More recently, though, I bit the bullet and bought the latest edition of the collected poems, with full annotations and quite a few additions, subtractions and revisions to the canon. In particular, the last poem of all was scarcely recognizable to me in its new version.

Here is his unfinished poem "Elegy," as edited by fellow-poet Vernon Watkins, from the later reprints of Thomas's Collected Poems 1934-1952:
Too proud to die, broken and blind he died
The darkest way, and did not turn away,
A cold kind man brave in his narrow pride

On that darkest day. Oh, forever may
He lie lightly, at last, on the last, crossed
Hill, under the grass, in love, and there grow

Young among the long flocks, and never lie lost
Or still all the numberless days of his death, though
Above all he longed for his mother's breast

Which was rest and dust, and in the kind ground
The darkest justice of death, blind and unblessed.
Let him find no rest but be fathered and found,

I prayed in the crouching room, by his blind bed,
In the muted house, one minute before
Noon, and night, and light. The rivers of the dead

Veined his poor hand I held, and I saw
Through his unseeing eyes to the roots of the sea.
(An old tormented man three-quarters blind,

I am not too proud to cry that He and he
Will never never go out of my mind.
All his bones crying, and poor in all but pain,

Being innocent, he dreaded that he died
Hating his God, but what he was was plain:
An old kind man brave in his burning pride.

The sticks of the house were his; his books he owned.
Even as a baby he had never cried;
Nor did he now, save to his secret wound.

Out of his eyes I saw the last light glide.
Here among the light of the lording sky
An old blind man is with me where I go

Walking in the meadows of his son's eye
On whom a world of ills came down like snow.
He cried as he died, fearing at last the spheres'

Last sound, the world going out without a breath:
Too proud to cry, too frail to check the tears,
And caught between two nights, blindness and death.

O deepest wound of all that he should die
On that darkest day. Oh, he could hide
The tears out of his eyes, too proud to cry.

Until I die he will not leave my side.)

Watkins remarks of his favourite among the two "most complete" surviving drafts of the poem that it "extends to the seventeenth line, ending 'to the roots of the sea,' after which there is a line which is deleted." Of the rest of the reconstructed poem (the part in parentheses) he explains: "The lines are all found there, except that two or three have been adjusted to fit the rhyming scheme ... Of the added lines sixteen are exactly as Dylan Thomas wrote them, and the remainder are only altered to the extent of an inversion of one or two words. He ends, rather disarmingly:
Their order might well have been different. The poem might also have been made much longer. [pp.171-72].
Somewhat predictably, the casual nature of this reconstruction has not been allowed to stand unchallenged in the new edition, Collected Poems 1934-1953 (1998), edited by Walford Davies and Ralph Maud. Their text reads as follows:
Too proud to die, broken and blind he died
The darkest way, and did not turn away,
A cold, kind man brave in his burning pride

On that darkest day. Oh, forever may
He live lightly, at last, on the last, crossed
Hill, and there grow young, under the grass, in love,

Among the long flocks, and never lie lost
Or still all the days of his death, though above
All he longed all dark for his mother's breast

Which was rest and dust, and in the kind ground
The darkest justice of death, blind and unblessed.
Let him find no rest but be fathered and found,

I prayed in the crouching room, by his blind bed.
In the muted house, one minute before
Noon, and night, and light. The rivers of the dead

Moved in his poor hand I held, and I saw
Through his faded eyes to the roots of the sea.
Go calm to your crucifixed hill, I told

The air that drew away from him.

At first sight the main difference between these two different versions of "Elegy" is simply their length. Davies and Maud have not extended the poem beyond the end of the surviving manuscript version they reprint. Nor have they made unauthorised alterations to its wording. In order to assess the full effect of Watkin's revisions and additions, though, it's probably necessary to conflate the two texts, as I've done below (italicised words and lines are Watkins' revisions to Thomas's ms. text):
Too proud to die, broken and blind he died
The darkest way, and did not turn away,
A cold, kind man brave in his burning [narrow] pride

On that darkest day. Oh, forever may
He live lightly, at last, on the last, crossed
Hill, and there grow young, under the grass, in love, [and there grow / Young]

Among the long flocks, and never lie lost
Or still all the [numberless] days of his death, though above
[Above] All he longed all dark for his mother's breast

Which was rest and dust, and in the kind ground
The darkest justice of death, blind and unblessed.
Let him find no rest but be fathered and found,

I prayed in the crouching room, by his blind bed.
In the muted house, one minute before
Noon, and night, and light. The rivers of the dead

[Veined] Moved in his poor hand I held, and I saw
Through his faded [unseeing] eyes to the roots of the sea.
[Go calm to your crucifixed hill, I told

The air that drew away from him.]

[(An old tormented man three-quarters blind,

I am not too proud to cry that He and he
Will never never go out of my mind.
All his bones crying, and poor in all but pain,

Being innocent, he dreaded that he died
Hating his God, but what he was was plain:
An old kind man brave in his burning pride.

The sticks of the house were his; his books he owned.
Even as a baby he had never cried;
Nor did he now, save to his secret wound.

Out of his eyes I saw the last light glide.
Here among the light of the lording sky
An old man is with me where I go

Walking in the meadows of his son's eye
On whom a world of ills came down like snow.
He cried as he died, fearing at last the spheres'

Last sound, the world going out without a breath:
Too proud to cry, too frail to check the tears,
And caught between two nights, blindness and death.

O deepest wound of all that he should die
On that darkest day. oh, he could hide
The tears out of his eyes, too proud to cry.

Until I die he will not leave my side.)
]

Poetically, I guess there's quite a lot to be said for dumping the 23 extra lines Watkins has added to Thomas's surviving nineteen (he also cut a couple of the end of the poem as it stands). It's also a little difficult to understand why he thought it necessary to change "burning" to "narrow" pride in line three. He himself explains:
... 'burning' occurs more often than 'narrow' in the transcripts; but it was 'narrow' in that line that he quoted to me from memory when I last saw him.
Against such testimony it's hard to argue. He was there; we weren't (and neither were Davies and Maud). What does fascinate me about the whole thing is how a poet's text - even one as obsessively attentive to detail as Dylan Thomas - can still be morphing and changing fifty years after his death. As for the immense expansions of the canon in Daniel Jones' 1971 edition of The Poems,they now appear to be in disfavour. All that we are now encouraged to read of his uncollected verse are the early Notebook Poems (1930-34), available in two quite different versions, both edited by Ralph Maud: the more "scholarly" text of 1967 and the more "readerly" one of 1989.

All in all, there appear to be quite a few different Dylan Thomases to choose from. It may seem absurd to own so many books by and about him, including overlapping editions of the same poems, stories and broadcasts, but it's very difficult otherwise to feel confident exactly which version of his texts one is reading. That's not to say that the stories over, either. There are lots more books out there to collect before I can regard the question of just what should and what shouldn't be included in his canon as in any way settled:

    Dylan Marlais Thomas (1914-1953)

    Prose (including Screenplays & Broadcasts):

  1. Thomas, Dylan. Portrait of the Artist as a Young Dog. 1940. London: Guild Books, 1956.
  2. Thomas, Dylan. The Doctor and the Devils: From the Story by Donald Taylor. 1953. London: J. M. Dent, 1969.
  3. Thomas, Dylan. Quite Early One Morning: Broadcasts. Preface by Aneirin Talfan Davies. 1954. An Aldine Paperback. London: J. M. Dent, 1968.
  4. Thomas, Dylan. Adventures in the Skin Trade. 1955. London: Ace Books, 1961.
  5. Thomas, Dylan. A Prospect of the Sea and Other Stories and Prose Poems. Ed. Daniel Jones. 1955. London: J. M. Dent, 1957.
  6. Thomas, Dylan. The Beach of Falesá: Based on a Story by Robert Louis Stevenson. 1964. London: Panther, 1966.
  7. Thomas, Dylan. Two Tales: Me and My Bike, Rebecca's Daughters. Ed. Sydney Box. Illustrations by Rebecca Box. 1965 & 1965. London: Sphere Books Limited, 1968.
  8. Thomas, Dylan. Early Prose Writings. Ed. Walford Davies. London: J. M. Dent & Sons Ltd., 1971.
  9. Thomas, Dylan, & John Davenport. The Death of the King’s Canary. Introduction by Constantine FitzGibbon. 1976. Harmondsworth: Penguin, 1978.
  10. Thomas, Dylan. The Collected Stories. Foreword by Leslie Norris. Everyman Fiction. London: J. M. Dent, 1983.

  11. Poetry (including Drama):

  12. Thomas, Dylan. Deaths and Entrances: Poems. 1946. London: J. M. Dent & Sons Ltd., 1947.
  13. Thomas, Dylan. Collected Poems 1934-1952. 1952. An Aldine Paperback. London: J. M. Dent, 1974.
  14. Thomas, Dylan. Under Milk Wood: A Play for Voices. Preface by Daniel Jones. 1954. London: J. M. Dent, 1954.
  15. Maud, Ralph, ed. Poet in the Making: the Notebooks of Dylan Thomas. 1967. London: J. M. Dent, 1968.
  16. Thomas, Dylan. The Poems. Ed. Daniel Jones. 1971. London: J. M. Dent & Sons Ltd., 1978.
  17. Thomas, Dylan. The Notebook Poems: 1930-1934. Ed. Ralph Maud. 1989. Everyman’s Library. London: J. M. Dent, 1990.
  18. Thomas, Dylan. Collected Poems 1934-1953. Ed. Walford Davies & Ralph Maud. 1998. A Phoenix Paperback. London: Orion Books Ltd., 2000.

  19. Collected Works:

  20. Thomas, Dylan. The Dylan Thomas Omnibus: Under Milk Wood, Poems, Stories and Broadcasts. Ed. Walford Davies & Ralph Maud. A Phoenix Giant Paperback. London: Orion Books Ltd., 1995.

  21. Biography & Letters:

  22. Brinnin, John Malcolm. Dylan Thomas in America. 1956. An Aldine Paperback. London: J. M. Dent, 1965.
  23. Thomas, Dylan. Letters to Vernon Watkins. Ed. Vernon Watkins. 1957. An Aldine Paperback. London: J. M. Dent & Faber, 1967.
  24. Tedlock, E. W. ed. Dylan Thomas: The Legend and the Poet. A Symposium. 1960. London: Mercury Books, 1963.
  25. Ferris, Paul. Dylan Thomas. 1977. Harmondsworth: Penguin, 1978.
  26. Thomas, Dylan. The Collected Letters. Ed. Paul Ferris. 1985. London: Paladin, 1987.
  27. Ackerman, John. A Dylan Thomas Companion: Life, Poetry and Prose. 1991. Macmillan. London: The Macmillan Press Ltd., 1994.

Please let me know if you see something obvious there that I've missed. There must have been a time in the 50s and 60s when virtually any book - broadcasts, old film scripts, anthologies - with the name "Dylan Thomas" on the cover was assured of a ready sale.



[Richard Knights: Dylan Thomas's writing shed (Laugharne, Wales)]


Sunday, May 05, 2013

Doubting Thomases (1): Edward Thomas



[Matthew Hollis: Now All Roads Lead to France (2011)]


I've just been reading a fascinating new biography of Edward Thomas entitled Now All Roads Lead to France, by a certain Matthew Hollis. It's really the first book I've ever come across which seems to do justice to this strangest and most solitary of poets.



[Clifford Harper: Strange Meetings]


What was he, after all? Not really a war poet, although he's often grouped with Owen, Sassoon and Rosenberg. None of his poems is exactly about the war, though it's looming at the back of almost all of them.



[Sir Edward Marsh, ed.: Georgian Poetry (1911-12)]


Not a Georgian, either. He didn't appear in any of Eddie Marsh's five bi-annual anthologies, and - while he knew and was close to many of the contributors - even his nature poetry was somehow in a different vein from theirs: more urgent, embattled, harsh ...



For that matter, he wasn't really English. He always felt like a foreigner there. But then he wasn't exactly Welsh either. For all his sentimental attachment to the country of his ancestors, he was born in London and it was the countryside of the Home Counties that he knew best, and which he celebrated in some of his greatest poems ...



He certainly wasn't an Imagist, or a Vorticist, or a member of any of those early Modernist movements promoted by Ezra Pound and his friends in those heady days just before the war (though he did know Pound, and even reviewed him favourably - on occasion).



[Matthew Spencer, ed.: Elected Friends (2004)]


He's often seen, instead, as a member of a group of two, consisting of himself and Robert Frost. It was Frost, after all, who coined that phrase about the "sound of sense" which was supposed to characterise the lyrics and blank verse in early books such as North of Boston or Mountain Interval.

Without Frost, and his friendship and encouragement, it's quite possible that there would have been no poems at all by Edward Thomas, but - despite that - the two still don't sound all that similar. "The Road Not Taken," beautiful though it is, has a kind of cracker-barrel common-sensical tone to it which does not characterise Thomas poems such as "This is no case of petty right or wrong" or "As the team's head-brass" ...

Here are a few stanzas (the most famous ones) from his long poem "Roads" (1916):

Now all roads lead to France
And heavy is the tread
Of the living; but the dead
Returning lightly dance:

Whatever the road bring
To me or take from me,
They keep me company
With their pattering,

Crowding the solitude
Of the loops over the downs,
Hushing the roar of towns
And their brief multitude.

They're not really startlingly well-written. He was never entirely easy in his relationship to rhyme. As a prose-writer with over a decade's experience before he turned to writing prose, blank verse was a far more natural idiom for him. But, like Hardy and Melville before him, somehow this slight clumsiness seems to turn to his advantage.

One never feels that Edward Thomas is saying something for the rhyme, or because the ease of idiom has lured him on. Again and again, it's that slight roughness in the voice that catches the attention, that explain why this body of poetry written between 1913 and 1917 continues to live when other, more facile voices have faded away almost entirely.



[Edward Thomas (1878-1917)]


    Philip Edward Thomas (1878-1917)

    Prose:

  1. Thomas, Edward. The Heart of England. 1906. Foreword and Wood-Engravings by Eric Fitch Daglish. The Open-Air Library. London & Toronto: J. M. Dent & Sons Ltd., 1932.
  2. Thomas, Edward. Richard Jefferies: His Life and Work. 1909. London: Hutchinson & Co., n.d.
  3. Thomas, Edward. A Literary Pilgrim in England. 1917. Oxford Paperbacks. Oxford: Oxford University Press, 1980.
  4. Gant, Roland, ed. The Prose of Edward Thomas. Introduction by Helen Thomas. London: The Falcon Press Limited, 1948.
  5. Thomas, Edward. Selected Poems and Prose. Ed. David Wright. Penguin English Library. Harmondsworth: Penguin, 1981.

  6. Poetry:

  7. Thomas, Edward. Poems and Last Poems (Arranged in Chronological Order of Composition). Ed. Edna Longley. 1917 & 1918. Collins Annotated Student Texts. London & Glasgow: Collins Publishers, 1973.
  8. Thomas, Edward. Collected Poems. Foreword by Walter de la Mare. 1920. London & Boston: Faber, 1979.
  9. Thomas, Edward. The Collected Poems. Ed. R. George Thomas. 1978. Oxford Paperbacks. Oxford: Oxford University Press, 1981.
  10. Thomas, Edward. The Annotated Collected Poems. Ed. Edna Longley. 2008. Highgreen, Tarset, Northumberland: Bloodaxe Books Ltd., 2011.

  11. Secondary:

  12. Thomas, Helen, with Myfanwy Thomas. Under Storm’s Wing: As It Was, World without End &c. 1926, 1931 & 1988. Paladin Grafton Books. London: Collins Publishing Group, 1990.
  13. Farjeon, Eleanor. Edward Thomas: The Last Four Years. 1958. Oxford Paperbacks. Oxford: Oxford University Press, 1979.
  14. Hollis, Matthew. Now All Roads Lead to France: The Last Years of Edward Thomas. 2011. London: Faber, 2012.

I love his poetry. I've loved it ever since I first bought a copy of Edna Longley's annotated edition of Poems & Last Poems sometime back in the early 80s. Most people come to Thomas through the Collected Poems, I suspect, with its slightly carping (and sentimental) preface by Walter de la Mare - and its rather odd ordering of the poems.

The advantage of Longley's edition (now available, in greatly expanded and revised form, as the Annotated Collected Poems) was its chronological arrangement. One could see where Thomas began and where he ended. The disadvantage was that she couldn't include the extra poems not included in either of those two books, which meant that his very first substantial poem, for instance ("Up in the Wind"), had to be excluded.

It did include one of my very favourite poems, though - "The Gallows":

There was a weasel lived in the sun
With all his family,
Till a keeper shot him with his gun
And hung him up on a tree,
Where he swings in the wind and rain,
In the sun and in the snow,
Without pleasure, without pain,
On the dead oak tree bough.

What price The Wind in the Willows now? There's something distinctly unsentimental, knowledgeable about Thomas's view of gamekeepers. He and Frost had a run-in with one once which sayed in his mind for a long time afterwards. He somehow persuaded himself that Frost, by offering to fight the man, had acted the hero, while he, by trying to calm the situation down, had proved his own cowardice. Hollis sees this as one of the motivations that drove him to enlist as a soldier.

There was a crow who was no sleeper,
But a thief and a murderer
Till a very late hour; and this keeper
Made him one of the things that were,
To hang and flap in rain and wind,
In the sun and in the snow.
There are no more sins to be sinned
On the dead oak tree bough.

"Made him one of the things that were." Do you see what I mean about that slight clumsiness, that catch in the throat that makes him phrases stick in your mind whether you like it or not. It's not clear if he admires the crow or not, but he certainly knows him. "There are no more sins to be sinned / On the dead oak tree bough": have you ever come across a more brutally reductionist view of the afterlife than that?

There was a magpie, too,
Had a long tongue and a long tail;
He could both talk and do -
But what did that avail?
He, too, flaps in the wind and rain
Alongside weasel and crow,
Without pleasure, without pain,
On the dead oak tree bough.

Here I think Thomas makes a brief appearance in his own poem: "He could both talk and do - / But what did that avail?" What better summary of the first decade of his adult life? The endless string of books, articles, reviews, each bringing in a pittance - the terrible grinding poverty of his married life, the hungry children, the need he had to retreat from them periodically in order to "spare them" from his black moods.

One day he took a revolver (or a bottle of poison: it isn't clear) and went out in the woods to kill himself. He was interrupted before he could do it, but ever afterwards he made sure to have the "means" close to hand - he couldn't rest otherwise. He wrote a short story about it, but there's little doubt that it's a real experience he's writing about.

And many other beasts
And birds, skin, bone, and feather,
Have been taken from their feasts
And hung up there together,
To swing and have endless leisure
In the sun and in the snow,
Without pain, without pleasure,
On the dead oak tree bough.

Thomas, an artilleryman, was killed by a German shell which went so close to him that it literally sucked the life out of him (he'd narrowly escaped being blown up the day before by one which proved to be a dud - they'd all been celebrating his narrow escape just hours before).

He kept a diary in the trenches, and there are even a few lines of verse in it. He had a lot more to say, a lot more development to live through. it's hard to avoid the impression, at times, though, that for him this solitary death was a blessed release.

Whatever the truth of that, his poetry repays study. He's not one of those writers you can "quite like" - with Edward Thomas, you either love him or are indifferent to him. I find his lines, some of them, sounding in my head almost every day.

Funnily enough, though he wrote so much in such a short time, the literary critical battles continue over the best way to present his texts. R. George Thomas's 1978 edition of the Collected Poems superseded both the existing Faber text and Edna Longley's annotated edition. Thirty years later, though, her Annotated Collected Poems restores a number of the titles given the poems by Thomas's first post-war editors, rather than the first-line titles preferred by the 1978 editor.

Who can say who's right? The matter is a complex one, but one which rouses strong passions in his admirers. It seems somehow characteristic of this contrary, complicated man that a stable text of his poems can never really be established for certain.

I prefer to see it as a series of Thomases, each subtly different, looking up at me from each of the settings which have been contrived for his poems. Hollis has given us one more, but a particularly fascinating and well-informed one.

Thinking about him got me to thinking about some other "Thomas' poets, though. Coincidentally, I happen to have bought books by all three of them in the past few weeks, so it seemed a good excuse to do a spot of comparing. All Welsh - though in very different ways - all obsessed with death - though, again, quite dissimilarly ...



[Stanley Spencer: The Resurrection of the Soldiers (1928-29)]