I first read Dylan Thomas at 14-15, in the Faber Book of Modern Verse.
I loved what I read, but understanding wasn't part of the pleasure.
It was Thomas' music, as Ira says, that entered me, and stayed there.
I still feel a sense of raw urgency when I read him. WCW said "Don't
try to understand the modern poem" - I concur to a degree, but I think
it's important to work hard at difficult poetry: finding great music
that arrests the inner attention is as/more/valid as locating parcels
of "meaning". I've only just started reading Prynne, (I wanted to push
through the standing crowd to see the focus of their amazement)
and I'm not understanding much of what he writes, yet I appreciate
his risky syntax and the view beyond his foggy windows. It's been worth
the effort. Same for a lot of poets I read, but Thomas is one I often
return to, because of the music in accessible poems like 'Fern Hill'
and 'In my Craft or Sullen Art' and the more opaque 'In the White Giant's
Thigh' 'Ballad of the Long-legged Bait' etc. I forget which Thomas poems
were in that red Faber paperback I used to carry everywhere, but
I remember they contained both shocks of recognition and confusion:
I loved that combination then, and I love it now. It keeps me reading.
Best,
Anthony
......................................................
Anthony Lawrence
PO Box 75
Sandy Bay
Tasmania 7006
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