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“... He was of course a fierce opponent of biography. I remember a review he wrote of a biography of Dylan Thomas: who else, I wondered, could write about Thomas and scarcely mention drink and money? You had to admire it in a way but it was also pretty annoying: who do these incantators think they are? But then Hughes did ...”

“... Spenser and Shakespeare and Donne, through Milton and Blake and Keats, to David Jones, Gascoyne, Dylan Thomas, Nicholas Moore, to Lee Harwood’s Cable Street, Bill Griffiths’s Whitechapel and Brian Catling’s The Stumbling Block. London infected its interpreters, soliciting contributions to an open-ended project. The names of the poets were the ...”

“... order of service is a scream,’ I said. ‘A reading from The West Highland Railway by John Thomas?’ ‘Well, there you are.’ ‘Also a reading from The Liverpool Repertory Theatre, 1911-34. Followed by a bit of Macaulay’s “The Passing of the Second Reading of the Reform Bill”, read by Lord Mayhew. Address by Alasdair Milne, Director ...”

“... have almost the whole of value-culture from Bach to Britten, from Bosch to Picasso, from Donne to Dylan Thomas, consigned to the dustbin’. Apparently the continents of Asia, Africa and South America do not exist except as the homelands of superstition and benighted savagery. Value-culture is the mark of ‘our’ superiority, and it is ludicrous to ...”

“... own turn towards spiritualism. The poem echoes, to different and clearly parodic effect, the Dylan Thomas of ‘Fern Hill’: ‘In the green rags of the Bible I tore up/The straight silk of childhood on my head.’ It is, for Tonks, unusually dense and incrusted with the Dylanesque verbal impasto of the 1940s poets, the ‘new romantics’ she ...”

“... were on the margin, is far from being a stranger to mainstream anthologies, while Basil Bunting, Dylan Thomas, Edwin Morgan, R.S. Thomas, Iain Crichton Smith, Thom Gunn, Hugh MacDiarmid and Norman MacCaig are unassailably part of our consciousness of the poetic landscape. Auden and MacNeice, too, though the omission ...”

“... had been engaged two or three times by the time she was twenty). She wrote to the 18-year-old Dylan Thomas in Swansea when he in turn won a prize in the Referee’s ‘Poet’s Corner’ and soon they were sending each other passionate worked-up letters. Thomas pretended that he was 21; when he first came to visit ...”

“... by ‘negative feedback’: Auden brings back forms and metres ‘in chic contemporary guise’; Dylan Thomas causes ‘a blockage against intelligence’; even ‘the Movement’ itself – the incisively intelligent ‘academic-administrative’ verses of Larkin, Wain and Enright – could not help endorsing the most negative feedback of all ...”

“... revolved around certain pubs in Soho, Fitzrovia or the immediate environs of Broadcasting House. Dylan Thomas was much in use as an actor and a voice as well as a writer. A guest list for a Features party planned in 1951 included Henry Reed, Lawrence Durrell. Christopher Fry, C. Day Lewis, Lennox Berkeley, Michael Tippett, William Walton, Laurie Lee and ...”

“... Bob Dylan’s​ first album, recorded in New York in late 1961, was simply called Bob Dylan. The creation of ‘Bob Dylan’ – the persona, the sound, the look – was as important as the record’s contents. He’d been using the alias since the summer of 1960 ...”

“... resembles – in his sometime melodrama, his lush wordscapes, his focus on eros and elegy – is Dylan Thomas. Powell has (as Thomas did not) a love for rough edges, an attention (sometimes unwilling) to popular culture and an ear for other people’s speech: but he has, too, ...”

“... In ‘Saying no’ (1960), for instance, Enright elevates his rejection of the flamboyance of Dylan Thomas and the Apocalyptics into a moral injunction: Epochs of parakeets, of peacocks, of paradisiac birds – Then one bald owl croaked, No. Such table-thumping seems a bit dated now – one is inadvertently reminded of television’s ‘Just Say ...”

“... identified in Graham’s voice as ‘a strange hostility towards the reader’. The influence of Dylan Thomas has often been noticed, and the effect of the densely packed verbalism is, as in Thomas, principally to imply the labour that has gone into making the poem. You certainly couldn’t get further from the ...”

“... writer ought to be his language,’ and repeats the attack by Bobi Jones, a learner of Welsh, on Dylan Thomas for ‘importing and adapting culture from an uninteresting and impoverished England’. In both statements Welsh-speakers are not only claiming what is certainly their right and privilege, to prefer one culture to another: they are also seeking ...”

“... reviewers seemed to resist were not Hecht’s Audenesque tendencies, but the further influence of Dylan Thomas and Hart Crane, who could not write without overwriting.Born in 1923 in New York City, Hecht had a privileged but disrupted childhood. His father worked at a fake job paid for by his father-in-law. The boy attended private schools, rarely ...”