Dylan Thomas was one of the most extraordinary poetic talents of the twentieth century. Poems such as 'Do not go gentle into that good night' regularly top polls of the nation's favourites and his much-loved play Under Milk Wood has never been out of print. Thomas lived a life that was rarely without incident and died a death that has gone down in legend as the epitome of Bohemian dissoluteness. In The Three Lives of Dylan Thomas, journalist Hilly Janes explores that life and its extraordinary legacy through the eyes of her father, the artist Alfred Janes, who was a member of Thomas's inner circle and painted the poet at three key moments: in 1934, 1953 and, posthumously, 1964. Using these portraits as focal points, and drawing on a personal archive that includes drawings, diaries, letters and new interviews with omas's friends and descendants, The Three Lives of Dylan Thomas plots the poet's tempestuous journey from his birthplace in Swansea to his early death in a New York hospital in 1953. In this innovative and powerful narrative, Hilly Janes paints her own portrait: one that ventures beneath Thomas's reputation as a feckless, disloyal, boozy Welsh bard to reveal a much more complex character.

Ugly, Lovely: Dylan's Swansea and Carmarthenshire of the 1950s in Pictures is a touching collection of Ethel's photos accompanied by quotes from Dylan Thomas' poetry and her own comments.

In 1949, after years of nomadic existence, nine-year-old Aeronwy Thomas and her family arrived at the Boat House in Laugharne, a small village on the Welsh coast. Here her father, the poet Dylan Thomas and mother, Caitlin, hoped to find peace, a place to settle and work. In Laugharne Dylan began some of his most famous works, including Under Milk Wood. Mornings were spent in Brown's Hotel, listening to the gossip at Ivy William's kitchen table. In the afternoons Caitlin would lock the poet into a shed in the garden, where he sat speaking his verse aloud as he wrote, or composed begging letters to patrons and friends. Often he would head off to London, and old haunts. Little Aeronwy enjoyed the new world around her. In the Boat House, ruled over by Caitlin, there was baby Colm and in the holidays visits from big brother Llewellyn, as well as Dolly, the cleaner and cook, and the house became a refuge for village characters, including Booda the deaf, mute ferry man. The memoir paints scenes of sudden drama and poetry: reading Wind in the Willows with her father in the evenings; fish treading in the mud below the house with her mother; afternoons with Grandma Flo and DJ at the Pelican. Dylan's fame grows and he tours the United States to read his poetry. Aeronwy watches as the marriage fractures, and at last the poet dies in New York, far away from his children. My Father's Places is a deeply moving portrait of growing up and an insight into the origins and the legacy of Dylan Thomas's poetry.

Discovering Dylan Thomas is a companion to Dylan Thomas’s published and notebook poems. It includes hitherto-unseen material contained in the recently-discovered fifth notebook, alongside poems, drafts and critical material including summaries of the critical reception of individual poems. The introductory essay considers the task of editing and annotating Thomas, the reception of the Collected Poems and the state of the Dylan Thomas industry, and the nature of Thomas’s reading, ‘influences’, allusions and intertextuality. It is followed by supplementary poems, including juvenilia and the notebook poems ‘The Woman Speaks’, original versions of ‘Grief thief of time’ and ‘I fellowed sleep’, and ‘Jack of Christ’, all of which were omitted from the Collected Poems. These are followed by annotations beginning with a discussion of Thomas’s juvenilia, and the relationship between plagiarism and parody in his work; poem-by-poem entries offer glosses, new material from the fifth notebook, critical histories for each poem, and variants of poems such as ‘Holy Spring’ and ‘On a Wedding Anniversary’ (including a magnificent, previously unpublished first draft of ‘A Refusal to Mourn’). The closing appendices deal with text and publication details for the collections Thomas published in his lifetime, the provenance and contents of the fifth notebook, and errata for the hardback edition of the Collected Poems.

An accessible introduction to the life and work of the inventive Welsh poet. Dylan Thomas—author of some of the century’s greatest poetry, stories, and film scripts as well as one of the greatest radio features ever broadcast, Under Milk Wood—is often characterized as self-indulgent. This concise and up-to-date biography challenges this depiction with a fresh portrait of the artist as a consummate professional. John Goodby and Chris Wigginton locate the source of Thomas’s daring and inventive style in the poet’s Anglo-Welsh origins as well as his historical, cultural, and social contexts: the Great Depression and 1930s literary London, surrealism, World War II, and Cold War popular culture. The result is a revealing and fresh introduction to the life and work of this important Welsh writer.

Between May 1930 and August 1935, Dylan Thomas kept numerous notebooks of poems. They contain the drafts of almost all of the work that would form his first two reputation-making collections, 18 Poems (1934) and Twenty-five Poems (1936), and many of those in his third collection, The Map of Love (1939). Thomas sold four of the notebooks, spanning May 1930 to May 1934, to the University of Buffalo in 1941. However, the existence of a fifth notebook, covering the period June 1934 to August 1935, was unknown until 2014, the centenary of his birth. The Fifth Notebook of Dylan Thomas makes this newly-discovered text available to readers and researchers for the first time. It contains the only existing MSS versions of Thomas's most challenging poems, 'I, in my intricate image' and 'Altarwise by owl-light', and fourteen other early poems. It contains facsimiles and full transcripts of the originals, is annotated throughout, and has a full scholarly introduction. Exploring the contexts of these brilliant and experimental lyrics – many with substantial reworkings and variant passages – this landmark publication sheds new light on the creative practice of one of the most important and well-known poets of the twentieth century.