By William York Tindall
This publication comprises analyses of (apparently) all of Thomas's poems, provided within the related order because the poems themselves within the gathered variation of 1952.
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Extra resources for A Reader's Guide to Dylan Thomas (Reader's Guides)
22. 23. 24. 25. 26. 27. 28. 3 (1994), pp. 127–53. , Introducing Don DeLillo (Durham: Duke University Press, 1991), pp. 175–91. , New Essays on ‘‘White Noise’’ (Cambridge: Cambridge University Press, 1992), pp. 87–113. , Conversations with Don DeLillo (Jackson: University Press of Mississippi, 2005), p. 102. DeLillo quoted in ‘‘Oswald: Myth, Mystery, and Meaning,’’ PBS Frontline forum (with DeLillo, Edward J. org/wgbh/ pages/frontline/shows/oswald/forum>. Don DeLillo, ‘‘American Blood: A Journey through the Labyrinth of Dallas and JFK,’’ Rolling Stone (December 8, 1983), p.
34. For more on this subject, see Paul Maltby, ‘‘The Romantic Metaphysics of Don DeLillo,’’ Contemporary Literature 37 (1996), pp. 263–5. 35. , Conversations, p. 8. 36. Williams uses this phrase in ‘‘A Sort of Song’’ (Selected Poems, ed. Charles Tomlinson [New York: New Directions, 1985], p. 145) and repeats it in Patterson ([New York: New Directions, 1951] pp. 14, 18, passim). 37. Saltzman, This Mad ‘‘Instead,’’ p. 17. 38. See Nel, ‘‘Don DeLillo’s Return to Form,’’ pp. 742–5. 39. James Joyce, A Portrait of the Artist as a Young Man (1916) (New York: Viking, 1964), pp.
43. , Conversations, pp. 45–6. 44. , Conversations, p. 79. 45. ‘‘I’ve always seen myself in sentences. I begin to recognize myself, word by word, as I work through a sentence. The language of my books has shaped me as a man’’ appears in DeLillo, Mao II, p. 48, and in Passaro, ‘‘Dangerous Don Delillo,’’ p. 82. 46. html>, accessed August 3, 2006. 47. , Conversations, p. 115. 26 2 PETER KNIGHT DeLillo, postmodernism, postmodernity The reason for the initial groundswell of interest in Don DeLillo in the mid1980s and the reason that White Noise (1985) has quickly become one of the most frequently taught postwar novels is that DeLillo is seen as representing the turn to postmodernism in American literature.