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The work of Dylan Thomas has occasioned much critical commentary, although critics share no consensus on how bright his star shines in the galaxy of modern poetry. In fact, it is a curious phenomenon that so many critics seem obsessed with deciding once and for all whether Thomas's poems belong side by side with those of T. S. Eliot and W. H. Auden, or whether they are—in the words of a reputable critic quoted by Henry Treece in Dylan Thomas: "Dog Among the Fairies"—"intellectual fakes of the highest class." The latter is definitely a minority opinion; yet even Treece, an acquaintance of Thomas's, had to admit that the poet's work is "extremely ill-balanced."
The estimation of the work has often been colored by an estimation of the man. Until Constantine FitzGibbon's The Life of Dylan Thomas in 1965, Thomas's biography was dominated by numerous unflattering published reminiscences, among them the graphically detailed account of John Malcolm Brinnin's Dylan Thomas in America, concerning, in part, the poet's drinking and philandering during his last years in America. Though FitzGibbon sympathetically glossed over Thomas's drinking habits, the facts reported by Brinnin and others and corroborated in Paul Ferris's Dylan Thomas support the idea that Thomas frequently drank to excess, and that such drinking adversely affected his social behavior. Personal details such as these tended to render objective evaluations of the poetry difficult. Indeed, the legend of Dylan Thomas grew: the hard-drinking bard, the erratic chanter of his own songs, the romantic artist at odds with the modern world.
Thomas began writing poetry as a child, publishing his work in school magazines. By 1930 he had taken to writing poems in penny notebooks; a number of his poems were published in the "Poet's Corner" of the Sunday Referee and in the influential New Verse. Ralph Maud, in Entrances to Dylan Thomas's Poetry, declared that the writer's first published poem was the subsequently popular "And death shall have no dominion," which appeared on May 8, 1933, in the New English Weekly.
The notebooks in which Thomas composed between 1930 and 1934, when he was sixteen to twenty years old, reveal the young poet's struggle with a number of personal crises, the origins of which are rather obscure. In his 1965 Dylan Thomas, Jacob Korg described them as "related to love affairs, to industrial civilization, and to the youthful problems of finding one's identity." Revised versions of some of the notebooks' poems became in 1934 his first published volume of poetry, Eighteen Poems.
Eighteen Poems was published in December, 1934, a short time after Thomas moved to London. The volume received little notice at first, but by the following spring some influential newspapers and journals had reviewed it favorably. Ferris quoted from an anonymous review in the Morning Post that called the poems "individual but not private" and went on to strike a note that later became a frequent criticism: "a psychologist would observe Mr. Thomas's constant use of images and epithets which are secretory or glandular." Ferris also quoted a critic for Time and Tide, who wrote: "This is not merely a book of unusual promise; it is more probably the sort of bomb that bursts not more than once in three years." The book was also reviewed favorably by Spectator, New Verse, and the Times Literary Supplement.
Like James Joyce before him, Dylan Thomas was obsessed with words—with their sound and rhythm and especially with their possibilities for multiple meanings. This richness of meaning, an often illogical and revolutionary syntax, and catalogues of cosmic and sexual imagery render Thomas's early poetry original and difficult. In a letter to Richard Church, included by FitzGibbon in Selected Letters.

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