"I suspect that there is another factor that has somewhat complicated the reception of Dylan Thomas and still complicates his reputation in this centenary year of his birth; and that is embarrassment – a degree of cultural and political embarrassment to start with – over a writer whose near-total indifference to politics is still startling and whose attitudes to women are likely to win few allies today. But there is a deeper embarrassment yet. For so many male readers, he is the quintessential poet of adolescence. How many of us were convinced on reading him that this was what poetry was really like, heady, incantatory, obsessively sensual? How many proceeded to write terrible imitations of him in the back of school notebooks? That is what people wince over: the young Dylan, with his off-the-peg bohemianism, his obscure, symbolically coded resentments, his wild and frustrated sexuality, can look, to the literary (male) adult, like the fearful caricature of a half-forgotten self. And that embarrassment reinforces the element of caricature in depictions of him. Even the recent BBC drama about his last days in New York, with its splendid performance from Tom Hollander, reached for the mythological dressing-up trunk."