"These two verse plays, written and produced for sound radio, and fine examples of the release from limitation of time and space, the extension of scope, which this medium can offer to a writer who understands its powers and knows how to make use of them. When it was first released, in 1948, A Single Taper recieved widespread attention as a stricking tour de force, portraying as it does with agonising immediacy the sensations of an artist patient undergoing the operation of eye-trephine under a merely local anaesthetic. But the play has a more lasting interest than mere novelty of subject. The artist's terrible awareness of the light and the dark is expressed with an intensity, a haunting cadence, a sudden originality of epithet and metaphor, which achieve true poetry.
The second play, The Inward Eye : Boy 1913, is a charming nostalgic picture of a day in a boy's life before the wars, one of those sunny summer childhood days which shine down our later troubled years as golden interludes of felicity. Readers who delight in Ronald Scriven's verses in Punch (an look eagerly each week to see if he if he figure there) will recognise again in this play his power of painting in words not only a landscqpe in all its bright, delicately coloured details, but also the feel which the landscape evokes; not only the map of 'road, river, field-path, village spire' but also: 'everytruth the detailed six-inch Ordanace cannot state.'
It is this feeling implicit in his closely observed landscapes, this rendering of the impression made by an outward scene upon a very sensitive inward eye, which gives Ronald Scriven's verse its tension and poignancy and makes it echo in the memeory." ---- Phyllis Bentley (Introduction ~ Halifax, 1952)
Condition - Good - ageing in colour of cover with markings and and water stained area on the back near spine