Causley's mastery of traditional forms imparts a timeless quality to his poetry, the voice of which is more often communal than personal. So it's possible to imagine narratives such as 'Miller's End' being recited round a fireside a hundred or more years ago. This traditionalism has sometimes obscured the daring of his imagery, a visionary quality as strange and intense as one of his acknowledged masters, William Blake. Like Blake, a central concern is the fall from innocence to experience and it's not surprising children feature constantly in Causley's poetry, including the much anthologised 'Timothy Winters'. Indeed Causley wrote some of his finest poems for children and saw no distinction between these two strands of his work. Perhaps Causley's ability to retain a child-like openness in part explains the freshness of his writing: unlike the narrator of 'The Lunatic Boy', Causley never lost his vision of a world where "Houses put on leaves, water rang."
Given the oral roots of some of his favourite forms, it's immensely valuable to be able to listen to Causley's own interpretation. His Cornish burr imparts a story-teller's magic to the ballads, and an intimacy to more personal poems such as the moving elegy to his parents, 'Eden Rock'. As he says in the last line of this poem "I had not thought that it would be like this", a fitting epitaph for a poet who continued to be surprised by the world throughout his long life.
His recording was made for The Poetry Archive on 5 December 2002 at the home of a friend of Mr. Causley in Launceston, Cornwall, UK and was produced by Richard Carrington.