The poem received largely positive reviews and was acclaimed by writers such as Herbert Read, W. H. Auden, Kathleen Raine and William Carlos Williams. Douglas Cleverdon produced dramatised readings of "In Parenthesis" and "The Anathemata" for the BBC Third Programme. Until 1960, Jones worked on a long poem, of which "The Anathemata" was intended to form part. Sections of the work were published mainly in the magazine "Agenda", and in 1974 were published as "The Sleeping Lord and Other Fragments" (again by Faber). A posthumous volume of previously-unseen materials was edited by Harman Grisewood and René Hague and published by Agenda Editions as "The Roman Quarry". On 11 November 1985, Jones was among sixteen Great War poets commemorated on a slate stone unveiled in Westminster Abbey's Poets' Corner. The inscription on the stone was written by a fellow Great War poet, Wilfred Owen. It reads: "My subject is War, and the pity of War. The Poetry is in the pity." In 2002, the text of three short poems was published for the first time in "Wedding Poems", edited by Thomas Dilworth. Two of these poems ("Prothalamion" and "Epithalamion", amounting to 271 lines) had been written while Jones was living in London during the Blitz, for the marriage of Harman Grisewood to Margaret Bailey. The third poem, "The Brenner" (24 lines), had been written on 18 March 1940 to mark the meeting of Benito Mussolini and Adolf Hitler on the Brenner Pass. According to their editor publication of these poems brought into print "all the known completed poetry by David Jones". Jones wrote a number of essays on art, literature, religion and history. He wrote introductions for a few books such as a new edition of George Borrow's "Wild Wales"; he gave radio talks on the BBC Third Programme; he even tried his hand at an extended consideration of Coleridge's poem for a reprinting of "The Rime of the Ancient Mariner" featuring his own introduction and illustrations with a series of copper engravings. His essays were published in two collections, "Epoch and Artist" (Faber, 1959) and "The Dying Gaul" – another posthumous volume edited by a close friend and published by Faber in 1978. The most thorough exposition of David Jones's views on aesthetics and culture is his essay, "Art and Sacrament" (included in "Epoch and Artist"), which explores the meaning of signs and symbols in everyday life, relates them to Roman Catholic teachings such as the dogma of transubstantiation, and argues that human beings are the only animals which create "gratuitous" works, thus making them creators analogous to God.