By Keith Sagar
A literary determine frequently overshadowed via his famed spouse, Sylvia Plath, and their bothered marriage, Ted Hughes used to be a super poet in his personal correct who wrote one of the most vital British poetry of the 20 th century. the 1st in-depth learn of Hughes’s personal papers released after his loss of life, The Laughter of Foxes, is right here provided in a newly revised moment version. An intimate but severe survey of Hughes’s paintings, The Laughter of Foxes is penned via an acclaimed pupil and one among Hughes’ closest friends. Keith Sagar probes all features of the poet's lifestyles and paintings, delving into the specifics of his existence as published by way of his writings and correspondence. a wide range of topics—including the mythic mind's eye, the poetic courting among Plath and Hughes, and an in depth research of Hughes’s poem “A Dove got here” via its evolving drafts—reveals attention-grabbing new avenues of literary and biographical research in Hughes’s paintings. Augmenting the wealthy textual content during this variation are excerpts of letters from Hughes to Sagar, an in depth chronology of Hughes’s lifestyles via Ann Skea, and the 1st booklet of the tale "Crow." Sagar additionally revisits his unique creation during this new version, increasing it with extra insights into Hughes’s poetry in addition to an in depth account of Hughes’s model of Euripedes’ Alcestis. A compelling research that the day-by-day Telegraph referred to as “invaluable for a person drawn to Hughes’ work,” The Laughter of Foxes reveals the fellow in the back of the parable who struggled to rework his inventive lifestyles from discomfort into wish.
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Additional resources for The Laughter of Foxes, Second Edition: A Study of Ted Hughes (Liverpool University Press - Liverpool English Texts & Studies)
Example text
December – Oresteia performed at National Theatre. International conference on Hughes planned for Lyon in February 2000. CHAPTER ONE The Mythic Imagination In his address at the Memorial Service for Ted Hughes at Westminster Abbey, Seamus Heaney claimed that as DNA is the genetic code for the human body, so myth is the poetic code for the human spirit. By myth he meant not only the great body of named myths we have inherited from the ancient world, but any imaginative work that consciously or unconsciously takes on an identifiably mythic shape.
Reads with Tony Harrison in York. Goes to the Macedonia Poetry Festival. 6 October – Reading for Poetry Day (National Theatre) with Simon Armitage (‘The Earthenware Head’, ‘Anniversary’, ‘The Last of the 1st/5th Lancashire Fusiliers’). December – In London for Sacred Earth Drama Group meeting. Re. The Mermaid’s Purse – Reg Lloyd ‘disengaged from it and another illustrator found by Fabers’ (Conversation with AS). Sets aside his work on Alcestis to start work on The Oresteia (commissioned by the Northcott Theatre, Exeter) – ‘the best thing I have ever done.
Eliot: A Tribute (LE 150). September – The Cat and the Cuckoo (LE 2000, 250 signed): ‘my wish was to capitalise on a character study of the creature. My model was runic knots … mnemonic quipus’ (PBS Notes, Autumn 1995). The Complete Poems of Keith Douglas, Graham (introduction); The Singing Brink, Dooley and Hunter, (introduction); ‘An Introduction to “The Thought Fox”’ (essay); ‘To parse or not to parse’ (letter); ‘On Sylvia Plath’s biographers’ (letter); ‘No chance for fishery interests’ (letter); ‘The place where Sylvia Plath should rest in peace’ (letter); ‘Sylvia Plath: the facts about her life and the desecration of her grave’ (letter); ‘Where research becomes intrusion’ (letter).
