The letter of Ted Hughes

https://www.lrb.co.uk/v29/n23/tom-paulin/entrepreneurship

“Hughes’s prose in his letters is always urgent and compulsive, but there are moments of tender observation, as in a letter to Edna Wholey in 1950, where he says he

heard a commotion in the hedge, and after a while, out trundled a hedgehog, merry as you like, and obviously out for a good time. I thought he might make a jolly companion for an evening so I brought him in. After a while I noticed he had disappeared and later heard a noise just like the sobbing of a little child, but very faint, and it continued for long enough. I traced it to a pile of boxes, and there was my comrade, with his nose pressed in a pool of tears, and his face all wet, and snivelling and snuffling his heart out. I could have kissed him for compassion. I don’t know why I’m so sympathetic towards hedgehogs.

Such moments are like dummy runs for poems, and they remind us of the animist tenderness in Hughes’s writing, a tenderness that plays against his celebration of feral power. It’s like the last line of a short early poem ‘Snowdrop’ – ‘Her pale head heavy as metal’ – where nature and human artifice come gently together.

Inevitably, though, it is biographical interest that these letters stimulate. We catch Hughes’s early undergraduate life at Cambridge in 1952, when, writing to his sister, Olwyn, he says that sometimes he thinks Cambridge is ‘wonderful’, at others ‘a ditch full of clear cold water where all the frogs have died. It is a bird without feathers; a purse without money; an old dry apple, or the gutters run pure claret.’ This sounds very like Lawrence, except for the balancing, divided attitude. Hughes, it’s clear, is the most important writer to emerge from English Nonconformism since Lawrence. Like him Hughes writes to the moment with a voracious intensity. Yet in an unusually assured comment on the Anglican Swift (he was only 22) he tells Olwyn that Swift is the ‘only stylist’. Swift’s excellence is a talent for ‘clarity simplicity and power’ (note the lack of commas as in ‘mud water fire and air’). Swift’s writing is ‘the bedrock from which every writer must start’.”