Ted Hughes: The Unauthorised Life. Jonathan Bate

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28. Goddess Revisited

       29. Smiling Public Man

       30. The Sorrows of the Deer

       31. The Return of Alcestis

       Epilogue: The Legacy

       Notes

       The Principal Works of Ted Hughes

       Suggestions for Further Reading

       Picture Section

       Acknowledgements

       Index

       Also by Jonathan Bate

       About the Author

       About the Publisher

      For Paula Jayne, again and always

      And for Barrie and Deedee Wigmore,

      because the shepherd’s hut unlocked it

       Note to the Paperback Edition

      I am most grateful to Anne Donovan, Peter Fydler, Brenda Hedden, Carol Hughes and Rowland Wymer for pointing out a number of errors, ambiguities and contested memories, which have been addressed in this edition.

      Jonathan Bate, January 2016

      As an imaginative writer, my only capital is my own life

      Ted Hughes (1992)

      When you sit with your pen, every year of your life is right there, wired into the communication between your brain and your writing hand … Maybe all poetry, insofar as it moves us and connects with us, is a revealing of something that the writer doesn’t actually want to say but desperately needs to communicate, to be delivered of. Perhaps it’s the need to keep it hidden that makes it poetic – makes it poetry. The writer daren’t actually put it into words, so it leaks out obliquely, smuggled through analogies … we’re actually saying something we desperately need to share. The real mystery is this strange need. Why can’t we just hide it and shut up? Why do we have to blab? Why do human beings need to confess? Maybe if you don’t have that secret confession, you don’t have a poem – don’t even have a story.

      Ted Hughes, interviewed for The Paris Review (Spring 1995)

       The Deposition

      Q. Would you state your full name for the record?

      A. Edward James Hughes.

      Q. What is your residence address?

      A. Court Green, North Tawton 11, England.

      Q. Have you a business address?

      A. That’s it. I work from home.

      Q. And what is your occupation, sir?

      A. Writer.

      The Yorkshire accent is unfamiliar. ‘Eleven’ is the stenographer’s mishearing of ‘Devon’. The date is 26 March 1986.

      Q. And could you state your age for the record?

      A. 55. I shall be 56 this year.

      Q. Now, sir, were you at some time in your life married to a woman named Sylvia Plath?

      A. Yes.

      Q. Can you tell me when you first met her?

      A. The 25th of February 1956.

      Q. And where did you meet her?

      A. Cambridge, England.

      Q. And what were the circumstances of that meeting?

      A. I met her at a party.

      Q. Do you know what she was doing in England?

      A. She was on a Fulbright scholarship.

      Q. Do you know where she was from?

      A. Did I know then?

      Q. Yes.

      A. I just knew she was American.

      The details are established. Her home town was Wellesley, her college was Smith. And then:

      Q. Do you know whether or not she had been ill?

      A. She told me she had been ill later in the spring.

      Q. Did she tell you she had been mentally ill?

      A. She told me that she attempted to commit suicide.

      Q. Did she tell you the circumstances of her having done that?

      A. She only told me as an explanation of the scar on her cheek.

      Q. Let me see if I understand your answer. There was a scar on her cheek, is that correct?

      A. There was a big scar on her left cheek.1

      The Deposition is being taken in the offices of Shapiro and Grace, attorneys, on Milk Street, Boston, before Josephine C. Aurelio, Registered Professional Reporter, a Notary Public within and for the Commonwealth of Massachusetts. Carolyn Grace, attorney, is acting on behalf of her client, Dr Jane V. Anderson, who is present in the room. Anderson is plaintiff in Civil Action number 82-0752-K, versus Avco Embassy Pictures Corporation and others, defendants. Edward James

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