The analysisis raw, pained and ruthlessly self-aware. For all the moral torment, thewriting itself has the same rush and vigour that possessed Hughess early poetry. Some books ofletters serve as a personalised historical chronicle. Poets letters are seldom like that, andHughess are no exception. His are about a life of literary engagement: almostall of them include some musing on the state or the nature of writing, bothHughess own or other peoples. The trajectory of Hughess literary career had him moving from obscurity to fame, and then, in theeyes of many, to life-long notoriety. These letters are filled with hiswrestling with the consequences of being the part-private, part-public creaturethat he became, desperate to devote himself to his writing, and yet subject toendless invasions of his privacy.
Hughes is anabsorbing and intricate commentator upon his own poetry, even when he isstanding back from it and good-humouredly condemning himself for itsfantasticalia, its pretticisms and its infinite verballifications . Healso believed, from first to last, that poetry had a special place in theeducation of children. What kids need , he wrote in a 1988 letter tothe secretary of state for education in the Conservative government, is aheadfull [sic] of songs that are not songs but blocks of refined and achievedand exemplary language. When that happens, children have theguardian angel installed behind the tongue . Lucky readers, big orsmall.
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