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Her Husband

Ted Hughes and Sylvia Plath. A Marriage
BuchKartoniert, Paperback
361 Seiten
Englisch
Penguin USerschienen am31.08.2004
Ted Hughes and Sylvia Plath were husband and wife; they were also two of the most remarkable poets of the twentieth century. In this stunning new account of their marriage, Diane Middlebrook draws on a trove of newly available papers to craft a beautifully written portrait of Hughes as a man, as a poet, and as a husband haunted and nourished his entire life by his relationship to Sylvia Plath.
Her Husband is a triumph of the biographer's art and an up-close look at a couple who saw each other as the means to becoming who they wanted to be: writers and mythic representations of a whole generation.mehr

Produkt

KlappentextTed Hughes and Sylvia Plath were husband and wife; they were also two of the most remarkable poets of the twentieth century. In this stunning new account of their marriage, Diane Middlebrook draws on a trove of newly available papers to craft a beautifully written portrait of Hughes as a man, as a poet, and as a husband haunted and nourished his entire life by his relationship to Sylvia Plath.
Her Husband is a triumph of the biographer's art and an up-close look at a couple who saw each other as the means to becoming who they wanted to be: writers and mythic representations of a whole generation.
Details
ISBN/GTIN978-0-14-200487-6
ProduktartBuch
EinbandartKartoniert, Paperback
Erscheinungsjahr2004
Erscheinungsdatum31.08.2004
Seiten361 Seiten
SpracheEnglisch
Gewicht362 g
IllustrationenB&W PHOTOS AND ILLUSTRATIONS THROUGHOUT
Artikel-Nr.13813134

Inhalt/Kritik

Inhaltsverzeichnis
Her HusbandAcknowledgments
List of Illustrations
Introduction: Becoming Her Husband

Chapter One: Meeting (1956)
Ted Huge
Flashy American
The "Dairy I"


Chapter Two: Romance (1956)
The White Goddess: Song
Plath's Idyll
"To Ariadne, Deserted by Theseus"


Chapter Three: His Family (1956)
Leo
William Henry Hughes (1894-1981)
Edith Farrar Hughes (1898-1969)
Gerald Hughes (1920- )


Chapter Four: Struggling (1956-1963)brRabbit Stew
Silent Strangers
Complicated Animals
Earth Mother
The Luxury of Solitude


Chapter Five: Prospering (1957-1963)
Money
Portrait of the Artist as a Young Woman
Literary London
Homemaking
Literary Lion
Fertility


Chapter Six: Separating (1962- )
The Rabbit Catcher
He Said, She Said


Chapter Seven: Parting (1962-1963)
Plath Turns Thirty: Ariel
"Daddy"
London on Her Own
Doubletake


Chapter Eight: Husbandry (1963-1998)
Hughes's Tribe
Hughes's Ariel
The Wodwo and the Crow
Stewardship


Chapter Nine: Curing Himself (1967-1998)
Knot of Obsessions
Sinking into the Folk-Tale
From Relic Husband to Her Husband


Chapter Ten: The Magical Dead (1984-1998)
Poet of England
The Drama of Completion


Coda: Naked (1998- )


Sources and Notes
Bibliography
Indexmehr
Leseprobe
Becoming Her Husband

Ted Hughes met Sylvia Plath at a wild party in February 1956 and married her four months later. He was English, twenty-five years old; she was twenty-three, an American. For six years they worked side by side at becoming artists. Then Hughes initiated an affair with another woman, and the marriage collapsed. Hughes moved out and, exactly four months later, Plath committed suicide, leaving behind their two very young children. One of the most mutually productive literary marriages of the twentieth century had lasted only about twenty-three hundred days. But until they uncoupled their lives in October 1962, each witnessed the creation of everything the other wrote, and engaged the other's work at the level of its artistic purposes, and recognized the ingenu-ity of solutions to artistic problems that they both understood very well. This kind of collaboration is quite uncommon between artists, especially if they are married to each other, and after the publication of Hughes's prizewinning first book, The Hawk in the Rain, the marriage began attracting the attention of journalists. In January 1961, Hughes and Plath were interviewed for a radio broadcast on the BBC, Two of a Kind, that displays them at the apex of their compatibility. The interviewer, Owen Leeming, asked whether theirs was "a marriage of opposites." As if in a movie by Woody Allen, Hughes said they were "very different" at the same moment Plath said they were "quite similar." Explaining "different," Hughes allowed that he and Plath had similar dispositions, and worked at the same pace - indeed, so deep were the similarities that he often felt he was drawing on "a single shared mind" that each accessed by telepathy. But he and Plath drew on this shared mind for quite different purposes, he said, and each of their imaginations led a thoroughly "secret life."

Explaining "similar," Plath said that though she and Hughes had very different backgrounds, she kept discovering unexpected likenesses. Hughes's fascination with animals, for example, had opened up for her the subject of beekeeping, which was one of her father's scholarly pursuits. More of her own history had become available to her poetry because Hughes was so interested in it, she said: that was how the similarities were developing in their work - though the work itself was not at all similar, she insisted. Did she too believe they had a single shared mind? No, Plath laughed. "Actually, I think I'm a little more practical."

Just such a dance through the minefield of their differences characterized their partnership at its best. It succeeded because each of them invested wholeheartedly in whatever the other was working on, even when the outcome was of dubious merit. In the late 1950s, Hughes helped Plath develop plots for stories she could publish in women's magazines, even though he regarded fiction-writing as a false direction for Plath. At the time, he saw, accurately, that only conventional plots in which people got born, married, or killed released her distinctive "demons," so he encouraged her to invest in whatever mode was most productive of tapping these unique sources of energy. Plath, for her part, loyally defended the incoherent and unmarketable plays in which Hughes promoted the esoteric ideas he was hooked on, beginning in the early 1960s - she was as interested in his artistic strategies as she was in the results. Paradoxically, their intimate creative relationship enabled each of them to conduct better the "secret life" expressed in their art. The rupture in their marriage closed down this literary atelier. But poetry had brought Hughes and Plath together, and poetry kept them together until Hughes's death in 1998. Hughes inherited Plath's unpublished manuscripts, appointed hmehr
Kritik
Diane MiddlebrookÆs shrewd and compelling biography . . . is a book of mysteries, delicately revealed. (O Magazine)

A deep, rich, and satisfying biography of a marriageù harrowing and ironic, playful and grave. (The Washington Post Book World)

Unquestionably the best book written thus far on these complicated geniuses. (The Baltimore Sun)mehr