Ted Hughes, Poet Laureate, was one of the greatest writers of the twentieth century. He was one of Britain’s most important poets. With an equal gift for poetry and prose, he was also a prolific children’s writer and has been hailed as the greatest English letterwriter since John Keats. His magnetic personality and insatiable appetite for friendship, love, and life also attracted more scandal than any poet since Lord Byron. His lifelong quest to come to terms with the suicide of his first wife, Sylvia Plath, is the saddest and most infamous moment in the public history of modern poetry. Hughes left behind a more complete archive of notes and journals than any other major poet, including thousands of pages of drafts, unpublished poems, and memorandum books that make up an almost complete record of Hughes’s inner life, which he preserved for posterity. Renowned scholar Jonathan Bate has spent five years in the Hughes archives, unearthing a wealth of new material. His book offers, for the first time, the full story of Hughes’s life as it was lived, remembered, and reshaped in his art.

The past contemporary poet gives an account in 88 poems in letter form of hisromance and the life spent with Sylvia Plath.

One of a series of titles first published by Faber between 1930 and 1990, and in a style and format planned with a view to the appearance of the volumes on the bookshelf. This was the Poet Laureate's fourth book of poems for adults, and represented a significant moment in his writing career.

Originally published in 1979, Moortown Diary is the updated version of Ted Hughes's acclaimed Devon farming sequence, written over a period of several years during which he was spending almost every day outside, either gardening or farming. The introduction and notes (added in 1989) sketch in the background from which these remarkable poems emerged as an improvised verse journal, sparely edited, coalescing spontaneously on the page. ' Moortown Diary keeps its eye firmly on the creatures behind the language. It's written in the style of Hughes's play translations: very swift and bright and urgent and speakable...Hughes strips away the protective layers - the soundproofed ears, the double-glazed eyes - that prevent us making contact with anything outside ourselves. Right now, I can't think of anything more important than that kind of poem. Because we're not just here to think about literature. We're here to try to wake up.' Alice Oswald, The Guardian 'It grips your heart, and your intestines, like a vice from the first page. He makes language as physical as a bruise, and in these poems beauty and tenderness blend with violence.' John Carey, Sunday Times 'The Moortown sequence includes some of Hughes's finest poems...They are like no other poems I have read, with a degree of intensity, sanity and grace that he has never equalled.' Anthony Thwaite, Times Literary Supplement

A collection of works by a contemporary English poet selected from twelve books of poetry written over a 25-year period.

Originally the medieval bestiary or book of animals set out to establish safe distinctions - between them and us - but Hughes's poetry works always in a contrary direction: showing what man and beast have in common, the reservoir from which we all draw. Alice Oswald's selection is arranged chronologically, with an eye to different books and styles, but equally to those poems that embody animals, rather than just describe them. Some poems are here because, although not strictly speaking animal, they become so in the process of writing; and in keeping with the bestiary tradition there are plenty of imaginary animals - all concentratedly coming about their business. The resulting selection is subtly responsive to a central aspect of Hughes's achievement, while offering room to some wonderful overlooked poems, and to 'those that have the wildest tunes.'

At the outset of his career Ted Hughes described letter writing as 'excellent training for conversation with the world', and he was to become a prolific master of this art. This selection begins when Hughes was seventeen, and documents the course of a life at once resolutely private but intensely attuned to others. It is a fascinatingly detailed picture of a mind of genius as it evolved through an incomparably eventful life and career.

"The Book of Mirrors" tries to let us see ourselves as we really are. We should have the answers to all our own questions, but if we don't see ourselves clearly - faults included - our answers can be distorted by vanities or ego. The poems ask: What do we want from our lives? Is it worth having? What would we like to change in ourselves and our circumstances? Are arguments worth the effort? Is anything achieved by them? Death is unavoidable and all our battles are in vain in the end, so we should choose what to defend, what to fight for and how much of the quality of our lives we are prepared to sacrifice in the process. If only we could make the best of what we are, with the abilities we are given - and develop - without being distracted by the conflicts and desires that too often define us, and which are ultimately unimportant. "The Book of Mirrors" examines the ideas of argument, resolution and the acceptance of what cannot be changed. It also includes poems relating to childhood memories, adolescent experiences and encounters with itinerant wildlife.

Turning the Table offers a new resource to Hughes and Plath scholars studying the poets' archival materials and compositional processes. The book traces the theory of the ars poetica that each poet advanced while exploring the dialogues that emerged between Plath's Ariel and Hughes's Crow and Birthday Letters collections.