Exclusive: Ted Hughes’s poem on the night Sylvia Plath died

The New Statesman publishes a previously unseen work by the late poet laureate.

The New Statesman publishes a previously unseen work by the late poet laureate.

In tomorrow's New Statesman, which has been guest-edited by Melvyn Bragg, we publish a previously unseen poem by Ted Hughes. "Last letter" is a poem that describes what happened during the three days leading up to the suicide of his first wife, the poet Sylvia Plath. Its first line is: "What happened that night? Your final night." -- and the poem ends with the moment Hughes is informed of his wife's death.

Hughes's best-known work is 1998's Birthday Letters, a collection of poems that detail his relationship with Plath. Though the published poems make reference to Plath's suicide, which occurred in February 1963, when she and Hughes were separated but still married, none of them addresses directly the circumstances of her death. This, then, would appear to be the "missing link" in the sequence.

The earliest draft of "Last letter" held in the British Library's Ted Hughes archive appears in a blue school-style exercise book, which is believed to date from the 1970s. The book contains drafts of several poems that appear in Birthday Letters. A more refined draft of the poem is found in a hardback notebook. After drafting poems by hand several times, Hughes would usually type out poems when they were near completion, adding notes in the margin where necessary.

Below are images from various drafts of the poem:

Add. 88918/1/6, f.1

The image above is of the first page of the earliest known draft of the poem, which went through many revisions before the final version appeared

2010+40ted poem 2

The image above is the first page of a later draft of the poem (date unknown)

Add. 88918/1/8, f.11

This image is from a draft of the poem contained in a hardback notebook. As is evident, Hughes would extensively rework phrases and add lines throughout the various stages of drafting. When a poem was finished, he would usually type it out, annotating with comments where necessary

In a letter from 1998 to his fellow poet Seamus Heaney, Hughes says that he first started to write simple verse "letters" to Sylvia Plath in the early 1970s. Hughes began writing them piecemeal; later he tried to do it in a more concerted way but found that he couldn't, so he went back to writing them occasionally. Some of the Birthday Letters poems appear in the 1995 New Selected Poems, but in correspondence with friends (also held by the British Library), he says he had found some of the other poems too personal to publish at that time.

Tonight Channel 4 News covered the story and recruited the actor Jonathan Pryce to read a section from the poem.

To read the poem in full, pick up a copy of Thursday's magazine.

Daniel Trilling is the Editor of New Humanist magazine. He was formerly an Assistant Editor at the New Statesman.

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Harry Potter and the Minotaur’s Rage: how fanfiction got me into writing

My fanfiction was almost uniformly awful, like most of the things I did or liked when I was becoming myself.

The source of the noise was clear. Some kind of monster was emerging from the wood.

"Easy, Harry," counselled Hagrid, "Easy.”

Nervously, the bespectacled wizard approached the hulking beast cautiously. What was it? It had red leather skin, like a sofa, was bigger even than Hagrid and had a pair of cruel horns.

You may not recognise the above passage from any of J K Rowling’s seven entries in the Harry Potter series. That’s because it’s not by Rowling at all, but is taken from Harry Potter and the Minotaur’s Rage by awideeyedwanderer, the alias under which I, with the addition and subtraction of a few dashes and underscores depending on the platform, wrote fanfiction from 2000 to 2006.

To deal with the obvious questions, no, it was not about the Labour party, and no, I don’t think anyone ever had sex, except perhaps very briefly towards the end of the story. (As such, it was a fairly accurate reflection on the life of its author during that period.)

Fanfiction often gets a bad rap, in my case deservedly. One former editor of the New Statesman used to say of one of his staffers that he was “the Fred West of prose”, and my fanfiction was not much better. I hacked my way through the universes of Harry Potter, Doctor Who, A Series of Unfortunate Events, Final Fantasy and Star Trek. I also perpetrated my own, highly derivative “original” fiction, featuring a character called Mr Jones who was basically Doctor Who with a gun.

My fanfiction was influenced by whatever novel I was reading and whatever the current state of my politics were, which meant that as the Noughties wore on it became increasingly dominated by thinly-veiled allegories for the excesses of the Bush administration and the war in Iraq.

What got me started? Well, it’s all J K Rowling’s fault. I was an early adopter of the Harry Potter books, and though the first three books came out every year, there was a three-year gap between The Goblet of Fire and The Order of the Phoenix. So without a new book, Potter fans had to write their own, of which Harry Potter and the Minotaur’s Rage was one.

At this point in this sort of article, it’s usually customary to defend fanfiction by pointing out that some of it is actually very good, while some of it has made a great deal of money. My fanfiction was neither good nor financially lucrative, but I always think this misses the point a bit. Very few people think they are producing high art when they write fanfic – people are doing it to have a good time, to expand a world they’ve enjoyed.

My fanfiction was almost uniformly awful, like most of the things I did or liked when I was becoming myself. (In its defence, I think my fanfiction has aged better than Evanescence, a band which provided the soundtrack and most of the chapter titles to my fic.) But I had a great time writing it, and if nothing else, it taught me never to begin a sentence with “nervously” and end it with “cautiously”.

This piece is part of our themed Internet Histories week. See the rest of the stories here. 

Stephen Bush is special correspondent at the New Statesman. He usually writes about politics.