Ted Hughes's "Last letter": the response

A month on from our publication of Ted Hughes's lost poem, and the critics are divided.

In an article in this month's New York Review of Books, the poet and academic Mark Ford has written about the recent publication in the New Statesman of Ted Hughes's previously unpublished poem "Last letter", which describes Hughes's movements and thoughts in the three days leading up to the suicide of his first wife, Sylvia Plath.

Ford suggests in the piece that the emotional power of the poem is "closer to that of an uncontrolled diary entry than of a speech by King Lear or Macbeth." He gives a comprehensive overview of the literary excitement and debate caused since the poem appeared in the New Statesman in early October, looking in particular at Daniel Huws' arguments that the events of those three days as described by Hughes in "Last letter" are factually inaccurate. Ford seems to accept that Huws is correct on several of these points - namely that Hughes probably didn't really sleep in his and Plath's "wedding bed" with Susan Alliston as asserted in the poem - but points out that "if the poem does indeed take "liberties" with the truth, these liberties seemed designed to intensify ... Hughes's coruscating sense of his own guilt." Michael Rosen, however, writing in the New Statesman, points out that there is something slightly suspect in Hughes's continual use of repetition and alliteration in the poem. As Rosen puts it, "on one level, this is the cohesion of poetry. On another, it feels like a special pleading: if I say something twice, you will be more convinced."

In the NYRB article, Ford also refers to Al Avarez's article in the Guardian, published in the wake of the poem's appearence, in which the critic and friend of Hughes judged that "the poem is a confession: he is a guy in the witness box pleading guilty. It's very strong stuff, but it ain't finished." Ford concludes his piece in a similar spirit, suggesting that the real value of "Last letter" comes from the portrait it gives of the poet's visceral emotion rather than its literary merit: "Hughes wrote "Last letter" because he needed to, rather than because he thought he could make a good poem out of this impossible material."

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Only Drake could wow the O2 by pointing out random audience members' clothing

It takes charisma to pull off abandoning hits halfway through.

On the last London night of his Boy Meets World tour (20 March), Drake doesn’t come on stage until 10pm, which is enough to kill off most gigs at the O2 Arena (hello, Bieber), as people are worried about getting the Tube home. The amount of rum and Coke in the room – a steaming, unrecognisable space with a false ceiling of globular lights and a stampeding crowd split in half by a fence – certainly helps keep the buzz. But who’d have thought that a man standing onstage diligently pointing at audience members and saying what they’re wearing (“You in the blue dress shirt with the ­lager!”) would constitute one of the most exciting nights the O2 has seen in a while?

“Tonight is not a show, not a concert, not about me,” says Drake, who runs an annual “Drake Night” in Toronto and once visited Drake University in Iowa.

So far, the world’s favourite rapper – his latest album, More Life, recently got 90 million streams on its first day of release on Apple Music alone – has had a shifting identity. His songs capture a new strain of emotionally literate but solipsistic hip-hop, which can feel intense or whiny depending on how you look at it. His offstage behaviour is Type-A rapper – he has been accused of throwing beer bottles at Chris Brown, he has been punched by Diddy and he has had altercations with Jay Z, Kendrick Lamar, Pusha T and Ludacris.

But Aubrey Drake Graham, the son of a white, Jewish mother and an African-American father who once played drums alongside Jerry Lee Lewis, does skits about his petulance on Saturday Night Live (see “Drake’s Beef”). Emotionally demonstrative, openly dysfunctional, a bit of a bruiser, with an ability to flit between a dozen styles of music while expressing a desire for crowd participation that borders on the needy . . . Could this man be the ­Michael Bublé of hip-hop?

Drake’s sprawling two-hour roadshow is held back from chaos by the force of his physical presence. Blunt-headed with muscular, sloping shoulders and mesmerising, nimble feet, he prowls the edge of the stage. He has had so many hits (and has so many guest stars tonight) that he is not interested in playing them all the way through. Instead, recalling Prince in the same venue ten years ago, the show becomes a series of medleys. With just a drummer and a synth player at the back of the stage, he demonstrates an invisible, physical control over the music, operating it like a string puppet, stopping or starting songs with the drop of a foot or the shrug of a shoulder, so they collapse in the middle and are gone.

It takes charisma to pull off abandoning hits halfway through. Pointing at people in the audience, real or imaginary, is a music hall thing. Bruce Dickinson and Metallica’s James Hetfield do it too. Amid a hokey message to follow your dreams, he recalls his time spent singing for $200 a night as a John Legend tribute act. Cue a perfect demonstration of Legend-style singing – before he suddenly sloughs off “all this bathrobe-and-candle-sexy acoustic Ed Sheeran shit”, while huge columns of flame engulf the stage.

Drake is still at his best with blue, slinky songs of alienation – “9”, “Over”, “Feel No Ways” and “Hotline Bling”, which doubles up as make-out music for the couples in the crowd. One pair of lovers, Drake establishes during one of his crowd surveys, have been together for ten years. “I can’t even make a relationship last ten days,” he laments. In 2012, he told the Guardian, “I’ve had too many girls to ever feel uncomfortable about the man that I am.” An old-school boast from a modern man.

The guest stars serve to highlight Drake’s variety, rather than shine on their own. Their songs, too, are started, suspended, chopped and screwed. Drake is more macho when there’s another guy onstage with him – doing “Successful”, with the literally named Trey Songz, or dueling with thefrenetic Skepta, who sounds so much tougher (maybe because he’s a Londoner). The two whirl around the stage like helicopter seeds.

Nicki Minaj, apparently Drake’s one-time lover, rises fembotishly from a hole in the stage and says in a London accent, “I want some fucking crumpets and tea.”

She adds, of her host, “This nigga single-handedly changed the game.” Minaj sings her song “Moment 4 Life”: “I call the shots, I am the umpire . . .” But she doesn’t really. Even her presence flares up quickly and is gone.

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 23 March 2017 issue of the New Statesman, Trump's permanent revolution