Reviews for House and garden

The average rating for House and garden based on 2 reviews is 3 stars.

Review # 1 was written on 2008-04-28 00:00:00 Steve Johnson I need to get something off my chest with this one. I'd read Birthday Letters a few years ago, I guess when I was first getting into Plath and was not particularly interested in the warzone of the Plath/Hughes legacy. I also didn't really give much thought to poetry at the time--if it was pretty or vaguely shocking, I'd nod and think, 'Well, look how smart I am, for reading this.' So I think I let Hughes off the hook last time--and I should clarify to say that I don't hate Hughes' poetry; I'm not familiar with a large body of it, but I can safely say, having given them a shot on several occasions, that I love "The Thought-Fox," "Wodwo," "Pike," and a handful of others, including a few from the Crow sequence, though I can't recall the titles at the moment. And I'm hoping to read more of his work--The Hawk in Rain and Crow are both on my list for this year. However, getting through this book this time was a bit of an ordeal. I am genuinely troubled by the violations on display in this text. Yes, I know Hughes wrote them (originally) without the intent of publishing them; I know this was his last book; I know the critics fawned over it (Kakutani says something about it 'clearly coming from a poet's core' or some sentimental shite like that). And I know this is one subjective stance on the Plath/Hughes relationship--from the perspective of one player, in contrast to the many horror tales we've heard of Hughes over the years. I don't think Hughes is some villain--both he and Plath seem similarly awful at moments, and similarly inspired and loving at others, by all accounts. But the portrait painted in this text is one that has a somewhat disturbing undercurrent--Hughes refers to himself almost obsessively as the 'dog' that scampered alongside or behind Plath and her furies. He is, at times, wary, tail-wagging, frightened, dumb, loyal, etc. Meanwhile, the Plath of Birthday Letters is alternately vicious, appropriative, physically violent, tortured, 'fated' for death (and 'fated' as a muse-goddess, something Diane Middlebrook pays a lot of mind to in her 'biography' on their marriage, Her Husband), and a pathetic little girl snared in the trappings of MummyDaddyMummyDaddyDaddyDaddyMummy (this is almost verbatim the ending to one of the poems in this collection). Plath is envisioned as usually helpless, even when furious or taken with the poetic 'spirit.' She is the conduit for God in one of Hughes' poems, which may have been something she said--but constantly, she seems to be the conduit for just about everything, be it the Mummy/Daddy one-two-punch, the muse speaking either to her or to Hughes, the electric jolts of her madness, or for the cruelty Hughes tears down in her poetry. Why should I care? This is, as people like Middlebrook and a number of other recent critics argue, a book that is 'in dialogue' with Plath's biography and poetic legacy. Sure. But more importantly, this is a dialogue in which Plath can never enter, being dead. So 35 years after her death (nearly 50 today), Birthday Letters leaves behind a snapshot of their marriage and their poetry that places Hughes in the supplicant position to his almost oracular, frightening, mad, brilliant (when he gives her that much), wife. I don't intend to run off and chip the 'Hughes' off SP's gravestone, but I wonder what the ethical ramifications of this portrayal are--it seems somehow implicitly violent for Hughes to 'talk back' to his wife in a way that not only enables those who blindly mythologize her, but diminishes her poetry as something neither she nor he could help or stand in the way. And I say he only hints at her 'brilliance' (which he has spoken of, with less trouble, on other occasions), because just as often, he suggests that her poetry is necessarily a nasty outlet for petty rages and gossip. Thus, in "The Rabbit Catcher" (speaking back to Plath's poem of the same name), he revises her vision of male violence--a poem that beautifully links the masculine adventurer's invasive interest in the natural world with sexual, domestic violence against women--to refigure himself as the hapless, lovelorn husband watching Plath cruelly 'snare' people in her poetry. But what Plath's poetry never did--though of course we like to pick moments that seem so transparently autobiographical--was stoop down to trivial gab sessions. If someone appeared in a violent poem--let's take "Daddy" for an easy example--that person was not *that person*; that person became myth, became conflated with a million other myths. "Daddy" may feature Otto Plath's German heritage and ill-fated stubbed-toe, but more importantly, the poem relates a more genuine concern with what Plath took to be a peculiarly feminine interest in domineering men, and in turn, located these issues of male dominance in a more global sphere--thus, the Holocaust imagery, the wonderfully Gothic conclusion. Hughes simply does not do 'confessional' in the way Plath did; Plath's goal was always (to my mind) to take the minute, the private, the domestic, and to weave larger-than-life scenarios from them. Thus, a cut thumb in "Cut" becomes a narrative of colonization and national violence; a jaded hausfrau is a disgruntled Eve, the "agonized side of a green Adam." Hughes, instead, makes Plath--and more horribly, her poetry--a mockery. And if Plath can't speak back, what does this say about the history of women's writing being 'brought down a peg' by the final word of her male counterpart? It frightens me that there's such unabashed praise of a text that--yes, is tender and sometimes beautiful, and clearly is written with great feeling for their marriage, in good times and bad--finally leaves us with the feeling that Plath really *was* just the madwoman in the attic, and that Hughes, unwittingly loyal pup that he was, merely follows along to sand down the rough edges her audience simply 'can't handle'? Not to mention, I don't find the poetry here all that great. There are moments where it's quite lucid, quite stunning--but mostly, it struck me as the sort of stuff you might see in an advanced undergraduate writing workshop. It leaves behind most of what makes Hughes' poetry so distinctively Hughes--with the exception of some of the descriptions of the natural world (I quite liked "The 59th Bear," for example), the collection often reeks of maudlin self-pity, repetitive imagery (which do not build to crescendo, but simmer out), and a usually frustrating speaking-I. I give it 3 stars because, well, I don't think it deserves less--but I do think it needs to be reconsidered on a more political level. Whew. I'm babbling on. Maybe all this will only bother you if you're really into that whole generation of poetry. I get my panties in a twist over things like this--but perhaps it detracts from my enjoyment a bit too much. Any case, just ordered Hughes' Collected Poems, so I'm still willing to give the rest of the work a fair chance.

Review # 2 was written on 2010-04-24 00:00:00 Nicola Freidanck Ted Hughes has an uncomfortable place in the room where Sylvia Plath killed herself (and another in the room where his next wife, Assia Wevill, killed herself and their only daughter) -- he was the gas, he was the ovens, or he was the mark to which the the dial was turned. Maybe he was the sealed doors. In Birthday Letters he places himself in and around that first room, Plath's room. And those places are horrifying, those he occupies and also those spaces he seems to have to leave empty.