Now that I live adjacent to farm country, I picked up
Ted Hughes Moortown, sometimes called
Moortown Diary, to see if reading it
again in a land of sheep, lambs, cows and calves would give the poems added
resonance.
Hughes must be Hughes, of course, and his farm life
is anything but idealized pastoral.
Lambs are stillborn, stuck in the birth canal, and their heads must be
removed to dislodge the body from the mother.
A calf born without strength or will to live is taken in human
hands, but no amount of nurturing can save it.
In this cycle of poems, nature is nature, whether
domestic or not. Hughes sees life and
death separated by the thinnest of edges; when we see prancing lambs in a
field, he sees a struggle for survival as wild as that on the Serengeti.
Death lurks in Moortown. It actually lurks everywhere, but we are not
as fine-tuned as Hughes to its hues and shades.
We ignore its blossoming shadow.
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