1. Scigaj records that Hughes chose the first and last poems of the sequence and then he and Fay Godwin worked together to arrange the remaining text and photographs (Scigaj.236). The first and last poems of all Hughes’ poetic sequences were always carefully chosen.

2. Faas.121–2.

3. Hughes: Letters.700–1.

4. In a Limited Edition copy of Remains of Elmet which Hughes sent to Leonard Baskin and his family (now in the British Library), he includes a rhyme about Halifax, and Heptonstall (where his mother and Sylvia Plath are buried). He describes Heptonstall, as “black outside / and deadly black within” and exhorts the reader to "open wide your shining eyes / and let the sun get in".

5. Hughes acknowledged this in a letter to me (3 Nov. 1984), and Olwyn Hughes has confirmed that this square of white satin was part of the furnishings of Sylvia Plath’s coffin.

6. Scigaj confirms that both these poems “recount dream premonitions” of Sylvia Plath’s death. (Scigaj.253).

7. Hughes’ father, who died in 1981, is also buried in this grave. He was still alive at the time Remains of Elmet was published and ‘The Angel’ was not included in Elmet (Faber 1994).

8. Faas.166–7.

9. Twelve of these poems appeared in Moortown (Faber 1979). A detailed discussion of them can be found at https://ann.skea.com/AdamHome.html.

10. The Koran. Chapter 54:1:

11. The Bible. ‘The Revelation’, 21:1.

12. The Koran. 41:38-43.

13. Hughes’ review of Nicholson, The Environmental Revolution, WP.129;135.

14. James Lovelock’s essay ‘Gaia: the world as living organism’ was published in the New Scientist, 28 Dec. 1986, pp.25–8.

15. WP.129.

16. Faas.166–7. From Hughes, ‘Introduction’, Leonard Baskin Catalogue, 1962.

17. Hughes, ‘The Hanged Man and the Dragonfly’, WP. 96.