Reviews Ted Hughes in Context, Terry Gifford writes that ‘No single scholar could know all that Hughes knew or even have read all that Hughes had read during his sixty-eight years’ (p. xv). e task of contextualizing him, then, is a somewhat daunting one. But Gifford himself, a leading authority on Hughes, is best placed to take on this task, and the contributions he has gathered do an excellent job of assembling a jigsaw of Hughesian contexts. Ted Hughes in Context represents a vital resource for two main reasons. e first is its usefulness: the volume comprises thirty-six short essays (generally around ten pages each in length), covering a wide range of topics and written with clarity by contributors including junior and senior scholars, archivists, and Hughes obsessives. Individual sections and chapters have been given plain, unfussy titles: ‘Literary Contexts’, ‘Biographical Contexts’, ‘Hughes and Religion’, ‘Hughes and War’. Students and scholars of Hughes’s work, therefore, now have an obvious first port of call, whether they require an overview of Hughes’s work or a starting point for a particular aspect of it. All of the expected topics are covered in concise and engaging chapters summarizing areas of study that have filled entire monographs: ‘Hughes and Nature’, ‘Hughes and Plath’, ‘Hughes and Yorkshire’, and so on. But the volume does much more than digest existing Hughes scholarship. A significant number of chapters present new takes on this writer, reflecting some of the most up-to-date Hughes scholarship, and suggesting future lines of enquiry. A fascinating essay by Carrie Smith, for instance, theorizes Hughes’s literal and poetic voice, while Joanny Moulin’s chapter ‘Hughes as Correspondent’ finally pays some attention to the writer’s letters, which powered so much of his thinking and which underpin so much of the research on display elsewhere in this volume. e cover of Ted Hughes in Context features a remarkable photograph of the author. Taken in by Tony Othen, and only recently rediscovered, it shows an unusual hand gesture that competes for the viewer’s attention with Hughes’s candid stare. Identified by one scholar as a mano fico—intended to ward off the evil eye—the gesture reveals Hughes’s interest in the occult, another of the major preoccupations explored in this invaluable contribution to Hughes studies. U H J U Jonathan Coe: Contemporary British Satire. Ed. by P T. London: Bloomsbury . . xiv+ pp. £.. ISBN ––––. Jonathan Coe’s twelve novels have earned him healthy sales, sympathetic reviews, and an appreciative readership. He picked up the Prix du Meilleur Livre Étranger in and the Prix Médicis Étranger in ; he was made Chevalier of the Ordre des Arts et des Lettres in and a member of the Royal Society of Literature in ; his best-known work, What a Carve Up! (), has been described as ‘[u]nquestionably the most significant novel about the effects of atcherism’ (Dominic Head, e Cambridge Introduction to Modern British Fiction, – (Cambridge: Cambridge University Press, ), p. ). However, despite being MLR, ., garlanded with accolades that would make him the envy of many other purveyors of contemporary fiction, Coe continues to occupy a slightly uncertain place in the field of contemporary fiction studies. Philip Tew’s new collection, which comprises twelve original essays plus a new interview with the author, opens with the editor wondering ‘why on earth [Coe] is not more celebrated and does not feature far more on the academic curriculum’ (pp. xi–xii). Covering Coe’s fiction from e Accidental Woman () to Number (), this collection (appearing a few months before Coe’s Brexit novel, Middle England ()) will remind long-time fans about what there is to admire and enjoy in his work: its painfully sympathetic observational humour; its cast of sensitive underachievers whose lives are poignantly sabotaged by their own ‘precautionary timidity’ (p. xii); its nostalgic feel for the pop-cultural minutiae of a given decade; its approachable experimentalism (Coe does elaborate things with narrative temporality and point of view, but never in such a way as to bamboozle or alienate); its bracing flashes of righteous political anger. Although this is not a forcefully evaluative book—its contributors are not...