In the eyes of many scholars and critics, Ted Hughes’s work transcends literary movements. As poet Simon Armitage writes in the introduction of his selection of Hughes poems: “For many, he represented the antithesis of contemporary ideology and modern political thought” (p. ix). (Hughes, Ted. Armitage, Simon. Ted Hughes. Faber and Faber, 2000.)

Yet “Theology” links to the postmodernism of the mid-to-late 20th century. “Theology” challenges accepted narratives, relies on intertextuality, or the relationship between texts, and provides lots of information or data.

Hughes confronts the accepted story in the Book of Genesis, connecting his text to the Bible. He gives the reader information to track and the reader has to untangle who consumes who. Postmodern texts can read like puzzles. “Theology” is something of a puzzle; the speaker doesn’t explicitly say why “Adam ate the apple” (Line 5), or “Eve ate Adam” (Line 6), or the “serpent ate Eve” (Line 7). The reader has to figure out the reasons or put the pieces together on their own.

“Theology” is a part of a large body of poems that question religious beliefs without necessarily promoting atheism and the complete absence of religion. The 19th-century American poet Emily Dickinson was a key influence on Hughes, and her poetry frequently features speakers questioning the role of religion.