Sylvia Plath (/plæθ/; October 27, 1932 – February 11, 1963) was an American poet and author. She is credited with advancing the genre ofconfessional poetry and is best known forThe Colossus and Other Poems (1960),Ariel (1965), andThe Bell Jar (1963), a semi-autobiographical novel published one month before her suicide.The Collected Poems was published in 1981, which included previously unpublished works. For this collection Plath was awarded aPulitzer Prize in Poetry in 1982, making her the fourth person to receive this honor posthumously.[1]
Born inBoston, Massachusetts, Plath graduated fromSmith College inNorthampton, Massachusetts and then theUniversity of Cambridge in England, where she was a Fulbright student atNewnham College. In 1959, Plath took a creative writing seminar withRobert Lowell atBoston University, alongside poetsAnne Sexton andGeorge Starbuck. She married fellow poetTed Hughes in 1956 in London. In 1957, they briefly moved to the United States, but moved back to England in winter 1959. Their relationship was tumultuous and, in her letters, Plath alleges abuse at his hands.[2] They had two children, Frieda and Nicholas, before separating in 1962.
On April 27, 1935, Plath's brother Warren Joseph was born.[5] In 1936 the family moved from 24 Prince Street inJamaica Plain, Massachusetts, to 92 Johnson Avenue,Winthrop, Massachusetts.[9] Since 1920, Plath's maternal grandparents, the Schobers, had lived in a section of Winthrop called Point Shirley, a location mentioned in Plath's poetry.
Otto Plath died on November 5, 1940, a week and a half after his daughter's eighth birthday,[8] of complications following the amputation of a foot due to untreateddiabetes. He had become ill shortly after a close friend died oflung cancer. Comparing the similarities between his friend's symptoms and his own, Otto became convinced that he, too, had lung cancer and did not seek treatment until his diabetes had progressed too far. Raised as aUnitarian, Plath experienced a loss of faith after her father's death and remained ambivalent about religion throughout her life.[10] Her father was buried in Winthrop Cemetery in Massachusetts. A visit to her father's grave later prompted Plath to write the poem "Electra on Azalea Path".
After Otto's death, Aurelia moved her children and her parents to 26 Elmwood Road,Wellesley, Massachusetts, in 1942.[8] Plath commented in her essay "Ocean 1212-W", one of her final works, that her first nine years "sealed themselves off like a ship in a bottle—beautiful, inaccessible, obsolete, a fine, white flying myth".[5][11]
Plath published her first poem at the age of eight in theBoston Herald's children's section.[12] Over the next few years, Plath published multiple poems in regional magazines and newspapers.[13] At age 11, Plath began keeping a journal.[13] In addition to writing, she showed early promise as an artist, winning an award for her paintings from theScholastic Art & Writing Awards in 1947.[14] "Even in her youth, Plath was ambitiously driven to succeed."[13]
In 1950, Plath attendedSmith College, a private women's liberal arts college in Massachusetts, where she excelled academically. While at Smith, she first lived in Haven House and later in Lawrence House, where a plaque can be found outside her old room. She editedThe Smith Review. After her third year of college, Plath was awarded a coveted position as a guest editor atMademoiselle magazine, during which she spent a month in New York City.[5] The experience was not what she had hoped for, and many of the events that took place during that summer were later used as inspiration for her novelThe Bell Jar.[17]
She was furious at not being at a meeting thatMademoiselle editorCyrilly Abels had arranged with Welsh poetDylan Thomas, a writer whose work she loved, according to one of her boyfriends, "more than life itself". She loitered around theWhite Horse Tavern and theChelsea Hotel for two days, hoping to meet Thomas, but he was already on his way home. A few weeks later, she slashed her legs "to see if she had enough courage to kill herself."[18][a] During this time, she was not accepted into aHarvard University writing seminar with authorFrank O'Connor.[5] FollowingECT for depression, Plath made her first medically documented suicide attempt on August 24, 1953,[20] by crawling under the front porch and taking her mother's sleeping pills.[21]
She survived this first suicide attempt, later writing that she "blissfully succumbed to the whirling blackness that I honestly believed was eternal oblivion". She spent the next six months in psychiatric care, receiving more electric andinsulin shock treatment under the care ofRuth Beuscher.[5] Her stay atMcLean Hospital and her Smith scholarship were paid for by the authorOlive Higgins Prouty, who had also recovered from a mental breakdown.[22] According to Plath's biographer Andrew Wilson, Olive Higgins Prouty "would take Dr Tillotson to task for the badly managed ECT, blaming him for Sylvia's suicide attempt".[19]
Plath seemed to make a good recovery and returned to college. In January 1955, she submitted her thesisThe Magic Mirror: A Study of the Double in Two ofDostoyevsky's Novels, and in June graduated from Smith with anA.B.,summa cum laude.[23] She was a member of thePhi Beta Kappa academic honor society,[17] and had an IQ of around 160.[24][25]
She obtained aFulbright Scholarship to study atNewnham College, one of the two women-only colleges of theUniversity of Cambridge in England, where she lived in Whitstead, a detached house situated on the edge of the college grounds. Plath continued actively writing poetry and publishing her work in the student newspaperVarsity. At Newnham, she studied withDorothea Krook, whom she held in high regard.[26] She spent her first-year winter and spring holidays traveling around Europe.[5]
I'd read some of Ted's poems in this magazine and I was very impressed and I wanted to meet him. I went to this little celebration and that's actually where we met... Then we saw a great deal of each other. Ted came back to Cambridge and suddenly we found ourselves getting married a few months later... We kept writing poems to each other. Then it just grew out of that, I guess, a feeling that we both were writing so much and having such a fine time doing it, we decided that this should keep on.[27]
Plath described Hughes as "a singer, story-teller, lion and world-wanderer" with "a voice like the thunder of God".[5]
The couple married on June 16, 1956, atSt George the Martyr inHolborn, London, in honor ofBloomsday, with Plath's mother as the sole witness. They spent their honeymoon inParis andBenidorm, Spain. Plath returned to Newnham in October to begin her second year.[5] During this time, they both became deeply interested inastrology and the supernatural, usingouija boards.[28]
In June 1957, Plath and Hughes moved to the United States; beginning in September, Plath taught at Smith College, her alma mater. She found it difficult to both teach and have enough time and energy to write,[23] and in the middle of 1958, the couple moved to Boston, where they lived at 9 Willow St. inBeacon Hill. Plath took a job as a receptionist in the psychiatric unit ofMassachusetts General Hospital and in the evenings attended a creative writing seminar given by poetRobert Lowell (also attended by the writersAnne Sexton andGeorge Starbuck).[23]
Both Lowell and Sexton encouraged Plath to write from her personal experience. She openly discussed her depression with Lowell and her suicide attempt with Sexton, who led her to write from a more female perspective. Plath began to consider herself as a more serious, focused writer.[5] At this time, Plath and Hughes met the poetW.S. Merwin, who admired their work and was to remain a lifelong friend.[29] Plath resumedpsychoanalytic treatment in December, working with Ruth Beuscher.[5]
Chalcot Square, near Primrose Hill in London, Plath and Hughes's home from 1959
In summer 1959, Plath and Hughes went on an eight-week camping across Canada, the United States and Mexico, after which they stayed at theYaddo artist colony inSaratoga Springs, New York, in fall. Plath stated that at Yaddo she learned "to be true to my own weirdnesses", but she remained anxious about writing confessionally, from deeply personal and private material.[5][30]
The couple moved back to England in December 1959 and lived in London at 3Chalcot Square, near the Primrose Hill area ofRegent's Park, where anEnglish Heritage plaque records Plath's residence from 1960-1961.[31][32] Their daughterFrieda Rebecca was born on April 1, 1960, and in October, Plath publishedThe Colossus, her first collection of poetry.[31]
In February 1961, Plath's second pregnancy ended in miscarriage; several of her poems, including "Parliament Hill Fields", address this event.[33] In a letter to her therapist, Plath wrote that Hughesbeat her two days before the miscarriage.[34] In August, she finished her semi-autobiographical novelThe Bell Jar; immediately afterwards, the family moved toCourt Green in the small market town ofNorth Tawton,Devon. Her sonNicholas Farrar was born on January, 17, 1962.[31] In mid-1962, Plath and Hughes began to keep bees, which would be the subject of many Plath poems.[5]
Before moving away from London in August 1961, the couple sublet their flat at Chalcot Square to the Canadian poetDavid Wevill and his wifeAssia (née Gutmann) Wevill.[35] The couples became friends and Plath and Hughes invited the Wevills to visit them at their new house in Devon in May 1962. Hughes was immediately struck with Assia, as she was with him. In July 1962, Plath discovered Hughes was having an affair with Wevill. In September, as a last attempt to save their relationship, Plath and Hughes traveled toCleggan in Ireland to visit the poetRichard Murphy; a trip that would end in disaster, with Hughes abandoning Plath to go to Spain with Wevill. In October, Plath and Hughes separated for good and Hughes moved back to London, leaving Plath and their children behind in Devon.[31]
Beginning in October 1962, Plath experienced a great burst of creativity and composed most of the poems on which her reputation now rests, writing at least 26 of the poems of her second collectionAriel, which would be published posthumously (1965 in the UK, 1966 in the US) during the final months of her life.[31][36][37] In December 1962, she returned alone to London with their children and rented, on a five-year lease, a flat at 23Fitzroy Road—around the corner from her previous flat at Chalcot Square.William Butler Yeats once lived in the house, which bears an English Heritageblue plaque for the Irish poet. Plath was pleased by this fact and considered it a good omen.
Thewinter of 1962–1963 was one of the coldest on record in the UK; the pipes froze, the children—now two years old and nine months—were often sick, and the house had no telephone.[38] Her depression returned but she kept on writing poetry, which would be published after her death. Her only novel,The Bell Jar, was published in January 1963 under the pen name Victoria Lucas and was met with critical indifference.[39]
Before her death, Plath tried at least once to take her own life.[40] On August 24, 1953, she overdosed on sleeping pills.[41] In June 1962, she drove her car off the side of the road into a nearby clearing, after learning about Hughes' and Wevill's affair. The poetry critic and Plath's friendAl Alvarez always maintained that Plath told him it was a suicide attempt,[42] but another friend claimed that Plath herself described the incident as "not a conscious suicide but a blind destructive urge over which she had no conscious control" and Hughes himself told Alvarez that it was a minor accident due to a "feverish blackout".[43]
In January 1963, Plath spoke withJohn Horder, her general practitioner. She described the current depressive episode she was experiencing; it had been ongoing for six or seven months. While for most of the time she had been able to continue working, her depression had worsened and become severe, "marked by constant agitation, suicidal thoughts and inability to cope with daily life." Plath struggled with insomnia, taking medication at night to induce sleep, and frequently woke up early.[40] She had lost 20 pounds (9 kg) in a short time.[40] However, she continued to take care of her physical appearance and did not outwardly speak of feeling guilty or unworthy.[40]
23 Fitzroy Road, near Primrose Hill, London, where Plath died bysuicide
Horder prescribed her an anti-depressant, amonoamine oxidase inhibitor,[40] a few days before her suicide. Knowing she was at risk with two young children, he made strenuous efforts to have her admitted to a hospital; when that failed, he arranged for a live-in nurse.[40]
Hughes claimed in a hand-written note to the literary critic Keith Sagar, discovered in 2001, that the anti-depressants prescribed were a "key factor" in Plath's suicide. He said Plath had previously had an adverse reaction to a prescription she had taken when they lived in the U.S. These pills were sold in England under a different name, and although Hughes did not name the pills explicitly, he claimed a new doctor had prescribed them to Plath without realizing she had taken them before with adverse effects.[44] Several commentators have argued that because anti-depressants may take up to three weeks to take effect, her prescription from Horder would not have taken full effect prior to her death; however, others have pointed out that adverse effects of anti-depressants can begin immediately.[45]
The live-in nurse was due to arrive at nine on the morning of February 11, 1963, to help Plath with the care of her children. Upon arrival, she could not get into the flat but eventually gained access with the help of a workman. They found Plath dead with her head on the oven door, having sealed the kitchen door and the room upstairs with her sleeping children inside with tape, towels, and cloths.[46] She was 30years old.[47]
Plath's intentions have been debated. That morning, she asked her downstairs neighbor, art historian Trevor Thomas (1907–1993), what time he would be leaving. She also left a note reading "Call Dr. Horder", including the doctor's phone number. It is argued Plath turned on the gas at a time when Thomas would have been likely to see the note, but the escaping gas seeped downstairs and also rendered Thomas unconscious while he slept.[48] However, in her biographyGiving Up: The Last Days of Sylvia Plath, Plath's friendJillian Becker wrote, "According to Mr. Goodchild, a police officer attached to the coroner's office... [Plath] had thrust her head far into the gas oven... [and] had really meant to die."[49] Horder also believed her intention was clear. He stated that "No one who saw the care with which the kitchen was prepared could have interpreted her action as anything but an irrational compulsion."[47] Plath had described the quality of her despair as "owl's talons clenching my heart".[50]
An inquest was held on February 15 and concluded that the cause of death wassuicide bycarbon monoxide poisoning.[51] Hughes was devastated; they had been separated for six months, due to his affair withAssia Wevill. In a letter to an old friend of Plath's from Smith College, he wrote: "That's the end of my life. The rest is posthumous."[38][52] Wevill also committed suicide using a gas stove, six years later, in 1969.
Plath's gravestone inHeptonstall's parish churchyard of St. Thomas the Apostle bears the inscription that Hughes chose for her:[53] "Even amidst fierce flames the golden lotus can be planted." Biographers have attributed the source of the quote to the 16th-century novelJourney to the West written byWu Cheng'en.[54][55]
Eight years after the death of Plath, Al Alvarez wrote that Plath's suicide was not intentional and was "a cry for help which fatally misfired".[56][47] This prompted an angry response from Hughes who demanded that this claim be withdrawn from wider publication.[56] In a BBC interview in March 2000, Alvarez spoke about his failure to recognize Plath's depression, saying he regretted his inability to offer her emotional support.[57]
Plath's daughterFrieda Hughes is a writer and artist. On March 16, 2009, Plath's sonNicholas Hughes, who was a fisheries biologist, died by suicide at his home inFairbanks, Alaska, following a history of depression.[58][59]
Plath wrote poetry from the age of 8, her first poem appearing in theBoston Herald. By the time she arrived at Smith College, she had written over 50 short stories, and her work had been published in numerous magazines.[60] At Smith, she majored in English literature and won all the major prizes in writing and scholarship, including literary prizes for her poetry. Additionally, she received a summer editor position at the young women's magazineMademoiselle.[5] On her graduation in 1955, she won theGlascock Prize for her poem "Two Lovers and a Beachcomber by the Real Sea". Later, at Cambridge, she wrote for the university publicationVarsity.[61]
Alvarez clearly views Plath as part of a generation that helped establish a new artistic myth. In contrast to theEliot generation, which championed the impersonality of art and the "extinction of personality"[62] in creative expression, Plath and her contemporaries fused their inner lives with their artistic output. As Alvarez puts it, this is a form of art in which "the barriers between the artist’s work and his life are forever shifting and crumbling.”[63]
Nights, I squat in the cornucopia Of your left ear, out of the wind,
Counting the red stars and those of plum-color. The sun rises under the pillar of your tongue. My hours are married to shadow. No longer do I listen for the scrape of a keel On the blank stones of the landing.
By the timeHeinemann published her first collection,The Colossus and Other Poems in the UK in late 1960, Plath had been short-listed several times in theYale Younger Poets book competition and had her work printed inHarper's,The Spectator andThe Times Literary Supplement. All the poems inThe Colossus had been printed in major U.S. and British journals, and she had a contract withThe New Yorker.[64] It was, however, her 1965 collectionAriel, published posthumously, on which Plath's reputation essentially rests. "Often, her work is singled out for the intense coupling of its violent or disturbed imagery and its playful use of alliteration and rhyme."[13]
The Colossus received largely positive UK reviews, highlighting Plath's voice as new and strong, individual and American in tone.Peter Dickinson atPunch called the collection "a real find" and "exhilarating to read", full of "clean, easy verse".[64]Bernard Bergonzi at theManchester Guardian wrote the book was an "outstanding technical accomplishment" with a "virtuoso quality".[64] From the point of publication, she became a presence on the poetry scene. The book was published in America in 1962 to less-glowing reviews. While her craft was generally praised, her writing was viewed by some critics at the time as more derivative of other poets.[64]
I saw my life branching out before me like the green fig tree in the story. From the tip of every branch, like a fat purple fig, a wonderful future beckoned and winked [...] as I sat there, unable to decide [which fig], the figs began to wrinkle and go black, and, one by one, they plopped to the ground at my feet.
Plath’s semi-autobiographical novel—her mother had tried to block its publication—was published under apseudonym in the UK in 1963, under her real name in 1966, and in the US in 1971.[39][65] Describing the compilation of the book to her mother, she wrote, "What I've done is to throw together events from my own life, fictionalizing to add color—it's apot boiler really, but I think it will show how isolated a person feels when he is suffering a breakdown... I've tried to picture my world and the people in it as seen through the distorting lens of a bell jar".[66] She described her novel as "an autobiographical apprentice work which I had to write in order to free myself from the past".[67] Plath dated a Yale senior named Dick Norton during her junior year. Norton, upon whom the character of Buddy inThe Bell Jar is based, contracted tuberculosis and was treated at theRay Brook Sanatorium. While visiting Norton, Plath broke her leg skiing, an incident that was fictionalized in the novel.[68] Plath also used the novel to highlight the issue of women in the workforce during the 1950s. She strongly believed in women's abilities to be writers and editors while society forced them to fulfill secretarial roles:[69]
Now with me, writing is the first delight in life. I want time and money to write, both very necessary. I will not sacrifice my time to learn shorthand because I do not want any of the jobs which shorthand would open up, although those jobs are no doubt very interesting for girls who want them. I do not want the rigid hours of a magazine or publishing job. I do not want to type other people's letters and read their manuscripts. I want to type my own and write my own. So secretarial training is out for me. That I know. (Sylvia Plath's letter to her mother, 10 Feb 1955)
In 1963, afterThe Bell Jar was published, Plath began working on another literary work, titledDouble Exposure, which was never published.[70] According to Ted Hughes in 1979, Plath left behind a typescript of "some 130 pages",[71] but in 1995 he spoke of just "sixty, seventy pages".[72] His sister, Olwyn Hughes, wrote in 2003 that the typescript may have consisted of the first two chapters, and did not exceed sixty pages.[73]
Plath's second volume of poems titledAriel was published byFaber & Faber in 1965, two years after her death. Ted Hughes made substantial changes to the manuscript she left on her desk on the night of her death. He rearranged the intended order of the poems, dropping some pieces, and adding others. The publication precipitated Plath's rise to fame.[5] The poems inAriel mark a departure from her earlier work into a more personal arena of poetry.Robert Lowell's poetry may have played a part in this shift as she cited Lowell's 1959 bookLife Studies as a significant influence, in an interview just before her death.[75] The impact ofAriel was dramatic, with its dark and potentially autobiographical descriptions of mental illness in poems such as "Tulips", "Daddy" and "Lady Lazarus".[75] Plath's work is often held within the genre ofconfessional poetry and the style of her work compared to other contemporaries, such as Lowell andW.D. Snodgrass. Plath's close friendAl Alvarez, who wrote about her extensively, said of her later work: "Plath's case is complicated by the fact that, in her mature work, she deliberately used the details of her everyday life as raw material for her art. A casual visitor or unexpected telephone call, a cut, a bruise, a kitchen bowl, a candlestick—everything became usable, charged with meaning, transformed. Her poems are full of references and images that seem impenetrable at this distance, but which could mostly be explained in footnotes by a scholar with full access to the details of her life."[76] Many of Plath's later poems deal with what one critic calls the "domestic surreal" in which Plath takes everyday elements of life and twists the images, giving them an almost nightmarish quality. Plath's poem "Morning Song" fromAriel is regarded as one of her finest poems onfreedom of expression of an artist.[77]
Plath's fellow confessional poet and friendAnne Sexton commented: "Sylvia and I would talk at length about our first suicide, in detail and in depth—between the free potato chips. Suicide is, after all, the opposite of the poem. Sylvia and I often talked opposites. We talked death with burned-up intensity, both of us drawn to it like moths to an electric lightbulb, sucking on it. She told the story of her first suicide in sweet and loving detail, and her description inThe Bell Jar is just that same story."[78] The confessional interpretation of Plath's work has led to some dismissing certain aspects of her work as an exposition of sentimentalist melodrama; in 2010, for example,Theodore Dalrymple asserted that Plath had been the "patron saint of self-dramatisation" and of self-pity.[79] Revisionist critics such as Tracy Brain have, however, argued against a tightly autobiographical interpretation of Plath's material.[80] On January 16, 2004,The Independent published an article that rankedAriel as the 3rd best book of modern poetry among 'The 10 Best Modern Poetry Books.' The same year, Faber publishedAriel: The Restored Edition, with a foreword by Frieda Hughes. The new edition for the first time restored the selection and arrangement of the poems as Plath had left them.
In 1971, the volumesWinter Trees andCrossing the Water were published in the UK, including nine previously unseen poems from the original manuscript ofAriel.[39] Writing inNew Statesman, fellow poetPeter Porter wrote:
Crossing the Water is full of perfectly realised works. Its most striking impression is of a front-rank artist in the process of discovering her true power. Such is Plath's control that the book possesses a singularity and certainty which should make it as celebrated asThe Colossus orAriel.[81]
In 1977,Johnny Panic and the Bible of Dreams, a collection of short stories, other prose writings and diary excerpts was published by Faber & Faber. In 2024, Faber published a new volume titledThe Collected Prose of Sylvia Plath, edited by Peter K. Steinberg, which contains nearly 217, mostly previously unpublished works written by Plath, such as fiction, non-fiction, texts from the Smith College Press Board, book reviews and story fragments, and provides a better awareness and understanding of Plath's efforts in the various genres represented.
TheCollected Poems, published in 1981, edited and introduced by Ted Hughes, contained poetry written from 1956 until her death. Plath posthumously was awarded thePulitzer Prize for Poetry.[39] In 2006,Anna Journey, then a graduate student at Virginia Commonwealth University, discovered a previously unpublished sonnet written by Plath titled"Ennui". The poem, composed during Plath's early years at Smith College, was published in the online journalBlackbird.[82][b]
Heavily abridged versions of Plath's letters to her family, mainly to her mother and brother, were published in 1975, edited and selected by her motherAurelia Plath. The collectionLetters Home: Correspondence 1950–1963 came out partly in response to the strong public reaction to the publication ofThe Bell Jar in America.[39]
In 2017 and 2018, two new volumes of letters,The Letters of Sylvia Plath Volume I: 1940-1956 andThe Letters of Sylvia Plath Volume II: 1956-1963, edited by Peter K. Steinberg and Karen V. Kukil, were published by Faber. With more than 2.500 pages, both volumes contain complete and unabridged letters to her family, friends, mentors and teachers, ex-boyfriends and to Ted Hughes.
Plath started writing in her diary on January 1, 1944, at the age of 11 and continued until her death by suicide in February 1963. Her early diaries remain unpublished and are currently atIndiana University Bloomington.[83][84] Her adult diaries, starting from her first year at Smith College in 1950, were published in 1982 asThe Journals of Sylvia Plath, edited by Frances McCullough, with Ted Hughes as consulting editor. In 1982, when Smith College acquired Plath's remaining journals, Hughes sealed two of them until February 11, 2013, the 50th anniversary of Plath's death.[85]
During the last years of his life, Hughes began working on a fuller publication of Plath's journals. In 1998, shortly before his death, he unsealed the two journals, and passed the project onto his children by Plath, Frieda and Nicholas, who passed it on to Karen V. Kukil, who finished her editing in December 1999. In 2000Anchor Books publishedThe Unabridged Journals of Sylvia Plath.[86] More than half of the new volume contained newly released material;[85] the American authorJoyce Carol Oates hailed the publication as a "genuine literary event". Hughes faced criticism for his role in handling the journals: He claims to have destroyed Plath's last journal, which contained entries from the winter of 1962 up to her death. In the foreword of the 1982 version, he writes "I destroyed [the last of her journals] because I did not want her children to have to read it (in those days I regarded forgetfulness as an essential part of survival)."[5][87]
As Hughes and Plath were legally married at the time of her death, Hughes inherited the Plath estate, including all her written work. He has been condemned repeatedly for burning Plath's last journal, saying he "did not want her children to have to read it".[88] Hughes lost another journal and an unfinished novel, and instructed that a collection of Plath's papers and journals should not be released until 2013.[88][89] He has been accused of attempting to control the estate for his own ends, although royalties from Plath's poetry were placed into a trust account for their two children, Frieda and Nicholas.[90][91]
Plath's gravestone has been repeatedly vandalized by those aggrieved that "Hughes" is written on the stone; they have attempted to chisel it off, leaving only the name "Sylvia Plath".[92] Plath and Hughes's daughter Frieda has condemned the defacement.[93] When Hughes's mistressAssia Wevill died by suicide and killed their four-year-old daughter Shura in 1969, this practice intensified, as Wevill's death led to claims that Hughes had been abusive to both Plath and Wevill.[94][57] After each defacement, Hughes had the damaged stone removed, sometimes leaving the site unmarked during repair.[95] Outraged mourners accused Hughes in the media of dishonoring Plath's name by removing the stone.[96]
Radical feminist poetRobin Morgan published the poem "Arraignment", in which she openly accused Hughes of the battery and murder of Plath. Her bookMonster (1972) "included a piece in which a gang of Plath aficionados are imagined castrating Hughes, stuffing his penis into his mouth and then blowing out his brains".[97][96][98] Hughes threatened to sue Morgan. The book was withdrawn by the publisher Random House, but it remained in circulation among feminists.[99] Other feminists threatened to kill Hughes in Plath's name and pursue a conviction for murder.[47][97] Plath's poem "The Jailor", in which the speaker condemns her husband's brutality, was included in Morgan's 1970 anthologySisterhood Is Powerful: An Anthology of Writings from the Women's Liberation Movement.[100]
In 1989, with Hughes under public attack, a battle raged in the letters pages ofThe Guardian andThe Independent. InThe Guardian on April 20, 1989, Hughes wrote the article "The Place Where Sylvia Plath Should Rest in Peace": "In the years soon after [Plath's] death, when scholars approached me, I tried to take their apparently serious concern for the truth about Sylvia Plath seriously. But I learned my lesson early...If I tried too hard to tell them exactly how something happened, in the hope of correcting some fantasy, I was quite likely to be accused of trying to suppress Free Speech. In general, my refusal to have anything to do with the Plath Fantasia has been regarded as an attempt to suppress Free Speech...The Fantasia about Sylvia Plath is more needed than the facts. Where that leaves respect for the truth of her life (and of mine), or for her memory, or for the literary tradition, I do not know."[96][101]
Still the subject of speculation and opprobrium in 1998, Hughes publishedBirthday Letters that year, his own collection of 88 poems about his relationship with Plath. Hughes had published very little about his experience of the marriage and Plath's suicide, and the book caused a sensation, being taken as his first explicit disclosure, and it topped bestseller charts. It was not known at the volume's release that Hughes had terminal cancer and would die later that year. The book won theForward Poetry Prize, theT. S. Eliot Prize for Poetry, and theWhitbread Poetry Prize. The poems, written after Plath's death, in some cases long after, try to find a reason why Plath killed herself.[102]
In October 2015, the BBC Two documentaryTed Hughes: Stronger Than Death examined Hughes's life and work; it included audio recordings of Plath reciting her own poetry. Their daughter Frieda spoke for the first time about her mother and father.[103]
Sylvia Plath's early poems exhibit what became her typical imagery, using personal and nature-based depictions featuring, for example, the moon, blood, hospitals, fetuses, and skulls. They were mostly imitation exercises of poets she admired such asDylan Thomas,W. B. Yeats andMarianne Moore.[60] Late in 1959, when she and Hughes were at the Yaddo writers' colony in New York State, she wrote the seven-part "Poem for a Birthday", echoingTheodore Roethke'sLost Son sequence, though its theme is her own traumatic breakdown and suicide attempt at 21.[105] After 1960 her work moved into a more surreal landscape darkened by a sense of imprisonment and looming death, overshadowed by her father.The Colossus is filled with themes of death, redemption and resurrection. After Hughes left, Plath produced, in less than two months, the 40 poems of rage, despair, love, and vengeance on which her reputation mostly rests.[60]
Plath's landscape poetry, which she wrote throughout her life, has been described as "a rich and important area of her work that is often overlooked...some of the best of which was written about theYorkshire moors". Her September 1961 poem "Wuthering Heights" takes its title fromthe novel byEmily Brontë, but its content and style is Plath's own particular vision of thePennine landscape.[106]
It was the posthumous publication ofAriel in 1965 that precipitated Plath's rise to fame and helped establish her reputation as one of the 20th century's best poets. As soon as it was published, critics began to see the collection as the charting of Plath's increasing desperation or death wish. Her dramatic death became her most famous aspect and remains so.[5]Time andLife both reviewed the slim volume ofAriel in the wake of her death.[47] The critic atTime said:
[W]ithin a week of her death, intellectual London was hunched over copies of a strange and terrible poem she had written during her last sick slide toward suicide. "Daddy" was its title; its subject was her morbid love-hatred of her father; its style was as brutal as a truncheon. What is more, "Daddy" was merely the first jet of flame from a literary dragon who in the last months of her life breathed a burning river of bale across the literary landscape.... In her most ferocious poems, "Daddy" and "Lady Lazarus", fear, hate, love, death and the poet's own identity become fused at black heat with the figure of her father, and through him, with the guilt of the German exterminators and the suffering of their Jewish victims.[c] They are poems, asRobert Lowell says in his preface toAriel, that "play Russian roulette with six cartridges in the cylinder."[108]
On January 16, 2004,The Independent in London published an article which rankedAriel as the third best book of modern poetry among its Ten Best Modern Poetry Books.
Some in the feminist movement saw Plath as speaking for their experience, as a "symbol of blighted female genius".[47] WriterHonor Moore describesAriel as marking the beginning of a movement, Plath suddenly visible as "a woman on paper", certain and audacious. Moore says: "When Sylvia Plath'sAriel was published in the United States in 1966, American women noticed. Not only women who ordinarily read poems, but housewives and mothers whose ambitions had awakened ... Here was a woman, superbly trained in her craft, whose final poems uncompromisingly charted female rage, ambivalence, and grief, in a voice with which many women identified."[109]
Smith College, Plath's alma mater, holds her literary papers in the Smith College Library.[110]
Plath's voice is heard in a BBC documentary about her life, recorded in London in late 1962.[118] Of the BBC recordingElizabeth Hardwick wrote:
I have never before learned anything from a poetic reading, unless the clothes, the beard, the girls, the poor or good condition of the poet can be considered a kind of knowledge. But I was taken aback by Sylvia Plath's reading. It was not anything like I could have imagined. Not a trace of the modest, retreating, humorous Worcester, Massachusetts, ofElizabeth Bishop; nothing of the swallowed plain Pennsylvania ofMarianne Moore. Instead these bitter poems—"Daddy", "Lady Lazarus", "The Applicant", "Fever 103°"—were beautifully read, projected in full-throated, plump, diction-perfect, Englishy, mesmerizing cadences, all round and rapid, and paced and spaced. Poor recessive Massachusetts had been erased. "I have done it again!" Clearly, perfectly, staring you down. She seemed to be standing at a banquet likeTimon, crying, "Uncover, dogs, and lap!"[119]
Letters Home is a 1986 experimentaltelefilm directed byChantal Akerman in which Plath's letters to and from her mother are recited byDelphine Seyrig and Coralie Seyrig, with the latter taking on the role of Plath. It is an adaptation ofRose Leiman Goldemberg’s off-Broadway play.[120]
Gwyneth Paltrow portrayed Plath in the biopicSylvia (2003). Elizabeth Sigmund, who was friends with both Plath and Hughes, criticized the movie for depicting Sylvia as "a permanent depressive and a possessive person", but she conceded that "the film has an atmosphere towards the end of her life which is heartbreaking in its accuracy".[121]Frieda Hughes, who was only two years old when she lost her mother, was angered by the making of entertainment featuring her parents' troubled marriage and her mother's death. She accused the "peanut crunching" public of wanting to be titillated by her family's tragedies.[122] In 2003, Frieda reacted to the situation in the poem "My Mother", first published inTatler:[123]
Now they want to make a film For anyone lacking the ability To imagine the body, head in oven, Orphaning children
... they think I should give them my mother's words To fill the mouth of their monster, Their Sylvia Suicide Doll
In hisAriel: Five Poems of Sylvia Plath (1971), American composerNed Rorem has set for soprano, clarinet and piano the poems "Words", "Poppies In July", "The Hanging Man", "Poppies In October", and "Lady Lazarus."[124][125]
Also drawing fromAriel, in hisSix Poems by Sylvia Plath for solo soprano (1975), German composerAribert Reimann has set the poems "Edge", "Sheep In Fog", "The Couriers", "The Night Dances", and "Words."[126] He later set "Lady Lazarus" (1992), also for solo soprano.[127][128]
Finnish composerKaija Saariaho's five-partFrom the Grammar of Dreams for soprano and mezzo a cappella (1988)[129] is constructed on a collage of fragments fromThe Bell Jar and the poem "Paralytic."[130] The piece was also arranged by the composer into a version for soprano and electronics (2002), in which the singer sings in interaction with a recorded double of her own voice.[131] Albeit composed as a concert piece,From the Grammar of Dreams has also been staged.[132][133]
American composerJuliana Hall'sLorelei (1989) for mezzo, horn, and piano is a setting of Plath's poem of the same name.[134] Hall had previously set "The Night Dances" as a movement of her cycle for soprano and pianoNight Dances (1987) featuring texts by five female poets,[135][136] and went on to write a song cycle for soprano and piano entirely devoted to Plath,Crossing The Water (2011), which comprises the poems "Street Song", "Crossing The Water", "Rhyme", and "Alicante Lullaby."[137]
In her cycle for soprano and pianoThe Blood Jet (2006), American composerLori Laitman set the poems "Morning Song", "The Rival", "Kindness", and "Balloons."[138][139]
^"On 15 July, when Sylvia came downstairs, Aurelia noticed that her daughter had a couple of partially healed scars on her legs. After being questioned about them, Sylvia told her mother that she had gashed herself in an effort to see if she had the guts. Then she took hold of Aurelia's hand and said: 'Oh, Mother, the world is so rotten! I want to die! Let's die together!'"[19]
^Two poems titledEnnui (I) andEnnui (II) are listed in a partial catalogue of Plath'sjuvenilia in theCollected Poems. A note explains that the texts of all but half a dozen of the many pieces listed are in the Sylvia Plath Archive of juvenilia in theLilly Library at Indiana University. The rest are with the Sylvia Plath Estate.
^Plath has been criticized for her numerous and controversial allusions tothe Holocaust.[107]
^Kean, Danuta (April 11, 2017)."Unseen Sylvia Plath letters claim domestic abuse by Ted Hughes".The Guardian.Archived from the original on April 15, 2020. RetrievedMarch 9, 2021.The letters are part of an archive amassed by feminist scholar Harriet Rosenstein seven years after the poet's death, as research for an unfinished biography.
^abcAxelrod, Steven (April 24, 2007) [2003]."Sylvia Plath".The Literary Encyclopedia.Archived from the original on October 11, 2007. RetrievedJune 1, 2007.
^Plath, Sylvia (1977) [1962]."Ocean 1212-W".Johnny Panic and the Bible of Dreams: And Other Prose Writings. London: Faber and Faber. p. 130.ISBN0-571-11120-3.
^Eliot, T. S. (2001). "Tradition and the Individual Talent,"The Norton Anthology of Theory and Criticism, First Edition, edited by Leitch VB, Cain WE, W.W. Norton & Company, p. 1094
^Alvarez, Al (2005). "The Myth of the Artist,"Madness and Creativity in Literature and Culture, edited by Corinne J. Saunders and Jane Macnaughton, Basingstoke: Palgrave Macmillan, p. 196
^Jernigan, Adam T. (January 1, 2014). "Paraliterary Labors in Sylvia Plath's The Bell Jar: Typists, Teachers, and the Pink-Collar Subtext".Modern Fiction Studies.60 (1):1–27.doi:10.1353/mfs.2014.0010.OCLC5561439112.S2CID162359742.
^His sister, Olwyn Hughes, Corrections ofDiane Middlebrook'sHer Husband. Emory University Libraries: Stuart A. Rose Manuscript, Archives, and Rare Book Library (MARBL), Olwyn Hughes Papers 1956–1997, box 2, folder 20 – cited inFerretter 2009, p. 15
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