On the fiftieth anniversary of her death, a startling new vision of Plath; the first to draw from the recently-opened Ted Hughes archive. The life and work of Sylvia Plath has taken on the proportions of myth. In this lively and accessible introduction to Sylvia Plath's writing, Bassnett offers a balanced view of one of the finest modern poets. Unlike most of the existing literary criticism, this book shifts the focus away from biographical readings and encompasses the full range of Plath's poetry, prose, journals and letters using a variety of critical methods.
Pain, Parties, Work by Elizabeth Winder is a compelling look at a young Sylvia Plath and the life-changing month that would lay the groundwork for her seminal novel, The Bell Jar. She was supposed to be having the time of her life.
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But what would follow was, in Plath's words, twenty-six days of pain, parties, and work, that ultimately changed the course of her life. L27 A15 Upon the publication of her posthumous volume of poetry, Ariel, in the mids, Sylvia Plath became a household name. This facsimile edition restores, for the first time, the selection and arrangement of the poems as Sylvia Plath left them at the point of her death.
Plath by Sylvia Plath; Diane W. L27 A6 A representative selection of verse by the Pulitzer Prize-winning writer who left in the wake of her personal tragedy a legacy of poems that combine terrifying intensity and dazzling artistry. L27 A17 The Theatre of Caryl Churchill. Author s : Churchill, Caryl; Gobert, R. Top Girls Ph.
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Dylan Thomas Poetry Maud R. Like this: Like Loading This is a most remarkable—in fact, a thoroughly subversive—statement for a biographer to make. To take vulnerability into consideration! To show compunction! To spare feelings! To not push as far as one can! What is the woman thinking of? Some of the secrets are difficult to bring away, and some, jealously guarded by relatives, are even impossible. She could not do so, of course.
They assure the reader that he is getting something pure and wholesome, not something that has been tampered with. The wrapping was coming undone, the label looked funny, there was no nice piece of cotton at the top of the bottle. I am particularly grateful for the work she did on the last four chapters and on the Ariel poems of the autumn of Hughes has contributed so liberally to the text that this is in effect a work of joint authorship.
Anne Stevenson apparently had not subdued the natives but had been captured by them and subjected to God knows what tortures. Hughes has been extremely reticent about his life with Plath; he has written no memoir, he gives no interviews, his writings about her work in a number of introductions to volumes of her poetry and prose are always about the work, and touch on biography only when it relates to the work.
The book had been sent to me by its publisher, and what aroused my interest was the name Anne Stevenson. Anne had been a fellow-student of mine at the University of Michigan in the nineteen-fifties. She had once been pointed out to me on the street: thin and pretty, with an atmosphere of awkward intensity and passion about her, gesticulating, surrounded by interesting-looking boys. In those days, I greatly admired artiness, and Anne Stevenson was one of the figures who glowed with a special incandescence in my imagination.
She seemed to embody and to have come by naturally all the romantic qualities that I and my fellow fainthearted rebels against the dreariness of the Eisenhower years yearned toward, as we stumblingly, and largely unsuccessfully, attempted to live out our fantasies of nonconformity. Over the years, I watched Anne achieve the literary success she had been headed toward at Michigan. I had begun to write, too, but I did not envy or feel competitive with her: she was in a different sphere, a higher, almost sacred place—the stratosphere of poetry.
Moreover, she had married an Englishman and moved to England—the England of E. Forster, G. Eliot, D. Lawrence—and that only fixed her the more firmly in my imagination as a figure of literary romance.
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She could also modulate it into the softer tones of nineteenth-century moral thought. Her society seemed too closed, sufficient unto itself. How did Anne know about it? I had placed her far above and beyond the shames and humiliations and hypocrisies in which the rest of us were helplessly implicated.
Evidently, she knew about them all too well. Everything was permissible to girls in the way of intimacy except the one thing such intimacies were intended to bring about. Very occasionally intercourse might, inadvertently, take place; but as a rule, if the partners went to the same school or considered themselves subject to the same moral pressures, they stopped just short of it.
My own letters home of the time were not dissimilar. We lied to our parents and we lied to each other and we lied to ourselves, so addicted to deception had we become. We were an uneasy, shifty-eyed generation. Only a few of us could see how it was with us. Sylvia Plath and Anne Stevenson and I came of age in the period when the need to keep up the pretense was especially strong: no one was prepared—least of all the shaken returning G.
At the end of her life, Plath looked, with unnerving steadiness, at the Gorgon; her late poems name and invoke the bomb and the death camps. She was able—she had been elected—to confront what most of the rest of us fearfully shrank from. Plath embodies in a vivid, almost emblematic way the schizoid character of the period.
She is the divided self par excellence. As I read the book, certain vague, dissatisfied thoughts I had had while reading other biographies began to come into sharper focus. It was only later, when the bad report of the book had spread and I had learned about some of the circumstances of its writing, that I understood why it gave the sense of being as much about the problems of biographical writing as about Sylvia Plath. I am authentic. I speak with authority. Go to the full texts of the journals, the letters home, and the rest.