Plath, Sylvia (Vol. 111)
Sylvia Plath 1932–1963
(Also wrote under pseudonym Victoria Lucas) American poet, short story writer, diarist, radio dramatist, and novelist.
The following entry presents an overview of Plath's career through 1996. See also Sylvia Plath Criticism (Volume 1), and Volumes 3, 5, 9, 14, 17, 111.
Sylvia Plath is renowned as one of the most powerful American poets of the postwar period. Her acclaimed poetry and prose are characterized by intense self-consciousness, accusatory despair, and disquieting expressions of futility and frustration. A complicated literary personality whose biography is nearly impossible to disentangle from her writing, Plath is frequently regarded as a confessional poet, though her deeply personal lamentations often achieve universality through mythic allusion and archetypal symbolism. Viewed as a cathartic response to her divided personae as an artist, mother, and wife, Plath's vivid and often shocking verse reveals the psychological torment associated with feelings of alienation, inadequacy, and abandonment. Her semi-autobiographic novel The Bell Jar (1963) and highly charged verse in The Colossus (1960) and Ariel (1965) won widespread critical appreciation and continue to attract scholarly analysis. The posthumous publication of her poetry in The Collected Poems (1981) was awarded a Pulitzer Prize in 1982. Since her tragic death, Plath has inspired a generation of women writers and feminist critics as a leading voice against female subordination and passivity in modern society. A poet of remarkable force and ability, Plath exerted an indelible influence on American literature as a self-possessed visionary and casualty of her art.
Born in Boston, Massachusetts, Plath was the eldest child of Aurelia and Otto Emil, a German-born professor at Boston University who authored a notable treatise on bumblebees. An undiagnosed diabetic, Otto died in 1940 after complications resulting from surgery to amputate his leg. Upon her husband's death, Aurelia secured a teaching position at Boston University where she trained medical secretaries. Shaken by the loss of her father, Plath took an early interest in creative writing and began to publish poetry and short fiction in various magazines, including Seventeen and the Christian Science Monitor. A precocious and highly mo-tivated student, Plath attended Smith College on a scholarship beginning in 1950. There she continued to win academic distinctions and was selected in 1953 to serve as a student editor for Mademoiselle magazine in New York City. During the same year, she lapsed into an episode of severe depression, culminating in a suicide attempt for which she was hospitalized and treated with electroshock therapy. Under psychiatric care, Plath returned to Smith College the following year, completed an honors thesis on Fedor Dostoevsky's fiction, and graduated summa cum laude with a degree in English in 1955. The next fall Plath set off for Cambridge, England, to attend Newnham College on a Fulbright Scholarship. While overseas, she met poet Ted Hughes, whom she married in June of 1956. After completing her master's degree at Cambridge in 1957, Plath settled with Hughes in the United States where she taught English at Smith College and worked briefly as a medical secretary at a Massachusetts psychiatric clinic. Plath attended a poetry workshop with Robert Lowell at Boston University in 1958 and spent several months at the Yaddo writing colony in New York the following summer. In 1959 Plath and Hughes returned to England where she gave birth to their first child, Frieda Rebecca. Plath published The Colossus, her first book of poetry, in October of 1960. After recovering from a miscarriage and appendectomy in 1961, Plath was awarded a Eugene F. Saxon fellowship and began work on The Bell Jar, which appeared in 1963 under the pseudonym Victoria Lucas. Several months after the birth of their second child, Nicholas Farrar, in 1962, Plath and Hughes separated as a result of Hughes's infidelities. After a failed reconciliation, Plath moved to a London apartment with her two children where she became increasingly depressed and despondent, although it was at this time that she produced some of her finest poetry. Her sense of isolation was exacerbated by an unusually harsh winter, nagging illnesses, and the strain of single parenthood. In February of 1963, Plath took her own life by inhaling gas from her kitchen stove. Several posthumous volumes of Plath's poetry appeared over the next two decades, including Crossing the Water (1971), Winter Trees (1971), and the Pulitzer prize-winning The Collected Poems—all compiled under the editorship of Hughes. Further biographical information concerning Plath's life appeared in Letters Home (1975), a volume of Plath's personal correspondence published by Aurelia Plath, Johnny Panic and the Bible of Dreams (1977), a collection of Plath's prose writings and diary excerpts, and The Journals of Sylvia Plath (1983).
Plath's poetry and fiction are well-known for their intensity and ubiquitous incorporation of personal detail. The Bell Jar, Plath's only novel, is perhaps the most explicitly autobiographical, as it recounts events surrounding Plath's internship with Mademoiselle and subsequent nervous breakdown. The protagonist is Esther Greenwood, a nineteen-year-old college student whose intellectual talents and professional ambitions are frustrated by disillusionment and mental collapse following a summer in New York City as an intern for a woman's magazine. While in Manhattan, Esther quickly becomes dissatisfied with her superficial work as a fashion writer and struggles to develop her self-identity in opposition to conventional female roles. After strained encounters with several men, including one who physically abuses her, she throws her clothes into the street from the top of her apartment building and returns home, where she falls into a deep depression and eventually attempts suicide. While hospitalized, Esther is subjected to traumatic electroshock therapy, though, in the care of a benevolent female doctor, later recovers enough to return to school under the ominous threat of another, more severe, breakdown. As in much of her poetry, Plath evinces a morbid fascination with death and a strong aversion to the prospect of a stifling domestic existence as a subservient housewife and mother. Esther's disappointing social and sexual experiences also reveal the frustration and humiliation endured by women whose intelligence and abilities are disregarded in both the office and home. Plath's first volume of poetry, The Colossus, similarly displays an overriding preoccupation with estrangement, motherhood, and fragmentation in contemporary society. More formal than her later work, the poems of The Colossus reveal Plath's mastery of conventional forms, though bear the distinct influence of her association with confessional poets Robert Lowell and Anne Sexton. Much of Plath's rage is directed against her father, whom she invokes as both a muse and target of scorn. While in the title poem Plath refers to him as an "oracle" and "mouthpiece of the dead," in "Electra on Azalea Path," she rails against his premature death and her own lost innocence. Likewise, "The Beekeeper's Daughter," one of many so-called "Bee" poems, alludes to her father and his expertise on the subject of bumblebees. Plath's concern with childbirth is evident in "Metaphors," a cryptic description of gestation introduced as "a riddle in nine syllables," and in "Poem for a Birthday," a series of five separate poems that explore the relationship between artistic creation and the maternal condition. The imagery of fetuses, pregnancy, and creation appear in much of Plath's poetry, especially as a foil for the opposite extreme of the life cycle—death, particularly the looming prospect of self-annihilation. Five months before her suicide, Plath composed the bulk of the poems in Ariel, her most famous volume of poetry, which contains "Lady Lazarus" and "Daddy," her best known and most anthologized poems. More so than in The Colossus, the poems of Ariel render isolation and insecurity as menacing threats with gruesome consequences. Through a synthesis of brutal self-revelation and macabre associations, including disconcerting references to Nazis and the Holocaust, Plath conjures historical and mythic allusions to give depth and immediacy to her psychic distress. Plath also uses color symbolism and archetypal imagery to juxtapose opposing aspects of nature and existence, as in "Tulips" and the title poem, "Ariel," where red and white alternately represent blood, life, death, and rebirth. Other poems, such as "Cut" and "Fever 103°," describe physical afflictions with a combination of clinical objectivity and surrealism that evokes a sense of disorientation and violent self-abnegation. On the theme of marriage and domesticity, "The Applicant" reveals the callous objectification of women as obedient wives whose value is determined by their household utility. As in much of her poetry, the appearance of wild spontaneity and free association belies the subtlety of internal metaphors, lyrical rhythms, and tonal complexity painstakingly formulated to dramatize the terrifying experience of raw, desublimated human fears and desires.
Plath is widely praised for her technical accomplishment and stark insight into severe psychological disintegration and existential anxiety. Despite her early death, critics continue to marvel at her rapid artistic development over a brief period of only several years. The contents of The Colossus and Ariel, along with additional compositions from Crossing the Water and Winter Trees, represent Plath's principal body of work, upon which her reputation as a poet rests. With the posthumous publication of The Collected Poems, Plath won renewed critical approval and gained an even larger following. As many critics note, her poetry exhibits an appealing irony, wit, and consistency in its recurring leitmotifs and colloquial symbols, particularly involving bees, infants, wombs, flowers, mirrors, corpses, the moon, and the sea. While Plath is commonly associated with the confessional poets, primarily Lowell and Sexton, the influence of Theodore Roethke is also apparent in her use of intuitive word associations, near rhymes, and Freudian childhood memories. Plath's poetry is typically criticized for its histrionic display of emotion, excessive self-absorption, inaccessible personal allusions, and nihilistic obsession with death. In addition, some critics object to references to the Holocaust in her later poetry, which, in the context of Plath's private anguish, are viewed as gratuitous and inappropriate. However, most agree that Plath's best poetry converts personal experience and ordinary affairs into the mythopoetic. Her only novel, The Bell Jar, is also regarded as a classic of modern American literature, drawing favorable comparison to J. D. Salinger's Catcher in the Rye and James Joyce's Portrait of the Artist as a Young Man. Though later adopted as a heroine and martyr of the feminist movement, Plath's persistent efforts to deconstruct and recreate her self-identity in the transcendent language of metaphor and archetype remains among her greatest achievements. A gifted and much admired literary figure who has assumed cult-like celebrity since her death, Plath is considered among the most influential and important American poets of the twentieth century.
The Colossus (poetry) 1960
Three Women: A Monologue for Three Voices (radio drama) 1962
The Bell Jar [under pseudonym Victoria Lucas] (novel) 1963
Ariel (poetry) 1965
Crossing the Water: Transitional Poems (poetry) 1971
Crystal Gazer and Other Poems (poetry) 1971
Winter Trees (poetry) 1971
Letters Home: Correspondence, 1950–1963 (letters) 1975
The Bed Book (juvenilia) 1976
Johnny Panic and the Bible of Dreams (short stories, prose, and diary entries) 1977
The Collected Poems (poetry) 1981
The Journals of Sylvia Plath, 1950–1962 (diaries) 1983
Selected Poems (poetry) 1985
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SOURCE: "'God's Lioness'—Sylvia Plath, Her Prose and Poetry," in Women's Studies, Vol. 1, 1973, pp. 191-8.
[In the following essay, Martin provides both a brief overview of The Bell Jar and examples of Plath's poetry to illustrate the autobiographic and social context of her work. Challenging the "negative and even hostile judgment of Plath's politics" levelled by some critics, Martin extols Plath's talent and influence as "one of the leading American women poets since Emily Dickinson."]
In recent years, cultists have enshrined Sylvia Plath as a martyr while critics have denounced her as a shrew. Plath's devotees maintain that she was the victim of a sexist society, her suicide a response to the oppression of women, and her poetry a choreography of female wounds. Conversely, critics such as Elizabeth Hardwick and Irving Howe complain of her "fascination with hurt and damage and fury." Hardwick can't understand how Plath could persist in her bitterness toward her father years after his death and implies that it was sadistic, or, at best, self-indulgent, to publish The Bell Jar.
Echoing Hardwick, Howe accuses Plath of not "caring" or even being "aware of anyone but herself" and asserts that her poetry is "unmodulated and asocial." Complaining that in "none of the essays devoted to praising Sylvia Plath, have I found a coherent statement as to the nature, let alone the...
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SOURCE: "Sylvia Plath's 'Cut,'" in Modern Fiction Studies, Vol. 6, 1975, pp. 128-34.
[In the following essay, Spendal discusses the significance of color symbolism, historical reference, and Plath's use of physical ailment as a metaphor for psychological injury in the poem "Cut."]
In several of her poems Sylvia Plath turns familiar bodily ills into metaphors of psychic affliction. Work like "The Eye-mote," "Fever 103°," "Paralytic," and "Amnesiac" are only incidentally concerned with the pathological states suggested by their titles. The ostensible problem in each case is a figure for a more subtle and profound malady, a disturbance of the will to live. This is also the strategy in "Cut," one of the most memorable and carefully crafted of the Ariel poems. On the literal level Plath's subject is a cut thumb; figuratively, it is the deeper disunity of a mind divided in its attitude toward death.
The vehicle for this psychological concern is the speaker's uncertain response to her injury. The initial reaction is a sort of manic exuberance which moves her to extol the cut as "a thrill." Subsequently, pain and nausea prompt a more sober statement: "I am ill." To emphasize the disparity between these moods Plath divides the poem into two equal parts. The "thrill" section extends through the first five stanzas, the "ill" section through the last five. The mathematical neatness of this...
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SOURCE: "'Viciousness in the Kitchen': Sylvia Plath's Domestic Poetry," in Modern Language Studies, Vol. 7, No. 2, 1977, pp. 11-25.
[In the following essay, Dobbs examines allusions to marriage and motherhood in Plath's poetry. According to Dobbs, the hostile and often violent imagery in such pieces reflects Plath's strong resistance to the prospect of domestic entrapment as a wife and mother.]
There's a hex on the cradle
and death in the pot.
For Sylvia Plath, domesticity is an ultimate concern. Like Erica Jong, Tillie Olsen, Marge Piercy and many other contemporary women writers Plath frequently explores what it means to be a woman in terms of the traditional conflict between family and career. Plath's life and her writing are filled with anxiety and despair over her refusal to choose and instead to try to have—what most males consider their birth-right—both. It is apparent from her life and letters that her commitment to writing was total and unwavering and that her commitment to domesticity, especially motherhood, was ambivalent. Paradoxically, it is out of her domestic relationships and experiences, which she came to feel were stifling, even killing her that the majority of her most powerful, most successful work was created.
Many Plath poems are concerned at one level or another with...
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SOURCE: "Sylvia Plath and Confessional Poetry: A Reconsideration," in Iowa Review, Vol. 8, No. 1, 1977, pp. 104-15.
[In the following essay, Uroff contrasts Plath's poetic voice with the confessional mode developed by American poet Robert Lowell. Uroff contends that Plath, unlike Lowell, incorporates abstracted autobiographic detail in her poetry only to amplify or dramatize feelings of pain and sorrow rather than to induce actual self-revelation.]
When M. L. Rosenthal first used the term, confessional poetry, he had in mind a phase in Robert Lowell's career when Lowell turned to themes of sexual guilt, alcoholism, confinement in a mental hospital, and developed them in the first person in a way that intended, in Rosenthal's view, to point to the poet himself. Rosenthal was careful to limit the possibilities of the mode but he did name Sylvia Plath a confessional poet as well because, he said, she put the speaker herself at the center of her poems in such a way as to make her psychological vulnerability and shame an embodiment of her civilization. Rosenthal's widely accepted estimation was challenged first by Ted Hughes who pointed out that Plath uses autobiographical details in her poetry in a more emblematic way than Lowell, and more recently by Marjorie Perloff who claims that Plath's poetry lacks the realistic detail of Lowell's work. If Hughes and Perloff are right, and I think they are, then we...
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SOURCE: "Plath's 'Ariel': 'Auspicious Gales,'" in Concerning Poetry, Vol. 10, No. 2, 1977, pp. 5-7.
[In the following essay, Wagner draws attention to the complexity of Plath's poetry in Ariel which, as the critic notes, invokes archetypal imagery and the paradoxical portrayal of suffering as survival to create depth of feeling and insight.]
No poet contemporary with us has been so subject to misreadings, especially biographical misreadings: Sylvia Plath's poems evoke the worst of subjective fallacies. Probably some of our charged reactions are symptomatic of the times and the culture; but more of them seem to stem from the always-too-easy identification between troubled poet (with the ultimate proof, her suicide) and what might be the tone of imagery and rhythm of the poem considered. Because Plath worked so intensively in archetypal imagery (water, air, fire as bases for image patterns, for example), many of her poems could be read as either "dark" wasteland kinds of expressions, or as the reverse, as death-by-water, salvation poems—destruction implied, but also survived, phoenix-like. (When a reader finds a gay, affirmative poem like "Balloons" to be ominous simply because the child holds "A red / shred in his little fist" at its end, there must be some reason for discounting fully ninety percent of the affirmative lines and images in that single poem—making it "fit" the preconception we...
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SOURCE: "'Poem for a Birthday' to 'Three Women': Development in the Poetry of Sylvia Plath," in Critical Quarterly, Vol. 21, No. 4, 1979, pp. 63-72.
[In the following essay, Aird examines Plath's rapid creative development after the publication of The Colossus. Challenging "the oversimplified and rather sentimental theory" that motherhood inspired Plath's artistic growth during this period, Aird cites Plath's remarkable commitment to her work and the influence of Robert Lowell, Anne Sexton, and Theodore Roethke.]
Critical discussion of Plath's poetry is understandably focused on the magnificent late poems with occasional forays into the earlier exercises of The Colossus—and they were precisely exercises in style and image by a poet identifying her subjects. It therefore seems useful to pay some attention to the question of development, to the nature and timing of the transition from The Colossus to Ariel and to the poetic and biographical factors affecting this development. 'Poem for a Birthday' initiates the transitional period which ends with 'Three Women.' It is significant that these are her two longest poems, 'Berck-Plage' being the only other one which begins to approach their expansiveness of structure and imagery. The theme of pregnancy and birth in 'Three Women' is foreshadowed by the opening section of images of hibernation, storage and growth in 'Poem for a...
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SOURCE: "The Self in the World: The Social Context of Sylvia Plath's Late Poems," in Women's Studies, Vol. 7, Nos. 1-2, 1980, pp. 171-83.
[In the following essay, Annas offers analysis of depersonalization in Plath's poetry which, according to Annas, embodies Plath's response to oppressive modern society and her "dual consciousness of self as both subject and object."]
For surely it is time that the effect of disencouragement upon the mind of the artist should be measured, as I have seen a dairy company measure the effect of ordinary milk and Grade A milk upon the body of the rat. They set two rats in cages side by side, and of the two one was furtive, timid and small, and the other was glossy, bold and big. Now what food do we feed women as artists upon?
—Virginia Woolf, A Room of One's Own
The dialectical tension between self and world is the location of meaning in Sylvia Plath's late poems. Characterized by a conflict between stasis and movement, isolation and engagement, these poems are largely about what stands in the way of the possibility of rebirth for the self. In "Totem," she writes: "There is no terminus, only suitcases / Out of which the same self unfolds like a suit / Bald and shiny, with pockets of wishes / Notions and tickets, short circuits and folding mirrors." While in the...
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SOURCE: "Plath's The Bell Jar as Female Bildungsroman," in Women's Studies, Vol. 12, No. 1, 1986, pp. 55-68.
[In the following essay, Wagner examines The Bell Jar as the chronicle of a young woman's psychological development and search for identity. As Wagner notes, Plath's depiction of the heroine's madness and thinly veiled anger at patriarchal society differs from the traditional bildungsroman in which the author strives to provide moral education.]
One of the most misunderstood of contemporary novels, Sylvia Plath's The Bell Jar is in structure and intent a highly conventional bildungsroman. Concerned almost entirely with the education and maturation of Esther Greenwood, Plath's novel uses a chronological and necessarily episodic structure to keep Esther at the center of all action. Other characters are fragmentary, subordinate to Esther and her developing consciousness, and are shown only through their effects on her as central character. No incident is included which does not influence her maturation, and the most important formative incidents occur in the city, New York. As Jerome Buckley describes the bildungsroman in his 1974 Season of Youth, its principal elements are "a growing up and gradual self-discovery," "alienation," "provinciality, the larger society," "the conflict of generations," "ordeal by love" and "the search for a vocation...
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SOURCE: "The Separative Self in Sylvia Plath's The Bell Jar," in Women's Studies, Vol. 18, No. 1, May, 1990, pp. 49-64.
[In the following essay, Bonds reconsiders feminist critical analysis of The Bell Jar, drawing attention to Esther Greenwood's recovery in the novel. According to Bonds, Esther fails to establish an autonomous, or separative, self, and ultimately resorts to "culturally-ingrained stereotypes of women."]
Plath's novel The Bell Jar dramatizes the collusion between the notion of a separate and separative self (or bounded, autonomous subject) and the cultural forces that have oppressed women. The pervasive imagery of dismemberment conveys the alienation and self-alienation leading to Esther Greenwood's breakdown and suicide attempt; the recovery which Plath constructs for her heroine merely reenacts the dismemberments obsessively imaged in the first half of the novel. This "recovery" denies the relationality of the self and leaves Esther to define herself unwittingly and unwillingly in relation to culturally-ingrained stereotypes of women. Contemporary feminist theory has questioned the validity of the separative model of selfhood, but literary critics have brought to the novel the same assumptions about the self which inform Plath's book. Thus they have failed to recognize what the novel has to teach about the destructive effects—at least for...
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SOURCE: "Sylvia Plath's Psychic Landscapes," in English Studies, Vol. 71, No. 6, December, 1990, pp. 509-22.
[In the following essay, Lindberg-Seyersted examines the development of Plath's poetry through analysis of major themes and imagery found in her description of landscapes, seascapes, and the natural world.]
Following the lead of Ted Hughes, critics today tend to read Sylvia Plath's poetry as a unity. Individual poems are best read in the context of the whole oeuvre: motifs, themes and images link poems together and these linkages illuminate their meaning and heighten their power. It is certainly easy to see that through almost obsessive repetition some elements put their unforgettable mark on the poetry: themes such as the contradictory desires for life and death and the quests for selfhood and truth; images like those of color, with red, black and white dominating the palette; and symbols of haunting ambiguity, for example, the moon and the sea.
But equally obvious is the striking development that Plath's work underwent in the course of her brief career as a professional poet. This is perhaps most readily seen in the prosody: from exerting her equilibristic skill at handling demanding verse forms, such as the terza rima and the villanelle, she broke free of the demands of such literary conventions and created a personal verse form which still retained some of the...
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SOURCE: "The Monster in Plath's 'Mirror,'" in Papers on Language and Literature, Vol. 108, No. 5, October, 1993, pp. 152-69.
[In the following essay, Freedman discusses Plath's use of the mirror as a symbol of female passivity, subjugation, and Plath's own conflicted self-identity caused by social pressure to reconcile the competing obligations of artistic and domestic life.]
For many women writers, the search in the mirror is ultimately a search for the self, often for the self as artist. So it is in Plath's poem "Mirror." Here, the figure gazing at and reflected in the mirror is neither the child nor the man the woman-as-mirror habitually reflects, but a woman. In this poem, the mirror is in effect looking into itself, for the image in the mirror is woman, the object that is itself more mirror than person. A woman will see herself both in and as a mirror. To look into the glass is to look for oneself inside or as reflected on the surface of the mirror and to seek or discover oneself in the person (or non-person) of the mirror.
The "She" who seeks in the reflecting lake a flattering distortion of herself is an image of one aspect of the mirror into which she gazes. She is the woman as male-defined ideal or as the ideal manqué, the woman who desires to remain forever the "young girl" and who "turns to those liars, the candles or the moon" for confirmation of the...
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SOURCE: "On Sylvia Plath," in Raritan, Vol. 14, No. 2, Fall, 1994, pp. 1-10.
[In the following essay, Hughes comments on Plath's struggle to transcribe her private anguish into the fiction of The Bell Jar. According to Hughes, Plath's difficulty stemmed from her effort to produce a novel with both mythic aspirations and cathartic ritual based in reality.]
Sylvia Plath's intense ambition to write a novel provides one of the main and most distressful themes of her early journals. Her inability to start—or worse, her various attempts to start—brought her repeatedly to near despair. She agonized about style, tone, structure, subject matter.
Throughout that same period, her poetry struggled into being against only slightly less resistance. Plenty of poems survive, perhaps because each of her convulsive efforts to break through the mysterious barriers by way of verse sufficed to complete a short poem—which could then be sold for cash and bore comparison with what other poets were publishing. But she knew these poems were not what she wanted. She valued them far more highly than her prose, because at least they reflected, often very beautifully, the obsessive inner life that made her write them. But though they reflected it, she felt they did not contain it, did not release it.
These poems do not live: it's a sad diagnosis.
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SOURCE: "'The Boot in the Face': The Problem of the Holocaust in the Poetry of Sylvia Plath," in Contemporary Literature, Vol. XXXVII, No. 3, Fall, 1996, pp. 370-90.
[In the following essay, Strangeways examines Plath's references to the Holocaust in light of her preoccupation with personal history and myth, female victimization, and the specter of nuclear war. Strangeways concludes that Plath does not simply reduce the atrocity of the Holocaust to metaphor, but draws attention to the ambiguous and potentially dangerous interrelationship between "myth, history, and poetry in the post-Holocaust world."]
Sylvia Plath's poetry is generally judged on the contents of the posthumously published Ariel (1965), and often on a minority of poems within that volume, such as "Daddy" (1962) and "Lady Lazarus" (1962), which are most striking because of their inclusion of references to the Holocaust. Plath's whole oeuvre is frequently and superficially viewed as somehow "tainted" by the perceived egoism of her deployment of the Holocaust in these poems. Such straightforward condemnation, however, disguises the difficulties surrounding any judgment of Plath's treatment of this material—difficulties which are clearly exhibited by the respected critic George Steiner, who in 1965 applauded "Daddy" as "The 'Guernica' of modern poetry," yet later, in 1969, declared that the extreme nature of Plath's late poems left...
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Boruch, Marianne. "Plath's Bees." Parnassus 17, No. 2 (Fall 1992): 76-95.
Examines the creative origin and significance of Plath's "Bee" poems in Ariel.
Davis, William V. "Sylvia Plath's 'Ariel.'" Modern Poetry Studies 3 (1972): 176-84.
Provides critical analysis of the title poem from Ariel.
Eder, Doris L. "Thirteen Ways of Looking at Lady Lazarus." Contemporary Literature XXI, No. 2 (1980): 301-7.
Provides an overview of critical interpretations of the poem "Lady Lazarus."
Folsom, Jack. "Death and Rebirth in Sylvia Plath's 'Berck-Plage.'" Journal of Modern Literature XVII, No. 4 (Spring 1991): 521-35.
Discusses countervailing elements of morbidity and affirmation in the poem "Berck-Plage."
Lant, Kathleen Margaret. "The Big Strip Tease: Female Bodies and Male Power in the Poetry of Sylvia Plath." Contemporary Literature XXXIV, No. 4 (Winter 1993): 620-69.
Explores Plath's portrayal of the female body and self-revelation, especially as influenced by confessional poetry and masculine semantic structures.
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