The Journals of Sylvia Plath

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New York Times, October 9, 1979; November 9, 2000, Martin Arnold, "Sylvia Plath, Forever an Icon," p. E3.

Several of Plath's letters and her personal journal were published after her death. Most of her manuscripts are held in the Cambridge and Indiana University libraries. Exclusive Sylvia Plath extract: Mary Ventura and the Ninth Kingdom". The Guardian. December 29, 2018. Archived from the original on November 24, 2020 . Retrieved January 12, 2021. It seemed of no significance then, but now I remember how Ilo had shut the door, had turned on the radio so that music came out. Plath, Sylvia (March 13, 2008). "Ariel". The Guardian. London. Archived from the original on March 12, 2017.Indeed, the search for a father assumes major proportions in this section. Pleas abound for “some man, who is a father.” In a particularly enlightening entry written on Mother’s Day, 1958, Plath discusses the possibility of using “Full Fathom Five,” the title of one of her poems, as a book title because of the importance of the sea as a central metaphor in her work, the father as “buried male muse and god—creator risen to be my mate in Ted, to the sea-father Neptune.” She continues, “so the river flows to the paternal source of godhead.” Hargrove, Nancy Duvall, The Journey toward Ariel: Sylvia Plath's Poems of 1956-1959, Lund University Press, 1994. Newman, Charles, editor, The Art of Sylvia Plath: A Symposium, Indiana University Press (Bloomington, IN), 1970. Strangeways, Al; Plath, Sylvia (Autumn 1996). " 'The Boot in the Face': The Problem of the Holocaust in the Poetry of Sylvia Plath" (PDF). Contemporary Literature. 37 (3): 370–390. doi: 10.2307/1208714. JSTOR 1208714. S2CID 164185549. Archived from the original (PDF) on February 12, 2020. In Plath’s final poems, wrote Charles Newman in his The Art of Sylvia Plath,“death is preeminent but strangely unoppressive. Perhaps it is because there is no longer dialogue, no sense of ‘Otherness’—she is speaking from a viewpoint which is total, complete. Love and Death, all rivals, are resolved as one within the irreversibility of experience. To reverse Blake, the Heart knows as much as the Eye sees.” Alvarez believed that “the very source of [Plath’s] creative energy was, it turned out, her self-destructiveness. But it was, precisely, a source of living energy, of her imaginative, creative power. So, though death itself may have been a side issue, it was also an unavoidable risk in writing her kind of poem. My own impression of the circumstances surrounding her eventual death is that she gambled, not much caring whether she won or lost; and she lost.”

In 2018, The New York Times published an obituary for Plath [103] as part of the Overlooked history project. [104] [105] Portrayals in media [ edit ] Wagner-Martin, Linda, Sylvia Plath: The Critical Heritage, Routledge & Kegan Paul (London, England), 1988. The Library's buildings remain fully open but some services are limited, including access to collection items. We're Tabor, Stephen. (1988). Sylvia Plath: An Analytical Bibliography. London: Mansell. ISBN 0-7201-1830-1.

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Sylvia Plath's Tombstone in England Defaced, Removed: 25 Years After Her Suicide, Tormented American Poet Finds No Peace". Los Angeles Times. Associated Press. June 5, 1988. Archived from the original on September 2, 2018 . Retrieved September 13, 2018. Sylvia Plath (1932–1963) was an American author and poet. Plath is primarily known for her poetry, but earned her greatest reputation for her semi-autobiographical novel The Bell Jar, published pseudonymously weeks before her death. Anemona Hartocollis (March 8, 2018). "Sylvia Plath, a Postwar Poet Unafraid to Confront Her Own Despair". The New York Times. Archived from the original on March 8, 2018 . Retrieved March 9, 2018. Hughes, Frieda (2003). "My Mother". The Book of Mirrors. Archived from the original on May 28, 2012. The final section of the journals contains entries from the summer of 1958 through the fall of 1959, when Plath lived in Boston. The last real entry is dated November 15, 1959, from Yaddo, prior to Plath and Hughes’s return to England to await the birth of their first child. The last years of her life are represented by a piece titled “The Inmate,” written between February 27 and March 6, 1961, when Plath was in the hospital having her appendix removed, and by a series of sketches of her Devon neighbors dated February through July, 1962.