Sylvia Plath
From Wikipedia, the free encyclopedia
| Sylvia Plath | |
|---|---|
Plath in 1957
|
|
| Born | October 27, 1932 Boston, Massachusetts, US |
| Died | February 11, 1963 (aged 30) London, England, UK |
| Resting place | Heptonstall Church, West Yorkshire, England, UK |
| Pen name | Victoria Lucas |
| Occupation | Poet, novelist and short story writer |
| Language | English |
| Nationality | American |
| Education | BA summa cum laude, with highest honors in English |
| Alma mater | Smith College Newnham College, Cambridge |
| Period | 1960–1963 |
| Genres | Poetry, fiction |
| Literary movement | Confessional poetry |
| Notable work(s) | The Bell Jar and Ariel |
| Notable award(s) | Fulbright scholarship Glascock Prize 1955 Pulitzer Prize for Poetry 1982 The Collected Poems |
| Spouse(s) | Ted Hughes (1956–1963, her death) |
| Children | Frieda Hughes Nicholas Hughes |
|
|
|
| Signature |  |
Plath is credited with advancing the genre of confessional poetry and is best known for her two published collections, The Colossus and Other Poems and Ariel. In 1982, she won a posthumous Pulitzer Prize for The Collected Poems. She also wrote The Bell Jar, a semi-autobiographical novel published shortly before her death.[3]
Contents
Life and career
Early life
Plath was born on October 27, 1932, in the Massachusetts Memorial Hospital, in Boston's Jamaica Plain neighborhood.[4] Her mother, Aurelia Schober Plath (1906–1994), was a first-generation American of Austrian descent, and her father, Otto Plath (1885–1940), was from Grabow, Germany.[5] Plath's father was an entomologist and was professor of biology and German at Boston University; he also authored a book about bumblebees.[6] Plath's mother was approximately twenty-one years younger than her husband.[6] They met while she was earning her master's degree in teaching and took one of his courses. Otto had become alienated from his family after choosing not to become a Lutheran minister, as his grandparents had intended him to be.[7]On April 27, 1935, Plath's brother Warren was born[4] and in 1936 the family moved from 24 Prince Street in Jamaica Plain, Massachusetts, to 92 Johnson Avenue, Winthrop, Massachusetts.[8] Plath's mother, Aurelia, had grown up in Winthrop, and her maternal grandparents, the Schobers, had lived in a section of the town called Point Shirley, a location mentioned in Plath's poetry. While living in Winthrop, eight-year-old Plath published her first poem in the Boston Herald's children's section.[9] In addition to writing, she showed early promise as an artist, winning an award for her paintings from The Scholastic Art & Writing Awards in 1947.[10]
Otto Plath died on November 5, 1940, a week and a half after Plath's eighth birthday,[6] of complications following the amputation of a foot due to untreated diabetes. He had become ill shortly after a close friend died of lung 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 a Unitarian Christian, Plath experienced a loss of faith after her father's death, and remained ambivalent about religion throughout her life.[11] He was buried in Winthrop Cemetery; visiting her father's grave prompted Plath to write the poem Electra on Azalea Path. After his death, Aurelia Plath moved her children and her parents to 26 Elmwood Road, Wellesley, Massachusetts in 1942.[6] In one of her last prose pieces, Plath commented that her first nine years "sealed themselves off like a ship in a bottle—beautiful inaccessible, obsolete, a fine, white flying myth".[4][12] Plath attended Bradford Senior High School (now Wellesley High School) in Wellesley, graduating in 1950.[4]
College years
In 1950, Plath attended Smith College and excelled academically. She wrote to her mother, "The world is splitting open at my feet like a ripe, juicy watermelon."[13] She edited The Smith Review and during the summer after her third year of college Plath was awarded a coveted position as guest editor at Mademoiselle magazine, during which she spent a month in New York City.[4] The experience was not what she had hoped it would be, and it began a downward spiral. She was furious at not being at a meeting the editor had arranged with Welsh poet Dylan Thomas—a writer whom she loved, said one of her boyfriends, "more than life itself". She hung around the White Horse bar and the Chelsea Hotel for two days hoping to meet Thomas, but he was already on his way home. A few weeks later she was to slash her legs to see if she had enough courage to commit suicide.[14] Many of the events that took place during that summer were later used as inspiration for her novel The Bell Jar.[15] During this time she was refused admission to the Harvard writing seminar.[13] Following electroconvulsive therapy for depression, Plath made her first medically documented suicide attempt in late August 1953 by crawling under her house and taking her mother's sleeping pills.[16] She survived this first suicide attempt after lying unfound in a crawl space for three days, later writing that she "blissfully succumbed to the whirling blackness that I honestly believed was eternal oblivion."[4] She spent the next six months in psychiatric care, receiving more electric and insulin shock treatment under the care of Dr. Ruth Beuscher.[4] Her stay at McLean Hospital and her Smith scholarship were paid for by Olive Higgins Prouty, who had successfully recovered from a mental breakdown herself. Plath seemed to make a good recovery and returned to college. In January 1955, she submitted her thesis The Magic Mirror: A Study of the Double in Two of Dostoyevsky's Novels and in June, graduated from Smith with highest honors.[17]
She obtained a Fulbright scholarship to Newnham College, Cambridge, in England, where she continued actively writing poetry and publishing her work in the student newspaper Varsity. At Newnham, she studied with Dorothea Krook, whom she held in high regard.[18] She spent her first year winter and spring holidays traveling around Europe.[4]
Career and marriage
I happened to be at Cambridge. I was sent there by the [US] government on a government grant. And 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.[19]Plath described Hughes as "a singer, story-teller, lion and world-wanderer" with "a voice like the thunder of God".[4]
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.
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.
“
”
from "The Colossus",
The Colossus and Other Poems, 1960
The Colossus and Other Poems, 1960
In 1961, the couple rented their flat at Chalcot Square to Assia and David Wevill. Hughes was immediately struck with the beautiful Assia, as she was with him.[25] In June 1962, Plath had had a car accident which she described as one of many suicide attempts. In July 1962, Plath discovered Hughes had been having an affair with Assia Wevill and in September the couple separated.[22]
Beginning in October 1962, Plath experienced a great burst of creativity and wrote most of the poems on which her reputation now rests, writing at least 26 of the poems of her posthumous collection Ariel during the final months of her life.[22][26][27] In December 1962, she returned alone to London with their children, and rented, on a five-year lease, a flat at 23 Fitzroy Road—only a few streets from the Chalcot Square flat. William Butler Yeats once lived in the house, which bears an English Heritage blue plaque for the Irish poet. Plath was pleased by this fact and considered it a good omen.
The northern winter of 1962–63 was one of the coldest in 100 years; the pipes froze, the children—now two years old and nine months—were often sick, and the house had no telephone.[28] Her depression returned but she completed the rest of her poetry collection which would be published after her death (1965 in the UK, 1966 in the US). Her only novel, The Bell Jar, came out in January 1963, published under the pen name Victoria Lucas, and was met with critical indifference.[29]
Death
Dr. John Horder, a close friend who lived near Plath, prescribed her antidepressants a few days before her death. Knowing she was at risk alone with two young children, he says he visited her daily and made strenuous efforts to have her admitted to a hospital and when that failed, he arranged for a live-in nurse. Commentators have argued that because anti-depressants may take up to three weeks to take effect, her prescription from Horder would not necessarily have helped.[30] Others say that Plath's American doctor had warned her never again to take the anti-depressant drug which she found worsened her depression but Dr. Horder had prescribed it under a proprietary name which she did not recognize.The nurse was due to arrive at nine o'clock the morning of 11 February 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, Charles Langridge. They found Plath dead of carbon monoxide poisoning in the kitchen, with her head in the oven, having sealed the rooms between herself and her sleeping children with wet towels and cloths.[31] At approximately 4:30 am, Plath had placed her head in the oven, with the gas turned on.[30] She was 30.
It has been suggested that Plath had not intended to kill herself. That morning she asked her downstairs neighbor, a Mr. Thomas, what time he would be leaving. She also left a note reading "Call Dr. Horder", including the doctor's phone number. Therefore, it is argued Plath turned on the gas at a time when Mr. Thomas would have been able to see the note.[32] However, in her biography Giving Up: The Last Days of Sylvia Plath, Plath's best friend, Jillian 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."[2] Dr. 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."[30] Plath had described the quality of her despair as "owl's talons clenching my heart."[33] In his 1971 book on suicide, friend and critic Al Alvarez claimed that Plath's suicide was an unanswered cry for help.[30][34][35]
Following death
The 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."[40] When Hughes' partner Assia Wevill killed herself and their four-year-old daughter Shura in 1969, this practice intensified. After each defacement, Hughes had the damaged stone removed, sometimes leaving the site unmarked during repair. Outraged mourners accused Hughes in the media of dishonoring her name by removing the stone.[41] Wevill's death led to claims that Hughes had been abusive to both Plath and Wevill.[35] In 1970, radical feminist poet Robin Morgan published the poem "Arraignment", in which she openly accused Hughes of the battery and murder of Plath;[41][42] other radical feminists threatened to kill him in Plath's name.[30]
In 1989, with Hughes under public attack, a battle raged in the letters pages of The Guardian and The Independent. In The 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."[41][43]
On March 16, 2009, Nicholas Hughes, the son of Plath and Hughes, hanged himself at his home in Alaska, following a history of depression.[44][45]
Works
Plath wrote poetry from the age of eight, her first poem appearing in the Boston Traveller.[4] By the time she arrived at Smith College she had written over fifty short stories and published in a raft of magazines.[46] At Smith she majored in English and won all the major prizes in writing and scholarship. She edited the college magazine Mademoiselle and on her graduation in 1955, she won the Glascock Prize for Two Lovers and a Beachcomber by the Real Sea. Later at Newnham, Cambridge, she wrote for the Varsity magazine. By the time Heinemann published her first collection, The Colossus and other poems in the UK in late 1960, Plath had been short-listed several times in the Yale Younger Poets book competition and had had work printed in Harper's, The Spectator and the Times Literary Supplement. All the poems in The Colossus had already been printed in major US and British journals and she had a contract with The New Yorker.[47] It was however her 1965 collection Ariel, published posthumously, on which Plath's reputation essentially rests.In 1971, the volumes Winter Trees and Crossing the Water were published in the UK, including nine previously unseen poems from the original manuscript of Ariel.[29] Writing in New Statesman, fellow poet Peter 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 as The Colossus or Ariel.[48]The Collected Poems, published in 1981, edited and introduced by Ted Hughes, contained poetry written from 1956 until her death. Plath was awarded the Pulitzer Prize for poetry, the first poet to win the prize posthumously.[29] In 2006 Anna Journey, then a graduate student at Virginia Commonwealth University, discovered a previously unpublished sonnet written by Plath entitled Ennui. The poem, composed during Plath's early years at Smith College, is published in Blackbird, the online journal.[Notes 1]
And I
Am the arrow,
The dew that flies
Suicidal, at one with the drive
Into the red
Eye, the cauldron of morning.
Am the arrow,
The dew that flies
Suicidal, at one with the drive
Into the red
Eye, the cauldron of morning.
“
”
Reception
The Colossus received largely positive UK reviews, highlighting her voice as new and strong, individual and American in tone. Peter Dickinson at Punch called the collection "a real find" and "exhilarating to read", full of "clean, easy verse".[47] Bernard Bergonzi at the Manchester Guardian said the book was an "outstanding technical accomplishment" with a "virtuoso' quality".[47] From the point of publication she became a presence on the poetry scene. The book went on to be published in America in 1962 to less glowing reviews. Whilst her craft was generally praised, her writing was viewed as more derivative of other poets.[47] Some later critics have described the first book as somewhat young, staid or conventional in comparison to the more free-flowing imagery and intensity of her later work.It was Hughes' publication of Ariel in 1965 that precipitated Plath's rise to fame. 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.[4] Time and Life both reviewed the slim volume of Ariel in the wake of her death.[30] The critic at Time said: "Within 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 bile 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. They are poems, as Robert Lowell says in his preface to Ariel, that 'play Russian roulette with six cartridges in the cylinder.'"[51][Notes 2]
Some in the feminist movement saw Plath as speaking for their experience, as a "symbol of blighted female genius".[30] Writer Honor Moore describes Ariel as marking the beginning of a movement, Plath suddenly visible as "a woman on paper", certain and audacious. Moore says: "When Sylvia Plath’s Ariel 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."[52]
The United States Postal Service introduced a postage stamp featuring Sylvia Plath in 2012.[53]
Themes
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 as Dylan Thomas, W. B. Yeats and Marianne Moore.[46] 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", echoing Theodore Roethke's Lost Son sequence, though its theme is her own traumatic breakdown and suicide attempt at 21. 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 shot through with themes of death, redemption and resurrection. After Hughes left, Plath produced, in less than two months, the forty poems of rage, despair, love, and vengeance on which her reputation mostly rests.[46]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 the Yorkshire moors." Her September 1961 poem "Wuthering Heights"[54] takes its title from the Emily Bronte novel, but its content and style is Plath's own particular vision of the Pennine landscape.[55]
The poems in Ariel 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 book Life Studies as a significant influence, in an interview just before her death.[56] Posthumously published in 1966, the impact of Ariel was dramatic, with its dark and potentially autobiographical descriptions of mental illness in poems such as '"Tulips", "Daddy" and "Lady Lazarus".[56] Plath's work is often held within the genre of confessional poetry and the style of her work compared to other contemporaries, such as Robert Lowell and W.D. Snodgrass. Plath's close friend Al Alvarez, who has written 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."[57] Many of Plath's later poems deal with what one critic calls the "domestic surreal" in which Plath takes every day elements of life and twists the images, giving them an almost nightmarish quality.
Plath's fellow confessional poet and friend Anne 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 in The Bell Jar is just that same story."[58] 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-dramatization" and of self-pity.[59] Revisionist critics such as Tracy Brain have, however, argued against a tightly autobiographical interpretation of Plath's material.[60][61][62]
Love set you going like a fat gold watch.
The midwife slapped your footsoles, and your bald cry
Took its place among the elements.
The midwife slapped your footsoles, and your bald cry
Took its place among the elements.
“
”
Journals and letters
Plath's letters were published in 1975, edited and selected by her mother Aurelia Plath. The collection, Letters Home: Correspondence 1950–1963, came out partly in response to the strong public reaction to the publication of The Bell Jar in America.[29] Plath had kept a diary from the age of 11 until her death, doing so until her suicide. Her adult diaries, starting from her first year at Smith College in 1950, were first published in 1982 as The 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 fiftieth anniversary of Plath's death.[64]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. Kukil finished her editing in December 1999, and in 2000 Anchor Books published The Unabridged Journals of Sylvia Plath. More than half of the new volume contained newly released material;[64] The American author Joyce 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)."[4][65]
The Bell Jar
Main article: The Bell Jar
Plath's semi-autobiographical novel was published in 1963 and in the US in 1971, which her mother wished to block.[29]
Describing the compilation of the book to her mother, she wrote, "What
I've done is to throw together events from my own life, fictionalising
to add colour- it's a pot 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] She dated a Yale senior named Dick Norton during her junior year. Norton, upon whom the character of Buddy in The Bell Jar is based, contracted tuberculosis and was treated at the Ray Brook Sanatorium near Saranac Lake. While visiting Norton, Plath broke her leg skiing, an incident that was fictionalized in the novel.[68]Hughes controversy
And here you come, with a cup of tea
Wreathed in steam.
The blood jet is poetry,
There is no stopping it.
You hand me two children, two roses.
Wreathed in steam.
The blood jet is poetry,
There is no stopping it.
You hand me two children, two roses.
“
”
from Kindness, written 1 February 1963. Ariel
Still the subject of speculation and opprobrium, Hughes published Birthday Letters in 1998, his own collection of 88 poems about his relationship with Plath. Hughes had published very little about his experience of the marriage and subsequent suicide and the book caused a sensation, being taken as his first explicit disclosure, topping best seller charts. It was not known at the volume's release that Hughes was suffering from terminal cancer and would die later that year. It went on to win the Forward Poetry Prize, the T. S. Eliot Prize for Poetry and the Whitbread Poetry Prize. The poems, written after her death, in some cases long after, are an account of a failure; they circle around a missing centre, trying to find a reason why Plath took her own life.[75]
Plath was portrayed by Gwyneth Paltrow in the 2003 film Sylvia. Frieda Hughes, now a poet and painter, who was two years old when her mother died, was angered by the making of entertainment featuring her parents' lives. She accused the "peanut crunching" public of wanting to be titillated by the family's tragedies.[76] In 2003 she published the poem "My Mother" in Tatler:
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 [77]
List of works
Poetry collections
- The Colossus and Other Poems (1960, William Heinemann)
- Ariel (1965, Faber and Faber)
- Three Women: A Monologue for Three Voices (1968, Turret)
- Crossing the Water (1971)
- Winter Trees (1971)
- The Collected Poems (1981)
- Selected Poems (1985)
- Plath: Poems (1998)
- Sylvia Plath Reads, Harper Audio (2000) (Audio)
Collected prose and novels
- The Bell Jar: A novel (1963), under the pseudonym "Victoria Lucas"
- Letters Home: Correspondence 1950–1963 (1975)
- Johnny Panic and the Bible of Dreams: Short Stories, Prose, and Diary Excerpts (1977)
- The Journals of Sylvia Plath (1982)
- The Magic Mirror (published 1989), Plath's Smith College senior thesis
- The Unabridged Journals of Sylvia Plath, edited by Karen V. Kukil (2000)
Children's books
- The Bed Book (1976)
- The It-Doesn't-Matter-Suit (1996)
- Collected Children's Stories (UK, 2001)
- Mrs. Cherry's Kitchen (2001)
See also
Notes
- Jump up ^ Two poems entitled Ennui (I) and Ennui (II) are listed in a partial catalogue of Plath's juvenilia in the Collected 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 the Lilly Library at Indiana University. The rest are with the Sylvia Plath Estate.
- Jump up ^ Plath has been criticized for her numerous and controversial allusions to the Holocaust. See The Boot in the Face: The Problem of the Holocaust in the Poetry of Sylvia Plath
No comments:
Post a Comment
Please leave a comment-- or suggestions, particularly of topics and places you'd like to see covered