The Journals of Sylvia Plath

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Perloff, Marjorie, Poetic License: Essays on Modernist and Postmodernist Lyric, Northwestern University Press (Evanston, IL), 1990. Sylvia Plath ( / p l æ θ/; October 27, 1932– February 11, 1963) was an American poet, novelist, and short story writer. She is credited with advancing the genre of confessional poetry and is best known for two of her published collections, The Colossus and Other Poems (1960) and Ariel (1965), and also The Bell Jar, a semi-autobiographical novel published shortly before her suicide in 1963. The Collected Poems was published in 1981, which included previously unpublished works. For this collection Plath was awarded a Pulitzer Prize in Poetry in 1982, making her the fourth to receive this honour posthumously. [1] 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) Double Exposure [ edit ]

McCullough, Frances (2005) [1963]. Introduction. The Bell Jar. By Plath, Sylvia (1st Harper Perennial Classicsed.). New York: Perennial Classics. ISBN 0-06-093018-7. With love and faith, not turning sour and cold and bitter, to help others. That is salvation. To give of love inside. To keep love of live, no matter what, and give to others. Generously.” – Sylvia Plath, The Unabridged Journals of Sylvia Plath

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Hayman, Ronald. (1991). The Death and Life of Sylvia Plath. Secaucus, New Jersey: Carol Publishing. ISBN 1-55972-068-9. The Dedalus Book of Literary Suicides: Dead Letters (2008) Gary Lachman, Dedalus Press, University of Michigan, p. 145 Taylor, Tess (February 12, 2013). "Reading Sylvia Plath 50 Years After Her Death Is A Different Experience". NPR . Retrieved July 11, 2017.

Let’s face it, I am in danger of wanting my personal absolute to be a demigod of a man, and as there aren’t many around, I often unconsciously manufacture my own.” – Sylvia Plath, The Unabridged Journals of Sylvia Plath Guthmann, Edward (October 30, 2005). "The Allure: Beauty and an easy route to death have long made the Golden Gate Bridge a magnet for suicides". San Francisco Chronicle. Archived from the original on May 25, 2017. Kean, Danuta (April 11, 2017). "Unseen Sylvia Plath letters claim domestic abuse by Ted Hughes". The Guardian. London. Archived from the original on April 15, 2020 . Retrieved April 14, 2017.Malcolm, Janet. (1995). The Silent Woman: Sylvia Plath and Ted Hughes. New York: Vintage. ISBN 0-679-75140-8. Letters Home: Correspondence, 1950-1963, selected and edited with a commentary by mother, Aurelia Schober Plath, Harper (New York, NY), 1975. Nadeem Azam (2001). " 'Ted Hughes: A Talented Murderer' December 11, 2001". The Guardian. London. Archived from the original on February 18, 2018 . Retrieved February 17, 2018. Would it be too childish of me to say : I want? But I do want, theater, light, color, paintings, wine and wonder.” – Sylvia Plath, The Unabridged Journals of Sylvia Plath Clark, Heather (2011). The Grief of Influence: Sylvia Plath and Ted Hughes. Oxford University Press. ISBN 9780199558193. OCLC 718024305.

Published by Faber and Faber in London and Harper and Row in New York City in 1972, contents between the two editions differ Reading a glut of SatEvePost stories till my eyes ached these past days I realized the gap in my writing and theirs. My world is flat thin pasteboard, theirs full of babies, old dowagers, queer jobs and job lingo instead of set pieces ending in ‘I love you.'” – Sylvia Plath, The Unabridged Journals of Sylvia PlathOne primary theme that runs through the early journals and is also an identifiable current in Plath’s poetry and prose is the theme of rebirth. After a bout of depression during the fall of her junior year, she characterizes her rehabilitation as rolling “the stone of inertia away from the tomb.” She sees herself as “The girl who dies. And was resurrected.” Often sounding like Norman Vincent Peale, she credits her rebirth to mental magic, a belief that attitude can change everything. She attributes achievements—poems in Harper’s Magazine, a summer guest editorship at Mademoiselle—to the conscious choice she has made, that of transforming wish to reality through hard work. 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. We walked by Ginny, Sally, and a crowd of kids keeping dry in the tractor shed. A roar went up as we passed. A singsong, "Oh, Sylvia." My cheeks burned. At the end of this section, the editors have appended a note stating that journals no longer exist (if they ever did) for the two years following Plath’s suicide attempt, so that while the dates given are 1950 to 1955, the final entry is dated July 14, 1953. This two-year gap is the first that readers will bemoan, since ideas for The Bell Jar and many poems originated from this time. I looked, and sure enough, there he was, coming up the road in his old khaki shirt with his familiar white handkerchief tied around his head. I was on conversational terms with him since that day we worked together in the strawberry field. He had given me a pen and ink sketch of the farm, drawn with detail and assurance. Now he was working on a sketch of one of the boys.