The Journals of Sylvia Plath

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Kihss, Peter. "Sessions, Sylvia Plath and Updike Are Among Pulitzer Prize Winners". The New York Times. Archived from the original on May 14, 2021 . Retrieved March 10, 2021. At times, Plath was able to overcome the “tension between the perceiver and the thing-in-itself by literally becoming the thing-in-itself,” wrote Newman. “In many instances, it is nature who personifies her.” Similarly, Plath used history “to explain herself,” writing about the Nazi concentration camps as though she had been imprisoned there. She said, “I think that personal experience shouldn’t be a kind of shut box and mirror-looking narcissistic experience. I believe it should be generally relevant, to such things as Hiroshima and Dachau, and so on.” Newman explained that, “in absorbing, personalizing the socio-political catastrophes of the century, [Plath] reminds us that they are ultimately metaphors of the terrifying human mind.” Alvarez noted that the “anonymity of pain, which makes all dignity impossible, was Sylvia Plath’s subject.” Her reactions to the smallest desecrations, even in plants, were “extremely violent,” wrote Hughes. “Auschwitz and the rest were merely the open wounds.” In sum, Newman believed, Plath “evolved in poetic voice from the precocious girl, to the disturbed modern woman, to the vengeful magician, to Ariel—God’s Lioness.” a b Wilson, Andrew (February 2, 2013). "Sylvia Plath in New York: 'pain, parties and work' ". The Guardian . Retrieved October 5, 2023. 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.

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 ] Brain, Tracy (2001), The Other Sylvia Plath, Longman Studies in Twentieth-Century Literature, Singapore: Longman Publishing Group, pp.118–120, ISBN 0-582-32730-X Plath met poet Ted Hughes on February 25, 1956. In a 1961 BBC interview (now held by the British Library Sound Archive), [24] Plath describes how she met Hughes:Observer, June 1, 1986; February 18, 1996; March 19, 2000, Kate Kellaway, "The Poet Who Died So Well," p. 21. Unpublished Plath sonnet goes online tomorrow". Associated Press. October 31, 2006. Archived from the original on September 26, 2014 . Retrieved April 29, 2012. Jernigan, Adam T. (January 1, 2014). "Paraliterary Labors in Sylvia Plath's The Bell Jar: Typists, Teachers, and the Pink-Collar Subtext". Modern Fiction Studies. 60 (1): 1–27. doi: 10.1353/mfs.2014.0010. OCLC 5561439112. S2CID 162359742. Poem published in London Magazine, later printed in Tri-Quarterly in Fall 1966, and published in Naked Poetry in 1969. Revised and published in Pursuit in 1973. Published as a book with facsimile manuscript by The Pioneer Valley Printing Company as a limited edition of 150 copies in 1982.

The Library's buildings remain fully open but some services are limited, including access to collection items. We're I nodded and kept walking, looking at the ground. Then we were at the barn, a huge place, a giant high ceilinged room smelling of horses and damp hay. It was dim inside; I thought I saw the figure of a person on the other side of the stalls, but I couldn't be sure. Without saying a word, Ilo had begun to mount a narrow flight of wooden stairs.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. 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" takes its title from the Emily Brontë novel, but its content and style is Plath's own particular vision of the Pennine landscape. [95]