Sylvia Plath

Sylvia Plath
A black-and-white photo of a Caucasian woman with shoulder-length hair in her late 20s. She is seated facing the camera wearing a sweater with bookshelves behind her. Plath in her late 20s
Pen name	Victoria Lucas
Occupation	Poet, novelist, and short story writer
Nationality	American
Education	Cambridge University
Alma mater	Smith College
Period	1960–1963
Genre	Autobiography, children's literature, feminism, mental health, roman à clef
Literary movement	Confessional poetry
Notable works	The Bell Jar and Ariel
Notable awards	Fulbright scholarship Glascock Prize 1955 Pulitzer Prize for Poetry 1982 The Collected Poems Woodrow Wilson Fellowship
Spouse	Ted Hughes (m. 1956-1963)
Children	Frieda Hughes Nicholas Hughes (deceased)
Signature
File:Sylvia Plath signature.jpg

Sylvia Plath (October 27, 1932 – February 11, 1963) was an American poet, novelist and short story writer. Born in Massachusetts, she studied at Smith College and Newnham College Cambridge before receiving acclaim as a professional poet and writer. She married fellow poet Ted Hughes in 1956 and they lived together first in the United States and then England, having two children together: Frieda and Nicholas. Following a long struggle with depression and a marital separation, Plath committed suicide in 1963. Controversy continues to surround the events of her life and death, as well as her writing and legacy.

Plath is credited with advancing the genre of confessional poetry and is best known for her two collections The Colossus and Other Poems and Ariel. In 1982, she became the first poet to win a Pulitzer Prize posthumously for The Collected Poems. She was also the author of one semi-autobiographical novel, The Bell Jar, which was published shortly before her death.

Early life

Plath was born during the Great Depression on October 27, 1932 in Jamaica Plain, Massachusetts, to Aurelia Schober Plath, a first-generation American of Austrian descent, and Otto Emile Plath, an immigrant from Grabow, Germany. Plath's father was a professor of biology and German at Boston University and author of a book about bumblebees. Plath's mother was approximately twenty-one years younger than her husband. 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 because he chose not to become a Lutheran minister, as his grandparents had intended him to be.

In April 1935, Plath's brother Warren was born. The family moved to Winthrop, Massachusetts in 1936 and Plath spent much of her childhood on Johnson Avenue. Raised a Unitarian Christian, Plath experienced a loss of faith after her father's death, and remained ambivalent about religion throughout her life 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. 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.

Otto Plath died on November 5, 1940, a week and a half after Plath's eighth birthday, 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. Otto Plath was buried in Winthrop Cemetery; visiting her father's grave prompted Plath to write the poem Electra on Azalea Path. After her husband's death, Aurelia Plath moved her children and her parents to 26 Elmwood Road, Wellesley, Massachusetts in 1942.

College years

In 1950, Plath attended Smith College. 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. 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. The experience was not what she had hoped it would be, beginning within her a seemingly downward spiral in her outlook on herself and life in general. Many of the events that took place during that summer were later used as inspiration for her novel The Bell Jar. Following this experience, Plath made her first medically documented suicide attempt by crawling under her house and taking an overdose of sleeping pills. After her suicide attempt, Plath was briefly committed to a mental institution where she received electroconvulsive therapy. Both her stay at McLean Hospital and her Smith scholarship was paid for by Olive Higgins Prouty, who had successfully recovered from a mental breakdown herself. Plath seemed to make an good recovery. In January 1955 she submitted her thesis The Magic Mirror: A Study of the Double in Two of Dostoevsky’s Novels and in June, graduated from Smith with honors.

She obtained a Fulbright scholarship to Newnham College, Cambridge 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.

Career and marriage

23 Fitzroy Road, London, where Plath committed suicide

In a 1961 BBC interview (now held by the British Library Sound Archive), Plath and poet Ted Hughes describe how they met and eventually came to be married. Hughes begins, "I left Cambridge in 1954, but I still had friends there that I used to go back and see now and again. And one of these friends produced a poetry magazine, it just sold one issue. Anyway, I had some poems in this and we had a celebration the day it came out." "To which I came," Plath continues. "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. [...] I think we saw each other again on Friday the 13th, or something, in London, somehow, after this. 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." Hughes goes on "I'd saved some cash. I'd been working for about 3 months and everything I'd saved, I blew it on a courtship." Plath adds, "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."

They were married on June 16, 1956 at St George the Martyr Holborn in the London Borough of Camden. In early 1957, Plath and Hughes moved to the United States and from September 1957 Plath taught at Smith College, her alma mater. She found it difficult to both teach and have enough time and energy to write and the middle of 1958, the couple moved to Boston. Plath took a job as a receptionist in the psychiatric unit of Massachusetts General Hospital and in the evening took creative writing seminars given by poet Robert Lowell (also attended by the writer Anne Sexton). At this time Plath and Hughes first met the poet W. S. Merwin, who admired their work and was to remain a lifelong friend.

After travelling in the US, the couple moved back to the United Kingdom in December 1959. Plath and Hughes lived in London at 3 Chalcot Square, near the Primrose Hill area of Regent's Park. Their daughter Frieda was born on 1 April 1960 and in October, Plath published her first collection of poetry, The Colossus. In February 1961, Plath's second pregnancy ended in miscarriage; a number of her poems address this event. In August she finished her semi-autobiographical novel The Bell Jar and immediately after this, the family moved to the small market town of North Tawton in Devon. Nicholas was born in January 1962.

Plath's marriage to Hughes was fraught with difficulties, particularly surrounding his affair with Plath's good friend Assia Wevill, which she discovered in July. In June Plath had had a car accident which she described as one of many suicide attempts and in September the couple split. From October, Plath experienced a great burst of creativity and wrote most of the poems on which her reputation now rests, writing at least 26 poems of her posthumous collection Ariel during this time. In December 1962, she returned alone to London with their children, and rented a flat at 23 Fitzroy Road (only a few streets from the Chalcot Square flat) in a house where William Butler Yeats once lived. Plath was pleased by this fact and considered it a good omen. The winter of 1962 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. 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.. Al Alvarez, a poet, editor and literary champion of Hughes and Plath, spoke, in a BBC interview in March 2000, about his failure to recognize Plath's depression. Alvarez says he regretted his inability to offer emotional support to Plath: "I failed her on that level. I was 30 years old and stupid. What did I know about chronic clinical depression? [...] She kind of needed someone to take care of her. And that was not something I could do." In his 1971 book on suicide, he claimed that Plath's suicide was an unanswered cry for help.

Death

Plath's grave at Heptonstall church, West Yorkshire

Dr Horder, a close friend who lived near Plath, prescribed Plath 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. Some commentators have argued that because anti-depressants may take up to a three weeks to take effect, her prescription from Horder would not necessarily have helped. 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 February 10, 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. At approximately 4.30 am, Plath had placed her head in the oven, while the gas was turned on, with the pilot light unlit. She was 30.

It has been suggested that Plath had not intended to succeed in killing herself. That morning, she asked her downstairs neighbor, a Mr. Thomas, what time he would be leaving. A note had also been left reading "Call Dr. Horder", listing his phone number. Therefore, it is argued Plath turned the gas on at a time when Mr. Thomas should have been waking and beginning his day. This theory maintains that the gas seeped through the floor for several hours and reached Mr. Thomas and another resident of the floor below. 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 . . . she had thrust her head far into the gas oven. 'She had really meant to die.'" 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".

And I
Am the arrow,

The dew that flies
Suicidal, at one with the drive
Into the red

Eye, the cauldron of morning.

Ariel

An inquiry on the day following Plath's death gave a ruling of suicide. Hughes was devastated; they had been separated only five months. In a letter to an old friend of Plath's from Smith College, he wrote, "That's the end of my life. The rest is posthumous". Plath's gravestone in Heptonstall churchyard bears the inscription that Hughes chose for her: "Even amidst fierce flames the golden lotus can be planted." Biographers variously attribute the source of the quote to the 16th century Buddhist novel Journey to the West written by Wu Ch'eng-En or to the Hindu text, the Bhagavad Gita.

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". When Hughes' partner Assia Wevill killed herself and her 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. Wevill's death led to claims that Hughes had been abusive to both Plath and Wevill. In 1970, radical feminist poet Robin Morgan published the poem "Arraignment", in which she openly accused Hughes of the battery and murder of Plath; other feminists threatened to kill him in Plath's name.

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.

On March 6, 2009, Nicholas Hughes, the son of Plath and Hughes, hanged himself at his home in Alaska, following a history of depression.

Journals

Plath began keeping a diary at age 11, doing so until her suicide. Her adult diaries, starting from her freshman year at Smith College in 1950, were first published in 1980 as The Journals of Sylvia Plath, edited by Frances McCullough. 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.

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. According to the back cover, roughly two-thirds of the Unabridged Journals is newly released material. 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)."

Poetry

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.

from Kindness, written 1 February 1963. Ariel

Plath wrote poetry from the age of eight. At Smith College 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 Heinmann published her first collection, Collosus and other poems in the UK in late in 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 Collosus had already been printed in major US and British journals and she had a contract with The New Yorker.

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". Bernard Bergonzi at the Manchester Guardian said the book was an "outstanding technical accomplishment" with a "virtuoso' quality". From the point of publication she became a presence on the poetry scene. The book went on to be published America in 1962 to less glowing reviews. Whilst her craft was generally praised her writing was viewed as more derivative of other poets. 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.

Confessional writing

The poems in Ariel mark a departure from her earlier work into a more personal arena of poetry. It is a possibility Robert Lowell's poetry played a part in this shift as she cited Lowell's poem Life Studies as a significant influence, in an interview before her just death. 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. Plath's work is often held within the genre of Confessional poetry and the style of her work compared to other confessional contemporaries, such as Robert Lowell and W.D. Snodgrass. Plath's close friend Al Alvarez, who has written about her extensively, writes 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.

In an interview with The Paris Review in 1971, Plath's fellow confessional poet and friend Anne Sexton was asked if they had ever talked about suicide. She replied:

Often, very often. 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. It is a wonder we didn’t depress George [Starbuck] with our egocentricity; instead, I think, we three were stimulated by it—even George—as if death made each of us a little more real at the moment.

Impact

Time and Life both reviewed the slim volume of Ariel in the wake of her death.

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 bale across the literary landscape. [...] Death like a Poem. 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."

Some in the feminist movement saw Plath as speaking for their experience, as a "symbol of blighted female genius". 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.

Love set you going like a fat gold watch.
The midwife slapped your footsoles, and your bald cry
Took its place among the elements.

from Morning Song, Colossus

Plath's Collected Poems was published in 1981, edited and introduced by Ted Hughes. It contains poetry written from 1956 until her death, and was awarded the Pulitzer Prize for poetry. She was the first poet to win the prize posthumously. In 2006, 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.

The Bell Jar

Main article: The Bell Jar

Plath's semi-autobiographical novel was published in 1963 and in the US in 1971. 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 though the distorting lens of a bell jar". She described her novel as "an autobiographical apprentice work which I had to write in order to free myself from the past".

Hughes controversy

As Hughes and Plath were legally married at the time of her death, Hughes inherited the Plath estate, including all her written work. Hughes has been condemned from some quarters for burning Plath's last journal, saying he "did not want her children to have to read it". He "lost" another journal and an unfinished novel and instructed that a collection of Plath's papers and journals should not be released until 2013. In the reams of literary criticism and biography published after their deaths, after the release of new material, biopics, or any old-new controversy, the debate over Plath's literary estate very often comes down to which side the readers pick. Hughes has been accused of attempting to control the estate for his own ends, although royalties from Plath's poetry were placed into a trust account for their two children, Frieda and Nicholas.

Frieda Hughes, now a poet, was angered by the making of the 2003 BBC biopic Ted and Sylvia. Hughes, who was two years old when her mother died, accused the "peanut crunching" public of wanting to be entertained by her mother's death. In 2003, she published her poem My Mother in Tatler. It reads:

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

From My Mother, in The Book of Mirrors (2003) by Frieda Hughes

Legacy

Plath has been portrayed several times on film and on stage. The 2003 film Sylvia, starring Gwyneth Paltrow, tells the story of Plath's troubled relationship with Hughes. Sylvia Plath Must Not Die, a performance piece by the troupe One Yellow Rabbit, was staged at the Young Centre for the Performing Arts in December 2008.

In the last decade a number of scholars have begun to argue that reading Plath's work biographically limits its power. Tracy Brain's volume The Other Sylvia Plath and her essay "Dangerous Perspectives: The Problem of Reading Sylvia Plath Biographically" argue forcefully for an expansion of critical interpretations. The publication in 2007 of The Unraveling Archive: Essays on Sylvia Plath, marked another step in this direction. So too did the publication in 2010 of Dan Monaco's "When You're in Trouble, Go Into Your Dance: History, Culture, and Sylvia Plath" which examined "Lady Lazarus" in the context of twentieth century politics and culture.

Bibliography

See also: Category:Works by Sylvia Plath

Poetry collections

• The Colossus and Other Poems (1960)
• Ariel (1961–1965)
• Three Women: A Monologue for Three Voices (1968)
• Crossing the Water (1971)
• Winter Trees (1971)
• The Collected Poems (1981)
• Selected Poems (1985)
• Plath: Poems (1998)

Audio poetry readings

• Sylvia Plath Reads, Harper Audio (2000)

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

• Sylvia Plath effect

Sources

• Alexander, Paul. (1991). Rough Magic: A Biography of Sylvia Plath. Da Capo Press. ISBN 0306812991.
• Alvarez, Al (2007) Risky Business. Bloomsbury. ISBN 9780747587446
• Axelrod, Steven Gould. (1992). Sylvia Plath: The Wound and the Cure of Words. Johns Hopkins University. ISBN 080184374X.
• Becker, Jillian. (2003). Giving Up: The Last Days of Sylvia Plath, A memoir. New York: St Martins Press. ISBN 0312315988.
• Butscher, Edward. (2003). Sylvia Plath: Method & Madness (A Biography). ISBN 0971059829.
• Hayman, Ronald. (1991). The Death and Life of Sylvia Plath. Carol Publishing. ISBN 1559720689.
• Helle, Anita (Ed). (2007). The Unraveling Archive: Essays on Sylvia Plath. Ann Arbor: University of Michigan Press. ISBN 0472069276.
• Kirk, Connie Ann. (2004). Sylvia Plath: A Biography. Greenwood Press. ISBN 0313332142.
• Malcolm, Janet. (1995). The Silent Woman: Sylvia Plath and Ted Hughes. Vintage. ISBN 0679751408.
• Middlebrook, Diane. (2003). Her Husband: Ted Hughes & Sylvia Plath, a Marriage. Viking Adult. ISBN 0670031879.
• Steinberg, Peter. (2004). Sylvia Plath. Chelsea House. ISBN 0791078434.
• Plath Helle, Anita. (2007). The Unraveling Archive: Essays on Sylvia Plath. Ann Arbor: University of Michigan Press. ISBN 0472069276.
• Stevenson, Anne. (1989). Bitter Fame. A Life of Sylvia Plath. Houghton Mifflin. ISBN 0395453747.
• Wagner, Erica. (2002). Ariel's Gift: Ted Hughes, Sylvia Plath, and the Story of Birthday Letters. W.W. Norton. ISBN 0393323013.
• Wagner-Martin, Linda. (2003). Sylvia Plath: A Literary Life. Palgrave Macmillan. ISBN 0333631145.
• Welshimer Wagner, Linda (Ed). (1988). Sylvia Plath (Critical Heritage). Routledge. ISBN 0415009103.

Further reading

• Hemphill, Stephanie. (2007). Your Own, Sylvia: A Verse Portrait of Sylvia Plath. ISBN 037583799X.
• Kyle, Barry. (1976). Sylvia Plath: A Dramatic Portrait Conceived and Adapted from Her Writings. Faber and Faber. ISBN 978-0571106981.

External links

• Sylvia Plath at Blackbird
• SylviaPlath.info
• Sylvia Plath at Find a Grave
• Spotlight on Sylvia Plath, Voices and Visions series
• Template:Worldcat id
• Sylvia Plath's personal library on LibraryThing
• Ted Hughes and Sylvia Plath collection at University of Victoria, Special Collections
• JCO on Sylvia Plath: Essays on Plath by Joyce Carol Oates
• Critical essays on Plath's works
• Online Essays and Papers
• Online Essay at Scribd
• Poetry of Sylvia Plath