Sylvia Plath Poetry Quotes

I shut my eyes and all the world drops dead; I lift my eyes and all is born again.

I lean to you, numb as a fossil. Tell me I'm here.

I? I walk alone; The midnight street Spins itself from under my feet; My eyes shut These dreaming houses all snuff out; Through a whim of mine Over gables the moon's celestial onion Hangs high.

I am terrified by this dark thing That sleeps in me; All day I feel its soft, feathery turnings, its malignity.

I Am Vertical But I would rather be horizontal. I am not a tree with my root in the soil Sucking up minerals and motherly love So that each March I may gleam into leaf, Nor am I the beauty of a garden bed Attracting my share of Ahs and spectacularly painted, Unknowing I must soon unpetal. Compared with me, a tree is immortal And a flower-head not tall, but more startling, And I want the one's longevity and the other's daring.

I am inhabited by a cry. Nightly it flaps out Looking, with its hooks, for something to love.

Is it the sea you hear in me, Its dissatisfactions? Or the voice of nothing, that was you madness? --from "Elm", written 19 April 1962

I dreamed that you bewitched me into bed And sung me moon-struck, kissed me quite insane. (I think I made you up inside my head.) --from "Mad Girl's Love Song: A Villanelle", written 1954

The blood jet is poetry, There is no stopping it. --from "Kindness", written 1 February 1963

Writing, then, was a substitute for myself: if you don't love me, love my writing & love me for my writing. It is also much more: a way of ordering and reordering the chaos of experience.

Stars open among the lilies. Are you not blinded by such expressionless sirens? This is the silence of astounded souls. --from "Crossing the Water", written 1962

O love, how did you get here? --from "Nick and the Candlestick", written 29 October 1962

Love is a shadow. How you lie and cry after it --from "Elm", written 19 April 1962

The night sky is only a sort of carbon paper, Blueblack, with the much-poked periods of stars Letting in the light, peephole after peephole--- A bonewhite light, like death, behind all things. --from "Insomniac", written April 1961

I am solitary as grass. What is it I miss? Shall I ever find it, whatever it is?

I fancied you'd return the way you said, But I grow old and I forget your name. --From the poem "Mad Girl's Love Song

Clouds pass and disperse. Are those the faces of love, those pale irretrievables? Is it for such I agitate my heart?

LADY LAZARUS I have done it again. One year in every ten I manage it-- A sort of walking miracle, my skin Bright as a Nazi lampshade, My right foot A paperweight, My face a featureless, fine Jew linen. Peel off the napkin O my enemy. Do I terrify?-- The nose, the eye pits, the full set of teeth? The sour breath Will vanish in a day. Soon, soon the flesh The grave cave ate will be At home on me And I a smiling woman. I am only thirty. And like the cat I have nine times to die. This is Number Three. What a trash To annihilate each decade. What a million filaments. The peanut-crunching crowd Shoves in to see Them unwrap me hand and foot-- The big strip tease. Gentlemen, ladies These are my hands My knees. I may be skin and bone, Nevertheless, I am the same, identical woman. The first time it happened I was ten. It was an accident. The second time I meant To last it out and not come back at all. I rocked shut As a seashell. They had to call and call And pick the worms off me like sticky pearls. Dying Is an art, like everything else. I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say I've a call. It's easy enough to do it in a cell. It's easy enough to do it and stay put. It's the theatrical Comeback in broad day To the same place, the same face, the same brute Amused shout: 'A miracle!' That knocks me out. There is a charge For the eyeing of my scars, there is a charge For the hearing of my heart-- It really goes. And there is a charge, a very large charge For a word or a touch Or a bit of blood Or a piece of my hair or my clothes. So, so, Herr Doktor. So, Herr Enemy. I am your opus, I am your valuable, The pure gold baby That melts to a shriek. I turn and burn. Do not think I underestimate your great concern. Ash, ash-- You poke and stir. Flesh, bone, there is nothing there-- A cake of soap, A wedding ring, A gold filling. Herr God, Herr Lucifer Beware Beware. Out of the ash I rise with my red hair And I eat men like air. -- written 23-29 October 1962

But writing poems and letters doesn't seem to do much good.

The moon is no door. It is a face in its own right, White as a knuckle and terribly upset. It drags the sea after it like a dark crime; it is quiet With the O-gape of complete despair. I live here. --from "The Moon and the Yew Tree", written 22 October 1961

All night your moth-breath Flickers among the flat pink roses. I wake to listen. A far sea moves in my ear. --from "Morning Song", written 19 February 1961

I’m so pathetically intense. I just can’t be any other way.

How can I tell Bob that my happiness streams from having wrenched a piece out of my life, a piece of hurt and beauty, and transformed it to typewritten words on paper? How can he know I am justifying my life, my keen emotions, my feeling, by turning it into print?

It is a terrible thing To be so open: it is as if my heart Put on a face and walked into the world.

Forget about the scant hours in her brief life when Sylvia Plath was able to produce the works in Ariel. Forget about that tiny bit of time and just remember the days that spanned into years when she could not move, couldn’t think straight, could only lie in wait in a hospital bed, hoping for the relief that electroconvulsive therapy would bring. Don’t think of the striking on-screen picture, the mental movie you create of the pretty young woman being wheeled on the gurney to get her shock treatments, and don’t think of the psychedelic, photonegative image of this sane woman at the moment she receives that bolt of electricity. Think, instead, of the girl herself, of the way she must have felt right then, of the way no amount of great poetry and fascination and fame could make the pain she felt at that moment worth suffering. Remember that when you’re at the point at which you’re doing something as desperate and violent as sticking your head in an oven, it is only because the life that preceded this act felt worse. Think about living in depression from moment to moment, and know it is not worth any of the great art that comes a its by-product.

Stasis in darkness. Then the substanceless blue

brave love, dream not of staunching such strict flame, but come, lean to my wound; burn on, burn on.

[Short Talk on Sylvia Plath] Did you see her mother on television? She said plain, burned things. She said I thought it an excellent poem but it hurt me. She did not say jungle fear. She did not say jungle hatred wild jungle weeping chop it back chop it. She said self-government she said end of the road. She did not say humming in the middle of the air what you came for chop.

Empty, I echo to the least footfall

Its snaky acids kiss. It petrifies the will. These are the isolate, slow faults That kill, that kill, that kill.

My head a moon Of Japanese paper, my gold beaten skin Infinitely delicate and infinitely expensive.

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. and then, I retreat and revel in poetry and literature where the reward value is tangible and accepted. I really do not think deeply. really deeply. I want a romantic nonexistant hero.

The still waters Wrap my lips, Eyes, nose and ears, A clear Cellophane I cannot crack.

Every woman adores a fascist, The boot in the face, the brute Brute heart of a brute like you.

I saw the gooseflesh on my skin. I did not know what made it. I was not cold. Had a ghost passed over? No, it was the poetry. A spark flew off Arnold and shook me, like a chill. I wanted to cry; I felt very odd. I had fallen into a new way of being happy.

This is newness: every little tawdry Obstacle glass-wrapped and peculiar, Glinting and clinking in a saint's falsetto. Only you Don't know what to make of the sudden slippiness, The blind, white, awful, inaccessible slant. There's no getting up it by the words you know. No getting up by elephant or wheel or shoe. We have only come to look. You are too new To want the world in a glass hat.

I am too pure for you or anyone. Your body Hurts me as the world hurts God.

How long can I be a wall, keeping the wind off? How long can I be Gentling the sun with the shade of my hand, Intercepting the blue bolts of a cold moon? The voices of loneliness, the voices of sorrow Lap at my back ineluctably. How shall it soften them, this little lullaby?

Maybe if I could slip into Sylvia's mind, sort out the spices in her rack, alphabetize them and dust them off. Maybe then I'd understand how it's the little things that pull you under.

The next morning I had Twentieth-Century American Poetry at MCC. This old woman gave a lecture wherein she managed to talk for ninety minutes about Sylvia Plath without ever once quoting a single word of Sylvia Plath.

Had Prozac been available last century, Baudelaire's "spleen," Edgar Allan Poe's moods, the poetry of Sylvia Plath, the lamentations of so many other poets, everything with a soul would have been silenced*.... If large pharmaceutical companies were able to eliminate the seasons, they would probably do so--for profit, of course. *This does not mean that Sylvia Plath should not have been medicated at all. The point is that pathologies should be medicated when there is risk of suicide, not mood swings.

God, I scream for time to let go, to write, to think. But no. I have to exercise my memory in little feats just so I can stay in this damn wonderful place which I love and hate with all my heart. And so the snow slows and swirls, and melts along the edges. The first snow isn't good for much. It makes a few people write poetry, a few wonder if the Christmas shopping is done, a few make reservations at the skiing lodge. It's a sentimental prelude to the real thing. It's picturesque & quaint.

She. Silent, fawn-eyed. Clever.

As a poet I would say everything should be able to come into a poem but I can’t put toothbrushes in a poem. I really can’t.

I wanted to leave behind more than emptiness. So I wrote.

Life, of course, never gets anyone's entire attention. Death always remains interesting, pulls us, draws us. As sleep is necessary to our physiology, so depression seems necessary to our psychic economy. In some secret way, Thanatos nourishes Eros as well as opposes it. The two principles work in covert concert; though in most of us Eros dominates, in none of us is Thanatos completely subdued. However-and this is the paradox of suicide-to take one's life is to behave in a more active, assertive, "erotic" way than to helplessly watch as one's life is taken away from one by inevitable mortality. Suicide thus engages with both the death-hating and the death-loving parts of us: on some level, perhaps, we may envy the suicide even as we pity him. It has frequently been asked whether the poetry of Plath would have so aroused the attention of the world if Plath had not killed herself. I would agree with those who say no. The death-ridden poems move us and electrify us because of our knowledge of what happened. Alvarez has observed that the late poems read as if they were written posthumously, but they do so only because a death actually took place. "When I am talking about the weather / I know what I am talking about," Kurt Schwitters writes in a Dada poem (which I have quoted in its entirety). When Plath is talking about the death wish, she knows what she is talking about. In 1966, Anne Sexton, who committed suicide eleven years after Plath, wrote a poem entitled "Wanting to Die," in which these startlingly informative lines appear: But suicides have a special language. Like carpenters they want to know which tools. They never ask why build. When, in the opening of "Lady Lazarus," Plath triumphantly exclaims, "I have done it again," and, later in the poem, writes, Dying Is an art, like everything else. I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say I've a call, we can only share her elation. We know we are in the presence of a master builder.

So this was the reverse of dazzling Nauset. The flip of the coin - the flip of an ocean fallen Dream-face down. And here, at my feet, in the suds, The other face, the real, staring upwards.

Do you know what a poem is, Esther?' 'No, what?' I would say. 'A piece of dust.' Then, just as he was smiling and starting to look proud, I would say, 'So are the cadavers you cut up. So are the people you think you're curing. They're dust as dust as dust. I reckon a good poem lasts a whole lot longer than a hundred of those people put together.

Paralytic It happens. Will it go on? ---- My mind a rock, No fingers to grip, no tongue, My god the iron lung That loves me, pumps My two Dust bags in and out, Will not Let me relapse While the day outside glides by like ticker tape. The night brings violets, Tapestries of eyes, Lights, The soft anonymous Talkers: 'You all right?' The starched, inaccessible breast. Dead egg, I lie Whole On a whole world I cannot touch, At the white, tight Drum of my sleeping couch Photographs visit me ---- My wife, dead and flat, in 1920 furs, Mouth full of pearls, Two girls As flat as she, who whisper 'We're your daughters.' The still waters Wrap my lips, Eyes, nose and ears, A clear Cellophane I cannot crack. On my bare back I smile, a buddha, all Wants, desire Falling from me like rings Hugging their lights. The claw Of the magnolia, Drunk on its own scents, Asks nothing of life.

Poetry, I feel, is a tyrannical discipline, you've got to go so far, so fast, in such a small space that you've just got to turn away all the peripherals.

Poetry, I feel, is a tyrannical discipline. You’ve got to go so far, so fast, in such a small space that you’ve just got to burn away all the peripherals

The tongues of hell are dull.

Herr God, Herr Lucifer Beware Beware. Out of the ash I rise with my red hair And I eat men like air.

Well, one wearies of the Public Gardens: one wants a vacation Where trees and clouds and animals pay no notice; Away from the labeled elms, the tame tea-roses

Certain poems and lines of poetry seem as solid and miraculous to me as church altars or the coronation of queens must seem to people who revere quite different images.

I have had my chances. I have tried and tried. I have stitched life into me like a rare organ, And walked carefully, precariously, like something rare. I have tried not to think too hard. I have tried to be natural. I have tried to be blind in love, like other women, Blind in my bed, with my dear blind sweet one, Not looking, through the thick dark, for the face of another.

have so many merry little pots bubbling away in the fire of my enthusiasm: Myron, future trips, modern poetry, Yeats, Sitwell, T. S. Eliot, W. H. Auden, villanelles, maybe Mlle, maybe The New Yorker or The Atlantic (poems sent out make blind hope spring eternal—even if rejections are immanent), spring: biking, breathing, sunning, tanning. All so lovely and potential.

So I perversely circle the late stars, drowsier and drowsier, sleepily longing for something.

By the roots of my hair some god got hold of me.

We have conversations with each other most nights - Sylvia Plath and me!

Piece by piece, as at the strokes of a dull godmother's wand, the old world sprang back into position.

Seré una de las pocas poetisas en el mundo completamente feliz de ser mujer, no una de esas amargadas y frustradas, retorcidas imitadoras de hombres, que en su mayoría acaban destrozadas

if my poetry classes taught me anything about this life, it's that you were the ted hughes to my sylvia plath & now he's the robert browning to my elizabeth barrett.- he dropkicked my heart back to life.

Had Prozac been available last century, Baudelaire’s “spleen,” Edgar Allan Poe’s moods, the poetry of Sylvia Plath, the lamentations of so many other poets, everything with a soul would have been silenced. …

Nick and the Candlestick I am a miner. The light burns blue. Waxy stalactites Drip and thicken, tears The earthen womb Exudes from its dead boredom. Black bat airs Wrap me, raggy shawls, Cold homicides. They weld to me like plums. Old cave of calcium Icicles, old echoer. Even the newts are white, Those holy Joes. And the fish, the fish ---- Christ! they are panes of ice, A vice of knives, A piranha Religion, drinking Its first communion out of my live toes. The candle Gulps and recovers its small altitude, Its yellows hearten. O love, how did you get here? O embryo Remembering, even in sleep, Your crossed position. The blood blooms clean In you, ruby. The pain You wake to is not yours. Love, love, I have hung our cave with roses, With soft rugs ---- The last of Victoriana. Let the stars Plummet to their dark address, Let the mercuric Atoms that cripple drip Into the terrible well, You are the one Solid the spaces lean on, envious. You are the baby in the barn.

There is no life higher than the grasstops Or the hearts of sheep, and the wind Pours by like destiny, bending Everything in one direction. I can feel it trying To funnel my heat away. If I pay the roots of the heather Too close attention, they will invite me To whiten my bones among them.

PLEASE TELL ME YOU KNOW OF SYLVIA PLATH Conventions bleed my soul squeeze me old wear me grey like a headstone in transit. It’s tradition and form— fear of the unknown— driving me dead in tight spaces darkly. I cry aloud but who can hear when I stand alone in the middle of an art show….

Sylvia Plath's greatest poetry was sometimes conceived while she was baking bread, she was such a perfectionist and ultimately such a fool. The trouble is, of course, that the role of the goddess, the role of the glory and the grandeur of the female in the universe exists in the fantasy of the male artist and no woman can ever draw it to her heart for comfort, but the role of menial, unfortunately, is real and that she knows because she tastes it everyday. So the barbaric yawp of utter adoration for the power and the glory and the grandeur of the female in the universe is uttered at the expense of the particular living woman every time. And because we can be neither one nor the other with any piece of mind, because we are unfortunately improper goddesses and unwilling menials, there is a battle waged between us. And after all, in the description of this battle, maybe I find the justification of my idea that the achievement of the male artistic ego is at my expense for I find that the battle is dearer to him than the peace would ever be. The eternal battle with women, he boasts, sharpens our resistance, develops our strength, enlarges the scope of our cultural achievements. So is the scope after all worth it? Again, the same question, just as if we were talking of the income of a thousand families for a whole year. You see, I strongly suspect that when this revolution takes place, art will no longer be distinguished by its rarity, or its expense, or its inaccessibility, or the extraordinary way which in it is marketed, it will be the prerogative of all of us and we will do it as those artists did whom Freud understood not at all, the artists who made the Cathedral of Chartres or the mosaics of Byzantine, the artist who had no ego and no name.

In a sense she [Sylvia Plath] was the victim of an obsessive talent that sent her out into the world to gather sensations and seek wounds that could provide creative inspiration. Having acquired the wounds she stuck her fingers into them, turning the pain and blood into lines of highly subjective poetry that both repel and fascinate the reader.

It will be dark, And the shine of these small things sweeter than the face of Ishtar.

Well, after this Racine paper, this Ronsard-purgatory, this Sophocles, I shall write: letters and prose and poetry, toward the end of the week; I must be stoic till then.

I want to fill it with color and ducks, The zoo of the new

Not this troublous Wringing of hands, this dark Ceiling without a star.

They loll forever in collossal sleep; Nor can God's stern, shocked angels cry them up From their fond, final, infamous decay

People or stars Regards me sadly, I disappoint them.

People or stars Regard me sadly, I disappoint them.

Would it be too childish of me to say: I want? But I do want: theater, light, color, paintings, wine and wonder.

The moon lays a hand on my forehead.

We have conversations most nights, Sylvia Plath and me. On these cold wintry nights with our coffee mugs in hand, we talk for hours and hours, Sylvia Plath and me!

I remembered a worrisome course in the Victorian novel where woman after woman died, palely and nobly, in torrents of blood, after a difficult childbirth.

Now, snared by this miraculous art, I ride earth's burning carrousel Day in, day out.

I do not like to think of all the things, familiar, useful and worthy things, I have never put into a poem.

For me,” she wrote, “poetry is an evasion from the real job of writing prose.” Throughout

The blood jet is poetry, There is no stopping it. 'Kindness' by Sylvia Plath

Buddy said he figured there must be something in poetry if a girl like me spent all her days over it, so each time we met I read him some poetry and explained to him what I found in it.

People were made of nothing so much as dust, and I couldn't see that doctoring all that dust was a bit better than writing poems people would remember and repeat to themselves when they're unhappy or couldn't sleep.

In the corner of my garden There is a favorite spot, Which sun and rain tend faithfully And which I planted not. Here is the haven of wild flowers, The kingdom of birds and bees; Here in the silvery moonlight Sprites dance 'neath singing trees.

Wars, wars, wars': reading up on the region I came across one moment when quintessential Englishness had in fact intersected with this darkling plain. In 1906 Winston Churchill, then the minister responsible for British colonies, had been honored by an invitation from Kaiser Wilhelm II to attend the annual maneuvers of the Imperial German Army, held at Breslau. The Kaiser was 'resplendent in the uniform of the White Silesian Cuirassiers' and his massed and regimented infantry... reminded one more of great Atlantic rollers than human formations. Clouds of cavalry, avalanches of field-guns and—at that time a novelty—squadrons of motor-cars (private and military) completed the array. For five hours the immense defilade continued. Yet this was only a twentieth of the armed strength of the regular German Army before mobilization. Strange to find Winston Churchill and Sylvia Plath both choosing the word 'roller,' in both its juggernaut and wavelike declensions, for that scene.

They thought death was worth it, but I Have a self to recover, a queen. Is she dead, is she sleeping? Where has she been, With her lion-red body, her wings of glass? Now she is flying More terrible than she ever was, red Scar in the sky, red comet Over the engine that killed her- The mausoleum, the wax house.

There are the clothes of a fat woman I do not know. There is my comb and brush. There is an emptiness. I am so vulnerable suddenly. I am a wound walking out of hospital. I am a wound they are letting go. I leave my health behind. I leave someone Who would adhere to me: I undo her fingers like bandages: I go. (Three Women)

The Truth the Dead Know For my Mother, born March 1902, died March 1959 and my Father, born February 1900, died June 1959 Gone, I say and walk from church, refusing the stiff procession to the grave, letting the dead ride alone in the hearse. It is June. I am tired of being brave. We drive to the Cape. I cultivate myself where the sun gutters from the sky, where the sea swings in like an iron gate and we touch. In another country people die. My darling, the wind falls in like stones from the whitehearted water and when we touch we enter touch entirely. No one's alone. Men kill for this, or for as much. And what of the dead? They lie without shoes in the stone boats. They are more like stone than the sea would be if it stopped. They refuse to be blessed, throat, eye and knucklebone. Anne Sexton was a model who became a confessional poet, writing about intimate aspects of her life, after her doctor suggested that she take up poetry as a form of therapy. She studied under Robert Lowell at Boston University, where Sylvia Plath was one of her classmates. Sexton won the Pulitzer Prize for Poetry in 1967, but later committed suicide via carbon monoxide poisoning. Topics she covered in her poems included adultery, masturbation, menstruation, abortion, despair and suicide.

The tulips are too red in the first place, they hurt me. Even through the gift paper I could hear them breathe Lightly, through their white swaddlings, like an awful baby. Their redness talks to my wound, it corresponds. They are subtle : they seem to float, though they weigh me down, Upsetting me with their sudden tongues and their color, A dozen red lead sinkers round my neck. Nobody watched me before, now I am watched. The tulips turn to me, and the window behind me Where once a day the light slowly widens and slowly thins, And I see myself, flat, ridiculous, a cut-paper shadow Between the eye of the sun and the eyes of the tulips, And I have no face, I have wanted to efface myself. The vivid tulips eat my oxygen.

The photographer fiddled with his hot white lights. 'Show us how happy it makes you to write a poem.' I stared through the frieze of rubber-plant leaves in Jay Cee's window to the blue sky beyond. A few stagey puffs were traveling from right to left. I fixed my eyes on the largest cloud, as if, when it passed out of sight, I might have the good luck to pass with it.

My Mother They are killing her again. She said she did it One year in every ten, But they do it annually, or weekly, Some even do it daily, Carrying her death around in their heads And practicing it. She saves them The trouble of their own; They can die through her Without ever making The decision. My buried mother Is up-dug for repeat performances. Now they want to make a film For anyone lacking the ability To imagine the body, head in oven, Orphaning children. Then It can be rewound So they can watch her die Right from the beginning again. The peanut eaters, entertained At my mother’s death, will go home, Each carrying their memory of her, Lifeless – a souvenir. Maybe they’ll buy the video. Watching someone on TV Means all they have to do Is press ‘pause’ If they want to boil a kettle, While my mother holds her breath on screen To finish dying after tea. The filmmakers have collected The body parts, They want me to see. They require dressings to cover the joins And disguise the prosthetics In their remake of my mother; They want to use her poetry As stitching and sutures To give it credibility. They think I should love it – Having her back again, they think I should give them my mother’s words To fill the mouth of their monster, Their Sylvia Suicide Doll, Who will walk and talk And die at will, And die, and die And forever be dying.

She was, [Wilfrid Riley] recalled, "a very clever person, but you couldn't be at ease with her some way. She wasn't with you. She was up in the clouds, always studying poetry, what have you . . . You couldn't sit with her and converse with her like you can normal people." It wasn't pride, he thought, that made her this way. "Shyness came into it. She couldn't lend herself to people. She was a little bit aloof from people, and I don't think she intended to be.

E. Lucas Meyers34 although he does not know me and will never know I’ve learned it. His poetry is great, big, moving through technique and discipline to master it and bend it supple to his will. There is a brilliant joy, there, too, almost of an athlete, running, using all the divine flexions of his muscles in the act. Luke writes alone, much. He is serious about it; he does not talk much about it. This is the way. A way, and I believe in not being Roget’s trollop, parading words and tossing off bravado for an audience.

It will be long before everyone is wiped out. People live in war time, they always have. There was terror down through history - and the men who saw the Spanish Armada sail over the rim of the world, who saw the Black death wipe out half of Europe, those men were frightened, terrified. But though they lived and died in fear, I am here; we have built again. And so I will belong to a dark age, and historians will say "We have few documents to show how the common people lived at this time. Records lead us to believe that a majority were killed. But there were glorious men." And school children will sigh and learn the names of Truman and Senator McCarthy. Oh, it is hard for me to reconcile myself to this. But maybe this is why I am a girl - - - so I can live more safely than the boys I have known and envied, so I can bear children, and instill in them the biting eating desire to learn and love life which I will never quite fulfill, because there isn't time, because there isn't time at all, but instead the quick desperate fear, the ticking clock, and the snow which comes too suddenly upon the summer. Sure, I'm dramatic and sloppily semi-cynical and semi-sentimental. But in leisure years I could grow and choose my way. Now I am living on the edge. We all are on the brink, and it takes a lot of nerve, a lot of energy, to teeter on the edge, looking over, looking down into the windy blackness and not being quite able to make out, through the yellow, stinking mist, just what lies below in the slime, in the oozing, vomit-streaked slime; and so I could go on, into my thoughts, writing much, trying to find the core, the meaning for myself. Perhaps that would help, to synthesize my ideas into a philosophy for me, now, at the age of eighteen, but the clock ticks, ah yes, "At my back I hear, time's winged chariot hovering near." And I have too much conscience, too much habit to sit and stare at snow, thick now, and evenly white and muffling on the ground. God, I scream for time to let go, to write, to think. But no. I have to exercise my memory in little feats just so I can stay in this damn wonderful place which I love and hate with all my heart. And so the snow slows and swirls, and melts along the edges. The first snow isn't good for much. It makes a few people write poetry, a few wonder if the Christmas shopping is done, a few make reservations at the skiing lodge. It's a sentimental prelude to the real thing. It's picturesque & quaint.

To Eva Descending the Stair Clocks cry: stillness is a lie, my dear; The wheels revolve, the universe keeps running. (Proud you halt upon the spiral stair.) The asteroids turn traitor in the air, And planets plot with old elliptic cunning; Clocks cry: stillness is a lie, my dear. Red the unraveled rose sings in your hair: Blood springs eternal if the heart be burning. (Proud you halt upon the spiral stair.) Cryptic stars wind up the atmosphere, In solar schemes the titled suns go turning; Clocks cry: stillness is a lie, my dear. Loud the immortal nightingales declare: Love flames forever if the flesh be yearning. (Proud you halt upon the spiral stair.) Circling zodiac compels the year. Intolerant beauty never will be learning. Clocks cry: stillness is a lie, my dear. (Proud you halt upon the spiral stair.)

Paradoxically, the feminine soul in our culture subsists on dimes, while millions are spent to dramatize her victimized condition. Imagine what would happen if images of the victimized feminine were banned in our culture. We would lose many of our classical dramas Tamberlaine, Othello, St Joan. Opera houses would not resonate with the anguish of La Iraviata, Lucia di Lammermoor, Madam Butterfly, Anne Boleyn. Theaters would not play Tennessee Williams, Eugene O'Neill, Samuel Beckett. Bookshelves would be depleted without Anna Karenina, The Idiot, the poetry of Robert Browning, Sylvia Plath, Anne Sexton. The list is endless. The cruelty of the victimization is veiled by the beauty of the art form in which the images are enshrined. Without those diaphanous veils, we have something quite different -Dallas, Dynasty, Miami Vice and ubiquitous examples of advertising where the feminine is raped by male and female alike. At the bottom of this barrel is pornography.

some point over the next few hours, she left some food and water for her children in their room and opened their bedroom window. She wrote out the name of her doctor, with a telephone number, and stuck it to the baby carriage in the hallway. Then she took towels, dishcloths, and tape and sealed the kitchen door. She turned on the gas in her kitchen stove, placed her head inside the oven, and took her own life. 2. Poets die young. That is not just a cliché. The life expectancy of poets, as a group, trails playwrights, novelists, and nonfiction writers by a considerable margin. They have higher rates of “emotional disorders” than actors, musicians, composers, and novelists. And of every occupational category, poets have far and away the highest suicide rates—as much as five times higher than the general population. Something about writing poetry appears either to attract the wounded or to open new wounds—and few have so perfectly embodied that image of the doomed genius as Sylvia Plath.