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She survived the attempt and was hospitalized, receiving treatment with electro-shock therapy.Her experiences of breakdown and recovery were later turned into fiction for her only published novel, Having made a recovery, Plath returned to Smith for her degree.
“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.
Or, as Peter Davison put it, “No artifice alone could have conjured up such effects.” According to Mc Clanahan, the poems in “death is preeminent but strangely unoppressive.
Perhaps it is because there is no longer dialogue, no sense of ‘Otherness’—she is speaking from a viewpoint which is total, complete.
In the ensuing years her work attracted the attention of a multitude of readers, who saw in her singular verse an attempt to catalogue despair, violent emotion, and obsession with death.
In the Joyce Carol Oates described Plath as “one of the most celebrated and controversial of postwar poets writing in English.” Intensely autobiographical, Plath’s poems explore her own mental anguish, her troubled marriage to fellow poet Ted Hughes, her unresolved conflicts with her parents, and her own vision of herself.
And finally, it gives us one of the few sympathetic portraits of what happens to one who has genuinely feminist aspirations in our society, of a girl who refuses to be an in anyone’s life. [Plath] remains among the few woman writers in recent memory to link the grand theme of womanhood with the destiny of modern civilization.” Plath told Alvarez that she published the book under a pseudonym partly because “she didn’t consider it a serious work ...
and partly because she thought too many people would be hurt by it.” is narrated by 19-year-old Esther Greenwood.
Some critics lauded her as a confessional poet whose work “spoke the hectic, uncontrolled things our conscience needed, or thought it needed,” to quote Donoghue. In a curious way, the poems read as though they were written posthumously.” Robert Penn Warren called “a unique book, it scarcely seems a book at all, rather a keen, cold gust of reality as though somebody had knocked out a window pane on a brilliant night.” George Steiner wrote, “It is fair to say that no group of poems since Dylan Thomas’s Reference to Sylvia Plath is constant where poetry and the conditions of its present existence are discussed.” Plath’s growing posthumous reputation inspired younger poets to write as she did.
Largely on the strength of compiled and published by Hughes, Plath made “poetry and death inseparable. But, as Steiner maintained, her “desperate integrity” cannot be imitated.