Ariel

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If the poems are despairing, vengeful, and destructive, they are at the same time tender, open, and also unusually clever, sardonic, hard minded: If the poems are despairing, vengeful and destructive, they are at the same time tender, open to things, and also unusually clever, sardonic, hardminded . . . They are works of great artistic purity and, despite all the nihilism, great generosity . . . the book is a major literary event.’ A. Alvarez in the Observer Addendum: as I was reading this it dawned on me her poems are undeniably Gothic, weird this didn't occur to me before. Soft cover. Condition: Very Good. 1st Edition. ix, 85 p. 21 cm. Poems. Harper & Row Publishers, . Box number: GR00036. [1st ed.] Price on front cover is 1.95. LCCN 66-15738.

Ariel by Sylvia Plath | The British Library

Look, let's get this straight. I am a tree, you are a woman. We can never be together, not in the way you'd like, anyway. Plus, you're kind of irritating. This was very up and down. A lot of the poems went right over my head, but a few I enjoyed, including Lady Lazarus, The Rival and The Moon and the Yew Tree. Of them all, I think Lady Lazarus had the most ‘pull’ in that it’s quite deeply emotive in its portrayal of wanting to be dead and the mixture of emotions that comes with this. It was very personal, and there’s no doubt Sylvia Plath has a way with words. For that poem alone, I pulled this up to three stars. So the poems run with an inner rhythm which alters with the pressure of feeling and allows the images, which came crowding in with an incredible fertility and accuracy, to shift into one another, define and modify one another, and rub off colors each on the next.The speaker states that she, like Lady Godiva, is peeling off a layer (the speaker means this metaphorically). Plath’s narrator, instead of peeling off clothing, is ridding herself of I got a present. But I was thinking that if I unwrapped it, it would bite my face off. So I didn't. Hah.

Ariel (poetry collection) - Wikipedia

On "The Colossus" ". English.illinois.edu. Archived from the original on 2013-09-28 . Retrieved 2013-09-09. So a trivial incident gathers into a whole complicated nexus of feelings about the way her life is getting out of control. It is a brilliant balancing act between colloquial sanity and images which echo down and open up the depths. And I force myself not to think of her tragic suicide and her mental condition when she wrote these verses. I choose to concentrate on the writer, on the genius, on the creativity which enables suffering to become universal works of art that offer comfort and redemption, on the flowing current of feeling rather than on the scabrous speculations hiding behind Sylvia’s supposed products of madness. Truth is I don’t want to know. Some things are best left unsought, some things need to be sensed rather than known, so I decide to surrender to Sylvia’s acidic voice and let the walls of this cage dissolve away and for the briefest of moments, I taste the undistinguishable flavor of exhilarating freedom.It is too concentrated and detached and ironic for “confessional” verse, with all that implies of self-indulgent cashing-in on misfortunes; and it is violent without any deliberate exploitation of horrors and petty nastiness. Plath’s poetry, considered part of the “confessional movement,” was influenced by Robert Lowell as well as by her friend, the poet Anne Sexton, who also explored dark themes and death in her work (and who, like Plath, committed suicide). The poems in Sylvia Plath’s Ariel, including many of her best-known such as ‘Lady Lazarus’, ‘Daddy’, ‘Edge’ and ‘Paralytic’, were all written between the publication in 1960 of Plath’s first book, The Colossus, and her death in 1963. Ariel was the second book of Sylvia Plath's poetry to be published. It was originally published in 1965, two years after her death by suicide.

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That menace carries over into the next bit of description (of the noise) and shift, though another image, into wry helplessness (“I am not Caesar”); at which point a sense of proportion reasserts itself: “They can die … I am the am the owner.” I'm wanting to get into more poetry, but I have to classify books of poetry in two categories: poems I understood, and poems I didn't. The majority of these poems went over my head.

Many of the poems are more difficult than that, rawer, more extreme. But all have that combination of exploratory invention, violent, threatened personal involvement and a quizzical edge of detachment. The poems are casual yet concentrated, slangy yet utterly unexpected. The last works were something quite new in poetry. I wrote at the time in The Observer that Plath was “systematically probing that narrow, violent areas between the viable and the impossible, between experience which can be transmuted into poetry and that which is overwhelming.” The poems in the 1965 edition of Ariel, with their free flowing images and characteristically menacing psychic landscapes, marked a dramatic turn from Plath's earlier Colossus poems.