Sylvia Plath, página 2 de 7

The poems in Sylvia Plaths Ariel, including many of her best-known such as Lady Lazarus, Daddy, Edge and Paralytic, were all written between the publication in 1960 of Plaths first book, The Colossus, and her death in 1963.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 ObserverThis beautifully designed edition forms part of a series with five other cherished poets, including Wendy Cope, Don Paterson, Philip Larkin, Simon Armitage and Alice Oswald.

Crossing the Water and Winter Trees contain the poems written during the exceptionally creative period of the last years of Sylvia Plaths life. Published posthumously in 1971, they add a startling counterpoint to Ariel, the volume that made her reputation. Readers will recognise some of her most celebrated poems - Childless Woman, Mirror, Insomniac - while discovering those still overlooked, including her radio play Three Women. These two extraordinary volumes find their place alongside The Colossus and Ariel in the oeuvre of a singular talent.Nearly all the poems here have the familiar Plath daring, the same feel of bits of frightened, vibrant, indignant consciousness translated instantly into words and images that blend close, experienced horror and icy, sardonic control. Alan Brownjohn, New Statesman

Letters Home represents Sylvia Plaths correspondence from her time at Smith College in the early 1950s, through her meeting with, and subsequent marriage to, the poet Ted Hughes, up to her death in February 1963. The letters are addressed mainly to her mother, with whom she had an extremely close and confiding relationship, but there are also some to her brother Warren and her benefactress Mrs Prouty.Plaths energy, enthusiasm and her passionate tackling of life burst onto these pages, providing us with a vivid and intimate portrait of a woman who has come to be regarded as one of the greatest of twentieth-century poets. In addition to her capacity for domestic and writerly happiness, however, these letters also hint at Plaths potential for deep despair, which reached its crisis when she holed up in a London flat for the terrible winter of 1963.

A timeless collection of stories for younger children.In the eponymous The It-Doesnt-Matter Suit, little Max Nix is on a quest to find the perfect suit he can go ice-fishing, cow-milking and town-walking in. Theres magic afoot in Mrs Cherrys Kitchen and children will love to find their perfect Nighty-night little / Turn-out-the-light little Bed! in The Bed Book.

Quando si comincia a leggere questi diari si ha l''impressione di seguire le febbrili annotazioni di una bella ragazza americana che scopre l''Europa: tutto vibra, tutto sprizza energia, c''e un senso di attesa che si impone su tutto. Ma presto ci accorgiamo che le cose non stanno cosi. O meglio, non soltanto cosi. E ci immergiamo in una lettura sempre piu appassionante e talvolta angosciosa: il giornale di bordo di una sensibilita acutissima, lacerata e drammatica, quella di una scrittrice che per i suoi versi e per il suo tragico destino e diventata un emblema, un vero culto, per molti lettori.

Faber Stories, a landmark series of individual volumes, presents masters of the short story form at work in a range of genres and styles. Lips the colour of blood, the sun an unprecedented orange, train wheels that sound like guilt, and guilt, and guilt: these are just some of the things Mary Ventura begins to notice on her journey to the ninth kingdom.But what is the ninth kingdom? she asks a kind-seeming lady in her carriage. It is the kingdom of the frozen will, comes the reply. There is no going back.Sylvia Plaths strange, dark tale of independence over infanticide, written not long after she herself left home, grapples with mortality in motion.

Sylvia Plath was, for both English and American poetry, one of the defining voices of twentieth-century, and one of the most appealing: few other poets have introduced as many new readers to poetry. Though she published just one collection in her lifetime, The Colossus, and a novel, The Bell Jar, it was following her death in 1963 that her work began to garner the wider audience that it deserved. The manuscript that she left behind, Ariel, was published in 1965 under the editorship of her former husband, Ted Hughes, as were two later volumes, Crossing the Water and Winter Trees in 1971, which helped to make Sylvia Plath a household name. Hughess careful curation of Plaths work extended to a Collected Poems and a Selected Poems in the 1980s, which remain in print today and stand testimony to the profound respect that Frieda Hughes said her father had for her mothers work. It was not until the publication of a restoredAriel in 2004 that readers were able to appraise Plaths own selection and arrangement of her work.This edition of the poems, chosen by the Poet Laureate Carol Ann Duffy, offers a fresh selection of Sylvia Plaths poetry to stand in parallel to the existing editions. Introduced with an inviting preface, the book is essential reading for those new to and already familiar with the work of this most extraordinary poet.

Sylvia Plath (1932-1963) was one of the writers that defined the course of twentieth-century poetry. Her vivid, daring and complex poetry continues to captivate new generations of readers and writers. In the Letters, we discover the art of Plaths correspondence, most of which has never before been published and is here presented unabridged, without revision, so that she speaks directly in her own words. Refreshingly candid and offering intimate details of her personal life, Plath is playful, too, entertaining a wide range of addressees, including family, friends and professional contacts, with inimitable wit and verve. The letters document Plaths extraordinary literary development: the genesis of many poems, short and long fiction, and journalism. Her endeavour to publish in a variety of genres had mixed receptions, but she was never dissuaded. Through acceptance of her work, and rejection, Plath strove to stay true to her creative vision. Well-read and curious, she offers a fascinating commentary on contemporary culture. Leading Plath scholars Peter K. Steinberg and Karen V. Kukil, editor of The Journals of Sylvia Plath 1950-1962, provide comprehensive footnotes and an extensive index informed by their meticulous research. Alongside a selection of photographs and Plaths own line-drawings, the editors masterfully contextualise what the pages disclose.This selection of early correspondence marks the key moments of Plaths adolescence, including childhood hobbies and high school boyfriends; her successful but turbulent undergraduate years at Smith College; the move to England and Cambridge University; and her meeting and marrying Ted Hughes, including a trove of unseen letters post-honeymoon, revealing their extraordinary creative partnership.

The poems in Winter Trees were written in the last nine months of Sylvia Plaths life, and form part of the group from which the Ariel poems were chosen. They reveal the poet at the height of her creative powers, exhibiting the startling imagery and dramatic play for which she became known. Published posthumously in 1971, this valuable collection finds its place alongside The Colossus and Ariel in the oeuvre of a singular talent.Nearly all the poems here have the familiar Plath daring, the same feel of bits of frightened, vibrant, indignant consciousness translated instantly into words and images that blend close, experienced horror and icy, sardonic control.New StatesmanA book that anyone seriously interested in poetry now must have . . . Sylvia Plaths immense gift is evident throughout.Guardian

Sylvia Plath (1932-1963) was one of the writers that defined the course of twentieth-century poetry. Her vivid, daring and complex poetry continues to captivate new generations of readers and writers. In the Letters, we discover the art of Plaths correspondence. Most has never before been published, and it is here presented unabridged, without revision, so that she speaks directly in her own words. Refreshingly candid and offering intimate details of her personal life, Plath is playful, too, entertaining a wide range of addressees, including family, friends and professional contacts, with inimitable wit and verve.The letters document Plaths extraordinary literary development: the genesis of many poems, short and long fiction, and journalism. Her endeavour to publish in a variety of genres had mixed receptions, but she was never dissuaded. Through acceptance of her work, and rejection, Plath strove to stay true to her creative vision. Well-read and curious, she simultaneously offers a fascinating commentary on contemporary culture.Leading Plath scholar Peter K. Steinberg and Karen V. Kukil, editor of The Journals of Sylvia Plath 1950-1962, provide comprehensive footnotes and an extensive index informed by their meticulous research. Alongside a selection of photographs and Plaths own drawings, they masterfully contextualise what the pages disclose.This selection of later correspondence witnesses Plath and Hughes becoming major, influential contemporary writers, as it happened. Experiences recorded include first books and other publications; teaching; committing to writing full-time; travels; making professional acquaintances; settling in England; building a family; and buying a house. Throughout, Plaths voice is completely, uniquely her own.

This comprehensive volume contains all Sylvia Plaths mature poetry written from 1956 up to her death in 1963. The poems are drawn from the only collection Plath published while alive, The Colossus, as well as from posthumous collections Ariel, Crossing the Water and Winter Trees.The text is preceded by an introduction by Ted Hughes and followed by notes and comments on individual poems. There is also an appendix containing fifty poems from Sylvia Plaths juvenilia.This collection was awarded the 1981 Pulitzer Prize for poetry.For me, the most important literary event of 1981 has been the publication, eighteen years after her death, of Sylvia Plaths Collected Poems, confirming her as one of the most powerful and lavishly gifted poets of our time. A. Alvarez in the Observer

La presente edición bilingue de su Poesía completa es la primera que se realiza en el ámbito hispanoamericano.Al acercarnos a la poesía de Sylvia Plath, debemos tener muy presente que, si bien el hecho de conocer los detalles de su vida nos ayuda a comprender y a "traducir" sus poemas, ello no explica, en modo alguno, el poderio de estos. En Plath es fundamental separar sus logros esteticos de su biografia, de la cual no dependen ni en la forma ni en el fondo. Podemos abordar esta Poesia completa como una mera "confesion" de su autora, pero, al hacerlo, estamos prejuzgando lo que leemos y, peor aun, nos estamos perdiendo otros significados mucho mas relevantes y reveladores. Porque Plath, como Trakl o Pizarnik, no debe en absoluto su fama al hecho de haberse quitado la vida sino a que en su obra los acontecimientos estan absorbidos, transfigurados por la funcion universalizadora del mito, y a que fue una poeta cuya imaginacion, inteligencia, lenguaje, oficio y apertura al inconsciente alcanzaron un extraordinario grado de desarrollo. Virtudes que tan solo podemos hallar en los grandes creadores. XOAN ABELEIRA

Lips the colour of blood, the sun an unprecedented orange, train wheels that sound like 'guilt, and guilt, and guilt': these are just some of the things Mary Ventura begins to notice on her journey to the ninth kingdom. 'But what is the ninth kingdom?' she asks a kind-seeming lady in her carriage. 'It is the kingdom of the frozen will,' comes the reply. 'There is no going back.' Sylvia Plath's strange, dark tale of independence over infanticide, written not long after she herself left home, grapples with mortality in motion.

Reconocida por su obra poética, Sylvia Plath fue también una brillante escritora deprosa. Esta colección de cuentos, ensayos y extractos de sus diarios destaca por su feroz concentración en el arte, la vitalidad de su inteligencia y los anhelos de su imaginacion. En estos escritos encontraremos la temprana preocupacion de Plath por los problemas derivados de las enfermedades mentales; los complejos procesos de la creatividad y, de manera destacada, una diversidad de temas que tienen la feminidadcomo eje central.Esta obra es especialmente sugestiva, pues presenta la esencia de sus poemas y de todos los temas recurrentes de su trabajo posterior, y ofrece asi una vision significativa de su desarrollo como escritora.Ted Hughes se encargo de la seleccion de los textos y del epilogo presente en esta edicion.Tengo que admitir desde el principio que este tipo de publicacionme hace sentir incomoda. [...] Pero tambien deboadmitir que lei los textos reunidos en La caja de los deseoscon considerable absorcion y, en momentos, fascinacion.Margaret Atwood, The New York Times