Sylvia Plath, página 3 de 7

These poems are, in Robert Lowells'' words, "events rather than the record of events, and as such, represent the triumph of the poet''s romantic ambition".

This selection of Sylvia Plath''s poetry - chosen by Ted Hughes - shows Plath to be a major poet of the 20th century.

En Érase un verso revisitamos los cuentos de hadas clásicos de la mano de algunos de los mejores poetas de los siglos XX y XXI. Cuentos como La cenicienta, Caperucita Roja y Rapunzel. Para la presente edicion, hemos seleccionado a ilustradores e ilustradoras que han trabajado con Nordica en estos quince años de andadura para que dialoguen graficamente con los poemas en un volumen maravilloso que es tambien un ejemplo del concepto de libro ilustrado que tenemos en la editorial. Entre otros ilustradores e ilustradoras, encontraras a Ester Garcia, Iban Barrenetxea, Fernando Vicente, Noemi Villanueva o Carmen Bueno.

Originally published in 1960, The Colossus was the only volume of Sylvia Plaths poetry published before her death in 1963. Showing a scholarly dedication to the craft, the poems in this collection are brimming with originality and the startling imagery that would later confirm her status as one of the most important poets of the twentieth century.On every page, a poet is serving notice that she has earned her credentials and knows her trade. Seamus HeaneyShe steers clear of feminine charm, deliciousness, gentility, supersensitivity and the act of being a poetess. She simply writes good poetry. And she does so with a seriousness that demands only that she be judged equally seriously . . . There is an admirable no-nonsense air about this; the language is bare but vivid and precise, with a concentration that implies a good deal of disturbance with proportionately little fuss. A. Alvarez in the Observer

Upon the publication of her posthumous volume of poetry Ariel in 1965, Sylvia Plath became a household name. Readers may be surprised to learn that the draft of Ariel left behind by Plath when she died in 1963 is different from the volume of poetry eventually published to worldwide acclaim.This facsimile edition restores, for the first time, the selection and arrangement of the poems Sylvia Plath left at the point of her death. In addition to the facsimile pages of Sylvia Plaths manuscript, this edition also includes in facsimile the complete working drafts of the title poem Ariel in order to offer a sense of Plaths creative process, as well as notes the author made for the BBC about some of the manuscripts poems, including Daddy and Lady LazarusIn her insightful foreword to this volume, Frieda Hughes, Sylvia Plaths daughter, explains the reasons for the differences between the previously published edition of Ariel as edited by her father, Ted Hughes, and her mothers original version published here. With this publication, Sylvia Plaths legacy and vision will be reevaluated in the light of her original working draft.

Plath's poetry is characterized by bold metaphors, heightened language, and violent imagery. Intensely autobiographical, they detail her angry struggles with her own mental disturbances and with the

This was the only book of Plath's poetry published in her lifetime. These early poems are formal in structure and meticulously crafted.

Sylvia Plath''s correspondence, addressed chiefly to her mother, from her time at Smith College in the early 1950s up to her suicide in London in February 1963. In addition to her capacity for domestic and writerly happiness, these letters also hint at her potential for deep despair. One wonders just how fully or well this prolix collection of letters, written primarily to Sylvia Plath''s mother - editor Aurelia Schober Plath who also contributes a commentary - will serve as autobiography, as amplification, or as anything except externalization of details on that short life which ended with a posthumous question mark. Here Mrs. Plath, claiming some ''sort of psychic osmosis'' with her daughter, clearly plays a most devoted role and for the first two thirds of this voluble confessional, Sylvia seems to be writing to her on a girlish high. The letters (those to her brother really say more) are effusive with wonderfuls and thrillings and ''How can I bear the joy of it all.'' Even later after her marriage to Ted Hughes they embarrass - ''everything I do with and for Ted has a celestial radiance.'' In between, they are a documentary of her work from poems to short stories to the infrequently mentioned novels (including the one she intended as a ''potboiler'') and the increasing recognition both she and Ted received with publication, grants, teaching positions, etc., etc. Then come the difficult times (excluded from the Letters Home) when Sylvia was raddled by the two children, the miscarriage in between, the attrition of her creativity, and the harassments of the simple domesticity she used to enjoy and the babies she still loved. After the separation/divorce, Sylvia indicates that she is determined to survive alone, securing the flat in Yeats'' house, buying clothes and a new fashionable exterior. (One wonders whether Alvarez'' contention that she ended her life ''carelessly and by mistake'' might not be right.) But there are those darker moments when she wrote - feverishly - the final poems which would be ''the best poems of my life, they will make my name.'' For the most part the correspondence is a less than revealing testimony (her admiration of Ted is unbounded; later after the ''hurtful'' time, almost the only allusion, her discretion is absolute), but there will be many to read it - not only th

Plath''s best-known collection of poems which "established her reputation with its courageous and controlled treatment of extreme and painful states of mind".