Sylvia Plath: Her Drawings. (London: The Mayor Gallery, 2011), 63 pages. ISBN: 978-0-9558367-8-7. Illustrated. Hardcover, no dust wrapper, as issued.
catalogue for the exhibit of "Sylvia Plath: Her Drawings" is a gem. The
bold red cover is of a quintessential Plathian nature, and is
reminiscent of the exhibition catalogue for Karen V. Kukil and Stephen
Enniss' "No Other Appetite": Sylvia Plath, Ted Hughes, and the Blood Jet of Poetry (Grolier Club, 2005). Published in a limited edition to 1,000
copies, the full color scans throughout are bound to delight Plath's
readers (scholars, fans: we are all in this together).
introduction by Frieda Hughes was largely published in a slightly
different format in both her Vogue UK ("Drawings from the Past,"
November 2011, pp 103-104) and Observer ("Lines of Beauty," 22 October
2011, p 22) articles.
It is a cool, factual, point-to-point introduction that lacks an
emotional connection to the work it precedes. This might stem from the
fact that the exhibit was a business transaction for her; she needn't
attempt to sell her readers because the work will sell (and has sold)
itself. After all, Sylvia Plath said it best herself:
"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."
the plates within the catalogue are divided into sections (Drawings
from England, Drawings from France, Drawings from Spain, Drawings from
the U.S.A.), this is not rendered in the books table of contents.
Rather, the list of plates are just that, a list, which is difficult to
read. This mash-up of titles was likely done to conserve space, but in
an exhibition catalogue of artwork, the design and aesthetics of the
book layout should trump cheapness every once in awhile. Add the extra
page, charge an extra quid. The book concludes with a brief biography
(really a timeline, date of Plath & Hughes' wedding is incorrect) and
an even more brief bibliography of works by Plath.
font & formatting throughout looks inconsistent and as a result is
somewhat distracting. The pagination ends on page 59 with the last
plate, though the text carries on for four more pages through page 63.
Weirdly, the table of contents lists the plates as going to page 55,
though they in fact go through page 59. The drawing of Ted Hughes,
withdrawn from the sale according to Michael Glover (Independent review, 4 November 2011),
does not appear in the catalogue though it was featured at least twice:
in Frieda Hughes' article "Lines of Beauty,"
and the article by Beth Roberts ("Sylvia Plath Drawings at the Mayor Gallery," The Telegraph, 25 October 2011), so that a full overview of
the exhibit as it was originally planned can be seen.
did at least three sketches of Ted Hughes. In October 2005, one was put
up for auction and sold for £27,600 (then $49,000) to the National
Portrait Gallery in London. Another sketch of Ted Hughes by Plath
appears in Eye Rhymes, p. 104, though its location is not explicitly
identified in the text, it must be at either Emory, Indiana, or Smith.
One must wonder, as we always seem to do with things about Sylvia Plath:
what else is there...
that taken into consideration & most likely disregarded, one will
and should buy this book for the illustrations and the illustrations
only. At only £10 (with shipping to America will run you about $26), I
would have paid double. As the drawings were for sale and nearly all
have been sold at this point in time, the catalogue will be the only
enduring way in which these creations by Plath can be seen as a whole.
As these were not available through the archives that contributed
largely to the book Eye Rhymes (ed. Connors and Bayley, 2007, and sadly
now out of print), the drawings by Sylvia Plath in the catalogue add a
richer dimension to our understanding of Sylvia Plath as Artist. At a
disadvantage having not seen the exhibit in person (if someone would
like to buy me a round-trip to London, please email me), the catalogue
is a successful surrogate, and I highly recommend buying a copy, or two.
Publications & Acknowledgements
- BBC Four.A Poet's Guide to Britain: Sylvia Plath. London: BBC Four, 2009. (Acknowledged in)
- Biography: Sylvia Plath. New York: A & E Television Networks, 2005. (Photographs used)
- Connell, Elaine. Sylvia Plath: Killing the angel in the house. 2d ed. Hebden Bridge: Pennine Pens, 1998. (Acknowledged in)
- Crowther, Gail and Peter K. Steinberg. "These Ghostly Archives." Plath Profiles 2. Summer 2009: 183-208.
- Crowther, Gail and Peter K. Steinberg. "These Ghostly Archives, Redux." Plath Profiles 3. Summer 2010: 232-246.
- Crowther, Gail and Peter K. Steinberg. "These Ghostly Archives 3." Plath Profiles 4. Summer 2011: 119-138.
- Crowther, Gail and Peter K. Steinberg. "These Ghostly Archives 4: Looking for New England." Plath Profiles 5. Summer 2012: 11-56.
- Crowther, Gail and Peter K. Steinberg. "These Ghostly Archives 5: Reanimating the Past." Plath Profiles 6. Summer 2013: 27-62.
- Crowther, Gail and Peter K. Steinberg. These Ghostly Archives: The Unearthing of Sylvia Plath. Oxford: Fonthill, 2017. Forthcoming.
- Death Be Not Proud: The Graves of Poets. New York: Poets.org. (Photographs used)
- Doel, Irralie, Lena Friesen and Peter K. Steinberg. "An Unacknowledged Publication by Sylvia Plath." Notes & Queries 56:3. September 2009: 428-430.
- Gill, Jo. "Sylvia Plath in the South West." University of Exeter Centre for South West Writing, 2008. (Photograph used)
- Elements of Literature, Third Course. Austin, Tex. : Holt, Rinehart and Winston, 2009. (Photograph used)
- Helle, Anita Plath. The Unraveling Archive: Essays on Sylvia Plath. Ann Arbor: University of Michigan Press, 2007. (Photographs used, acknowledged in)
- Helle, Anita. "Lessons from the Archive: Sylvia Plath and the Politics of Memory". Feminist Studies 31:3. Fall 2005: 631-652.. (Acknowledged in)
- Holden, Constance. "Sad Poets' Society." Science Magazine. 27 July 2008. (Photograph used)
- Making Trouble: Three Generations of Funny Jewish Women, Motion Picture. Directed by Rachel Talbot. Brookline (Mass.): Jewish Women's Archive, 2007. (Photograph used)
- Plath, Sylvia, and Karen V. Kukil. The Unabridged Journals of Sylvia Plath, 1950-1962. New York: Anchor Books, 2000. (Acknowledged in)
- Plath, Sylvia, and Peter K. Steinberg and Karen V. Kukil (eds.). The Letters of Sylvia Plath. London: Faber, 2017. Forthcoming.
- Plath, Sylvia. Glassklokken. Oslo: De norske Bokklubbene, 2004. (Photograph used on cover)
- Reiff, Raychel Haugrud. Sylvia Plath: The Bell Jar and Poems (Writers and Their Works). Marshall Cavendish Children's Books, 2008.. (Images provided)
- Steinberg, Peter K. Sylvia Plath (Great Writers). Philadelphia: Chelsea House Publishers, 2004.
- Steinberg, Peter K. "'I Should Be Loving This': Sylvia Plath's 'The Perfect Place' and The Bell Jar." Plath Profiles 1. Summer 2008: 253-262.
- Steinberg, Peter K. "Sylvia Plath." The Spoken Word: Sylvia Plath. London: British Library, 2010.
- Steinberg, Peter K. "'They Had to Call and Call': The Search for Sylvia Plath." Plath Profiles 3. Summer 2010: 106-132.
- Steinberg, Peter K. "This is a Celebration: A Festschrift for The Unabridged Journals of Sylvia Plath." Plath Profiles 3 Supplement. Fall 2010: 3-14.
- Steinberg, Peter K. "A Perfectly Beautiful Time: Sylvia Plath at Camp Helen Storrow." Plath Profiles 4. Summer 2011: 149-166.
- Steinberg, Peter K. "Proof of Plath." Fine Books & Collections 9:2. Spring 2011: 11-12.
- Steinberg, Peter K. "Textual Variations in The Bell Jar Publications." Plath Profiles 5. Summer 2012.
- Steinberg, Peter K. "Writing Life" [Introduction]. Sylvia Plath in Devon: A Year's Turning. Stroud, Eng.: Fonthill Media, 2014.
- "Banking on his passion for Plath" by Melissa Davis Haller. UMW Today. Spring 2005.
- "Sylvia Plath's Three Women to be staged in London" by Alison Flood. The Guardian. 3 December 2008.
- "FBI files on Sylvia Plath's father shed new light on poet" by Dalya Alberge. The Guardian. 17 August 2012.
- "There Are Almost No Obituaries for Sylvia Plath" by Ashley Fetters. The Atlantic. 11 February 2013.