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Making Sentences from Sylvia Plath Poem Titles

Trying to have a little fun this summer, below are attempts to construct sentences out of the poem titles in Sylvia Plath's Ariel (both the 1965/1966 Ted Hughes version and those from her original order, first published in 2004). I have endeavored to not employ additional words (to, at, the, are, etc.) to connect things up; however, in some instances I found it beneficial to do so... And in some cases I brought in titles from other 1962 poems.


Getting there by candlelight, the applicant Gulliver cut the fearful eavesdropper for a fatherless son.

The arrival of the bee box, a secret event (a birthday present), stopped dead the detective burning the letters.

Medusa stings Daddy; the other magi- the jailor - on the tour wintering among the narcissi: Berck-Plage, Lyonnesse, Ariel, Lesbos, has the courage of shutting-up the elm and death & co.

The Munich mannequins totem: a paralytic thalidomide child, sheep in fog, pheasant, balloons, the swarm, the moon and the yew tree.

Crossing the water years after an appearance at the bee meeting, the rabbit catchers amnesiac apprehensions are words heard, by accident, over the phone.

The couriers words, a letter in november, edge the rival barren woman - in a purdah of tulips and poppies in july, poppies in october - and the hanging man into the night dances.

Mary's song, the little fugue, is a contusion to Lady Lazarus.

You're Nick and the candlestick's morning song.

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