10 July 2020

Sylvia Plath's Postcards: 10 July 1961, Dordogne, France

The last picture postcard that we know Sylvia Plath sent went from the Dordogne, France, to her mother at 3 Chalcot Square, London.


Dated 10 July, Plath wrote the postcard which depicts "Montignac-sur-Vézère (Dordogne). Grotte de Lascaux" and send it from Saint-Céré, France, and was postmarked 12 July 1961. A subcaption on the card reads, "Diverticule (paroi droite): Vache rouge et premier des chevaux dits 'Chinois'." It was published by Serv. Commercial Monuments Historiques. Gd. Palais. Av. Alexandre III. Porte G. Paris. There are two stamps on the postcard. One for .25 Francs depicting a woman, designed by Posyes. And another for .05 Francs depicting the Coat of Arms of Oran (Algeria). Aurelia Plath added "Stars Over Dordogne" in blue pen in the top middle of the page.

Plath addressed the letter:
Mrs. A. S. PLATH
c/o HUGHES
3 Chalcot Square
London N.W.1
Angleterre

Plath and Hughes were toward the end of their holiday and she reported in her letter that they were "eager" to get home.

The full text of the postcard appears on page 631 of The Letters of Sylvia Plath, Volume II, 1956-1963.

Here is a video from inside the cave.

All links accessed 7 August 2019 and 9 July 2020.

02 July 2020

Sylvia Plath's Postcards: 2 July 1961, Mont St. Michel, France

The second picture postcard Sylvia Plath sent to her mother from France, which is also the second to last one she sent that we know about, depicted "LE MONT SAINT-MICHEL (Manche) Ensemble Sud par Grande Marée."


Dated Sunday, 2 July 1961, the postmark was illegible because the cancellation stamp mostly did not cover the postage stamp. Thus, it is unclear on which day it was sent. It was published by Service Commercial Monuments Historiques Grand Palais -- Avenue Alexandre III -- Paris. The stamp was .50 Francs and depicted Tlemcen Grande Mosque. I believe it may have been designed by Pheulpin. The postcard is numbered "2" in pencil in the top right, just to the left of the stamp.

Plath reports they are at a "crêperie” in Douarnenez. Oddly, she spelled Frieda's name wrong, which is something I checked and re-checked dozens of times during the project.  Aurelia Plath annotated the postcard, translating "Grande Marée" into English, "high tide".

Plath addressed the postcard:

Mrs. A. S. Plath
c/o Hughes
3 Chalcot Square
Londres N.W.1
Angleterre

Plath reports they expected to be to the Merwins by the 5th of July and reminds her mother about her Living Poet programme on the BBC on Saturday the 8th.

The full text of the postcard appears on page 629 of The Letters of Sylvia Plath, Volume II, 1956-1963.

01 July 2020

The Sylvia Plath Zoomposium III

Gail Crowther and I are doing it again! We are very excited to announce The Sylvia Plath Zoomposium III has been scheduled. We have another line-up of quality international presenters who will all speak on a variety of topics. We are thrilled so many people have an interest in speaking about their research on Sylvia Plath.

The event will be held on Zoom, again. The details:

Date: Saturday, 25 July 2020.
Starting time: 10 am EDT/3 pm BST.

Registration for the event will be required.

Click Here To Register!

The presenters, listed here in alphabetical order, are:

Janet Badia (US)
Marsha Bryant (US)
Emmeline Downie (UK)
Olivia Foster (UK)
Gillian Groszewski (IE)
Natalie Hurt (UK)
Craig Johnson (UK)
Jeremy Lowenthal (US)
Laura McKenzie (UK)

All links accessed 22 June and 1 July 2020.

29 June 2020

Sylvia Plath's Postcards: 29 June 1961, Rouen, France

Sylvia Plath sent three picture postcards to her mother when she and Ted Hughes visited France in June and July 1961. The purpose was a holiday, but also to go to the farmhouse of Dido and W. S. Merwin in Lacan de Loubressac. This post is about the first card; the other two will be highlighted in a bit. These are the last three picture postcards that we know Plath sent. Meaning, she might have sent others, but if she did we did not have access to them for The Letters of Sylvia Plath project.

The first picture postcard that Plath sent to her mother depicted "ROUEN (Seine-Maritime) Le Gros Horloge (1389) L'Arcade (1151)."


Dated Thursday, 29 June 1961, the postmark was from Rouen, Seine Maritime, France, on the same day. The postcard was published by Les Editions d'Art, 15 rue Martel, in the 10th Arrondissement. The stamp was .30 Francs and depicted Jean Nicot designed by J. Combet. The postcard is numbered "1" in pencil in the top right corner above the stamp.

Plath and Hughes were waiting for their cafe au laits having crossed over to France the previous day, the 28th. They had been to a "superb beach" (Berck Plage) where they swam and collected shells for Frieda.

Plath addressed the postcard:

Mrs. A. S. Plath
c/o HUGHES
3 Chalcot Square
Londres N.W.1
Angleterre

The postcard is mis-dated in pencil as '[1961, July 13]" in an unknown hand. However based on internal evidence and careful scrutiny of the admittedly complicated postmark, the letter was undoubtedly written on the 29th of June.

The full text of the postcard appears on page 628-9 of The Letters of Sylvia Plath, Volume II, 1956-1963.

25 June 2020

Reading Sylvia Plath's The Bell Jar


In 2019, Faber and Faber issued two new editions of The Bell Jar. They were discussed in this September 2019 blog post. As some of you may know, I read Sylvia Plath's lone published novel twice a year and have done so since 1995. I read it in June because that's the month that Plath was a guest editor for Mademoiselle in 1953 and it is also the month in which a lot of the setting of the novel takes place. And I read it in December, because that is the month in which I first read it in 1994.

This blog post is drawn from my most recent read, and that is of the 90th Anniversary edition, pictured left, and published last year. It is the first time that I have read a modern (post-1990s) edition in well more than a decade. Why? Because before then, Faber had used the same typesetting of the novel that Heinemann used and thus it would have been the exact text that Plath herself saw when she received her copy of her novel in December 1962.

I spotted two typographical errors in the novel and I had the feeling that there were more. However when I was reading it I did not take the time to make notes either in the book or on a sheet of paper. Which frustrates me I did want to look them up. The first typo is on page 5. The original reads, "but Doreen wore these full-length nylon and lace jobs you could half see through, and dressing-gowns the colour of skin," but the typo make it read "colour of sin". Sin, I am sure, has a color; but I suspect it is quite a different color than of Doreen's skin. I dug back a bit in my Bell Jar collection and found that this typo first appeared in the 1990s, in this edition. Strangely, it is "colour of skin" in the 1999 edition. I bought that one in Australia in 2000 and it is possible that even though it is a Faber book, it may have used a different text? I do not know; that is above my pay grade.

The second typographical error is newer. And I was sad to see it as it is one of my favorite lines in the novel. When Esther is suffering from ptomaine poisoning, she passed out in the bathroom. When she wakes, she is taken by the hotel nurse to her room and told, in the original, "The doctor's given you a ninjection" in the original edition. However, on page 43 of the 90th Anniversary edition, the grammar of the nurse is cleaned up to "an injection." I do disagree with this editorial futzery because Plath's intention, I think, with the nurse, is to have her speaking in the dialect of perhaps a lower-eductated New York immigrant. She developed a looser vernacular in some of her Boston stories such as "The Fifteen Dollar Eagle", "The Daughters of Blossom Street", and "Johnny Panic and the Bible of Dreams". This breakthrough really freed Plath when she came to write The Bell Jar. It was more recent, as I said. It also appears in the simultaneously issued Liberty Edition. However, it is "correct" in the editions published in 2015 (Faber Members) and 2013 (black and gold hardback).

Update 12:01 pm, 25 June 2020: I have just learned that both of the things discussed in this blog post---the "colour of sin" and "an injection"---are updates to the text sanctioned by the Estate of Sylvia Plath. So my calling them typographical errors can be considered inaccurate.---pks

All links accessed 16 June 2020.

21 June 2020

Sylvia Plath's The Bell Jar: Esther and Doreen and Men and Bloody Cheeks

When I read The Bell Jar it is my hope to see something new. To make a connection within the novel itself or perhaps some connection to Plath's own lived life and experiences.

In this particular read in June 2020, I was giddy when I noticed the parallels between Doreen's first meeting with Lenny Shepherd and Esther Greenwood's decidedly different first meeting with Marco. In fact, Esther's "I felt myself melting into the shadows like the negative of a person I'd never seen before in my life" feels like foreshadowing. So, let us begin...

Doreen is dressed in white. She is so white "she looked silver". Esther dresses in black.

Lenny approaches Doreen (and Esther) in the cab; Esther is brought to Marco by Doreen.

Lenny's skeevy friends laugh from their safe distance under the awning of a bar. Laughter is heard through the door when Esther arrives to meet Marco; and someone laughs when Marco suggests he might "perform some small service ... worthy of a diamond."

Lenny slid his arm hand around Doreen's arm in a flirtatious gesture; Marco intentionally and forcefully grips Esther's arm hard enough to leave bruising impressions.

There are drinks involved. Lenny asks what Esther wants; Marco orders for her.

There is dancing. Lenny and Doreen jitterbug (even between songs). They dance willingly and as unit. Marco and Esther tango, though Esther does not believe she is a full participant in the movements. She is, after all, told to "pretend you are drowning" (advice she tries to take later in the novel). Heck, maybe Esther should have danced with Frankie?

When dancing, Lenny gets Doreen up on his shoulder and her breasts surge out of her dress. Esther has her shantung sheath torn off her by Marco who bites it away, exposing her "bare skin".

Doreen's drink flies through the air as she and Lenny get a little more aggressive and intimate. Marco chucks Esther's drink intentionally and then forces her to the dance floor.

Doreen presumably has sex with Lenny and returns super drunk; Marco attempts to engage in coitus with Esther but she fights him off.

Lastly, Lenny ran over a jack rabbit; Marco is a jackass.

It is possible there are more similarities (or I should say differences!) than what is in this blog post. But, all said, the scenes are generally similar though each Guest Editor obviously has quite an opposite experience with their respective counterparts.

Bloody Cheeks*

When Sylvia Plath met Ted Hughes she was drunk, very drunk. Famously, as we all know, they were at a party, there was dancing. There was biting, too, and when Hughesdescribed as "big, dark"left the room "blood was running down his face" (Unabridged Journals 211, 212).

When Esther Greenwood met the "tall, but dark" Peruvian Marco they went to a dance at a country club "somewhere in the wealthy suburbs of New York" (The Bell Jar 110, 113). There was alcoholEsther had four daiquirisbut she does not appear to have been too drunk.

I think there are several parallels between the night of 25 February 1956 and what Plath does just over five years later in Chapter Nine of The Bell Jar. Plath draws blood from Hughes with her teeth. Esther Greenwood smashes Marco in the nose with her fist; but in a slight reversal of the story, it is Esther's cheeks that are "stained" with Marco's blood (The Bell Jar 115).

There are many things about the scene with Marco, in fact, that remind me of Plath and Hughes' first meeting. The violence is one, although that first meeting with Hughes was all about instinct and passion (and alcohol and poetry). In The Bell Jar it is turned around: it is not violent passion between Esther and Marco, but the violence of rage and fear and hate and control. These I think are all similar emotions.

The scene in the novel is based on a dance held on Saturday 20 June 1953 in the Forest Hills neighborhood of Queens, New York, most probably at the Forest Hills Country Club.** At the dance a Peruvian delegate from the United Nations (Jose La Valle) got a little cheeky with her. The name of the delegate and location of the dance can be found at the Lilly Library .(See "Guest Editor Schedule" with annotations by Plath in Plath Mss. II, Box 12, Folder 7: Mademoiselle Materials as well as in Plath's 1953 calendar. For more on the dance, Elizabeth Winder's Pain Parties Work (2013) is the most authoritative resource.)

Another way in which the scene reminds me of Plath's first meeting with Hughes is with Marco's diamond stickpin. Famously, Plath recited a line of Hughes' poem "The Casualty" when they first met, the line "most dear unscratchable diamond" being particularly memorable. Some of the words in this Hughes poem litter the scene in the novel, like "smashed," "snake," and "handkerchief." It is possible there are more examples and ways in which the scene in the novel reflects or relates to the poem.

Esther keeps Marco's bloody streaks on her face "like the relic of a dead lover" (119). Not a one-to-one parallel, but consider these lines from another Hughes poem written much later, this time the Birthday Letters poem "St. Botolph's":

"You meant to knock me out
And the swelling ring-moat of tooth-marks
That was to brand my face for the next month.
The me beneath it for good." (15)

Hughes here is writing back both to Plath's novel and to the memory of their first meeting, remembering the "swelling ring-moat" relic bestowed to him by his dead lover.

One other thing sticks out and it is one of those strange harbinger things at which Plath was eerily adept. Toward the end of The Bell Jar, Buddy Willard comes to visit Esther Greenwood at the hospital where she is recovering. He asks her, in a beautifully funny way, "Do you think there's something in me that drives women crazy" (252)? He mentions that first Esther tried to kill herself, then Joan. And the "strange harbinger" thing about this involves Plath and Assia Wevill in relation to Ted Hughes... First Plath went, and then Wevill... Art imitating life imitating art...

*This part of this blog post was drafted in January 2012.
**This was the day after the Rosenberg's were executed.
Citations from The Bell Jar from the Heinemann, 1963 edition.

18 June 2020

Sylvia Plath OTD: 18 June 1953

This was going to be a simple tweet about what happened "On this day" in Sylvia Plath's life, but it soon unraveled to be too much for a tweet...

On this day, 18 June 1953, Sylvia Plath was more than half-way through her stint as a Guest Editor at Mademoiselle magazine. She was just a day or so through her traumatic ptomaine poisoning which wiped out her schedule for a day or so. This post includes some of the information I acquired and used during the project to publish The Letters of Sylvia Plath.

On that particular Thursday, Plath toured the United Nations and had lunch and coffee there with Gary Karmiloff, whom she met through the Norton family. In the afternoon, Plath was scheduled to tour John Frederics Hats (then at 29 E. 48th Street, New York) but opted to, in stead, attend the UN trusteeship session. Here is an article from the Wellesley Townsman showing that Karmiloff stayed with the Nortons.


Kamirloff at the time lived on the 12th floor at 95 Christopher Street, in the Greenwich Village neighborhood of New York. The building is now called The Gansvoort.


Later that evening, at 7 pm, she met with Mark von Slosmann for steak dinner and listened to him read "bad poetry". Von Slosmann was a friend of Bob Cochran, whom Plath met during her time in the summer of 1952 nannying for the Cantor family on Cape Cod. von Slosmann spent some time in 1953 submitting poetry to various places and a small archive of his letters is held in the Katharine Sergeant White Papers at Bryn Mawr College. Here is his signature.


But the point of this point is to perhaps provide some context on what Sylvia Plath heard at the UN. The New York Times reported on page 13 the following day on the proceedings of the 18th:


The entire "Index to Proceedings of the Trusteeship Council" is available online. It was the 12th Session and took place from 16 June to 22 July 1953.

And of course many of these events appeared in The Bell Jar.

All links accessed 18 June 2020.

15 June 2020

Books about Sylvia Plath For Sale

I have extra copies of the following books about Sylvia Plath that I would like to see in new homes. Proceeds will go directly into my Sylvia Plath work.

Prices include shipping. US only at this time. 

The Cambridge Introduction to Sylvia Plath. 2 copies available. $15 each. (Retails for $28.99)

The Cambridge Companion to Sylvia Plath. 2 copies available. $15 each. (Retails for $37.99)

Critical Insights: Sylvia Plath. 1 copy available. $30. (Retails for $105)

Representing Sylvia Plath. 1 copy available. $35.  (Retails for $113)




Thank you!

08 June 2020

The Sylvia Plath Zoomposiums I & II

When Gail Crowther and I starting planning for the Sylvia Plath Zoomposiums I think it is safe to say we were nervous. What if no one signed up? We figured an audience of five was better than nothing, and so we tried to line up solid groups of presenters that might attract a decent group of listeners. I am not sure I can speak for Gail, but strangely enough the more people that registered the less nervous I truly was.

How would the technology work? The thought that things could go weird or horribly wrong were more prevalent than that they might just go smoothly. Happily, the events went relatively well. It all felt warm and collegiate and supportive. Though I know some people had connectivity issues and could not stay logged in for which I am sorry. However, this is why we recorded it and why we are very happy to make both available on the Sylvia Plath Info YouTube channel.

Zoomposium I (recorded 30 May 2020) featuring: Mona Arsi, Heather Clark, Sarah Corbett, Amanda Golden, Julie Goodspeed-Chadwick, Gary Leising, Maeve O'Brien, Nic Presley, Maria Rovito, and David Trinidad. Please note Heather Clark's presentation was removed.

Zoomposium II (recorded 6 June 2020) featuring: Di Beddow, Gail Crowther, Eva Stenskar, Peter Fydler, Peter K. Steinberg, Julie Irigaray, Dorka Tamas, Emily Van Duyne, Carl Rollyson, Kitty Shaw, and Giulia Listo.

All links accessed 7 June 2020.


01 June 2020

Sylvia Plath Zoomposium II Schedule

The Sylvia Plath Zoomposium II, to be held Saturday, 6 June 2020, will start at 10 am NY Time (3 PM London time).

Thank you so much for registering and for your attention throughout the hours you will spend in front of your computer or other device. The interest in these Zoom events has been so wonderful. Very warm.

We are working to schedule additional Zoomposiums and have a number of speakers interested. So look for more on that in the future.

The following shows the order of speakers. As with the first Zomposium two days ago, we will plan to start at 10 am EDT/3PM BST sharp and proceed straight through each speaker with no breaks.


Di Beddow

Gail Crowther

Eva Stenskar

Peter Fylder

Peter K. Steinberg

Julie Irigaray

Dorka Tamas

Emily Van Duyne

Giulia de Gregorio Listo

Kitty Shaw

Carl Rollyson

27 May 2020

Sylvia Plath Talk: Proof of Plath


The last YouTube talk I plan on posting is a reading of my article "Proof of Plath" which was published in Fine Books & Collections (Spring 2011).

The subject is uncorrected proofs of Sylvia Plath's novel The Bell Jar which is a topic that fascinates me. It is under seven minutes in duration and I hope you enjoy the video.

All links accessed 27 May 2020.

25 May 2020

Sylvia Plath Zoomposium I Schedule

The Sylvia Plath Zoomposium I is next Saturday, 30 May 2020. The start time is 10 AM NYC time, 3 PM if you are in London. Outside of those two time zones, we shall leave it to you to sort it out!

We wanted to post the schedule so that you can budget your time accordingly, though we naturally hope all will be present for the entire event. Thank you all for registering, the link to the event is in your confirmation email. And thank you for your patience, too, with the technology. It is our honest endeavor to have a fun, warm few hours together listening to some of the most interesting scholarship on Sylvia Plath.

The following shows the order of the speakers and the expected start time for each. However, we are going one after the next and plan only to be ahead of schedule, not behind.

Mona Arshi: 10:05-10:20/15:05-15:20

Heather Clark: 10:25-10:40/15:25-15:40

Sarah Corbett: 10:45-11:00/15:45-16:00

Amanda Golden: 11:05-11:20/16:05-16:20

Julie Goodspeed-Chadwick: 11:25-11:40/16:25-16:40

Gary Leising: 11:45-12:00/16:45-17:00

Maeve O'Brien: 12:05-12:20/17:05-17:20

Nic Presley: 12:25-12:40/17:25-17:40

Maria Rovito: 12:45-13:00/17:45-18:00

David Trinidad: 13:05-13:20/18:05-18:20

The schedule for the Sylvia Plath Zoomposium II will be posted next Monday, 1 June.

20 May 2020

Doubletake: Sylvia Plath’s two different biographies in The Modern Poets (1963)

The following is a guest blog post by Eirin Holberg, a Norwegian archaeologist and writer. Thank you Eirin! ~pks

Two years ago on this day I read an interesting blog post on Sylvia Plath Info Blog about an anthology from 1963 I had not heard about before, containing two of Plath's poems. It was The Modern Poets: An American-British Anthology, edited by John Malcolm Brinnin and Bill Read, published by McGraw-Hill Book Company. The poems were "Black Rook in Rainy Weather" and "The Colossus". What interested me especially was that the anthology was released soon after her death, and that she may have been involved in the planning of it sometime during the last year of her life. It seemed like a fine selection of poetry, so I ordered an inexpensive copy of the same, hardback first edition described on the blog, a former library book from Stanford University Library, and a few weeks later it arrived in my mailbox in Norway.

It is a beautifully produced and broad collection of poets contemporary with Plath, presented in alphabetical order. They range from seniors of modern poetry like T.S. Eliot, Ezra Pound, Wallace Stevens and Marianne Moore to the younger, prominent figures as well as many up-and-coming poets of Plath's own generation, several of whom she knew well. The portraits taken especially for the book by Rollie McKenna are fascinating, very relaxed and natural, showing these writers as they would have looked when Plath met them. I also enjoyed reading the short biography of Plath next to her photo, describing her living in North Tawton with her husband and their two children.

It was not until I recently reread the blog post from May 2018 that I noticed something which puzzled me. Peter mentioned that the mini-biography of Plath included the detail that she died by suicide. I didn't recall having read this, and checked my copy to find out what I had missed and where it could be in the book. I couldn't find any mentioning of her death anywhere. In my copy Plath was still alive:

Sylvia Plath, born October 27, 1932, in Boston Massachusetts, lives in the village of North Tawton, Devonshire, with her husband, the English poet Ted Hughes, and their two children. She was educated at Smith College and at Newnham College, Cambridge, where she met her husband while she was spending a year abroad on a Fulbright fellowship.


I looked up the copy available at Archive.org, and found the text referred to in the blog post. It was on the same page, accompanying the same portrait. It told that she had died, and that it was a suicide:

Sylvia Plath, born October 1932, in Boston, Massachusetts, died in London in 1963 by suicide. She was married to the English poet Ted Hughes by whom she had two children. Her death abruptly ended a brief and brilliant career as a poet that began at Smith College and continued at Newnham College, Cambridge, where she met her husband while she was spending a year abroad on a Fulbright Fellowship.

Hughes' biography was different, too. The lines 3 and 4 in my copy says that he "lives with his wife, the American poet Sylvia Plath, in Devonshire". In the later version, these are replaced by two new lines, carefully chiseled to fit into the remaining text on the limited space above his portrait: "[he] was the husband of the late Sylvia Plath by whom he had two children".


How can two copies of the same, first edition of the book contain different texts? The first version was in ordinary sale as early as March 1963, according to a reviewer of the anthology on the website LibraryThing which mentions having inscribed the book as bought that month. The reference made to Plath's biography in this review fits with the earliest version. So, the book seems to have been released very soon after Plath's death, with the first version sent out to bookshops and libraries in March, if not earlier.

A probable explanation for the differing biographies would be that the first print was done in a limited number, as is often the practice, and when the editors were made aware of her death, they had time to make the changes before the next print. Usually, contributing authors are among the first to receive copies of a newly printed book. If Ted Hughes received his copy in May, two months later, it could mean that he never got the first version. Maybe the publisher delayed sending a copy to Hughes until the update had been made? The changes may even have been done in agreement with him. If so, the decision to mention that she died by her own hand could have been approved by him or done in accordance with his wish.

The explanation may be simple and logical, but I still find this fascinating. I look at the two, identical books before me: the same bright, orange binding, the same portrait on the same page and the biographies beginning the exact same way before parting. In one version she is dead; in the other she is still alive. It is like being presented with two alternative realities, mirroring the ambiguity and complexity of her life and her writing, her interest for and repeated use of mirrors and reflections, the double self and being in-between life and death. It is also a reminder of how quickly everything changed the last months of her life. In some strange way this small irregularity between the two books seems to hold exactly this moment of time, the unsettled space between what could have been and what was.

13 May 2020

New Sylvia Plath Info Talk: Sincerely Yours


In October 2012, at the Sylvia Plath Symposium at Indiana University, I presented on a number of things. One of them is this talk: "Sincerely yours: Sylvia Plath and The New Yorker". (Another of them will be presented in Zoomposium II on 6 June.)

In many ways this essay continued my interest and exploration in Plath's business correspondence which was first featured in the essays that went into These Ghostly Archives (those were the letters to and from the BBC). The correspondence is such a fascinating look into how a poem gets accepted and published, and the back-and-forth that sometimes takes place.

At any rate, this talk is now up on the Sylvia Plath Info YouTube channel and I hope that you enjoy it.

Note: While I am happy to present that talk (and its slides), I must inform you that this talk was significantly revised and published in Sylvia Plath in Context (2019).

All links accessed 13 May 2020.

10 May 2020

Sylvia Plath Archives Reading on YouTube


On Saturday 9 May 2020, Gail Crowther and I read Chapter 1 "'Riddled with ghosts': Absence and presence in the archive" from our book These Ghostly Archives: The Unearthing of Sylvia Plath (2017). We had a rather nice turn out which lead to a great question and answer session following the talk.

We are happy to make our talk available to you now via my YouTube page. So, please enjoy! And thank you for listening.

If you are interested in reading the book, please consider buying a copy if you have not already done so.

All links accessed 10 May 2020.

06 May 2020

New YouTube Video: "I should be loving this": Sylvia Plath's "The Perfect Place" and The Bell Jar


Back in 2007, I gave a talk "'I should be loving this': Sylvia Plath's 'The Perfect Place' and The Bell Jar" at the Sylvia Plath 75th Year Symposium at Oxford in October 2007. I was lucky enough to have a second opportunity to read a slightly revised version of it the following spring at a weekend Symposium at Smith College.

Here is a Loom recording of the talk which is now on YouTube. Additionally, the talk was further revised and published later in 2008 which you can read in the the Articles and Essays section on my Resources page on A celebration, this is.

All links accessed 6 May 2020.

01 May 2020

The Sylvia Plath Zoomposiums

Gail Crowther and I are happy to announce that registration for the both Sylvia Plath Zoomposiums are now open.

The details are coming! The details are coming!

Sylvia Plath Zoomposium I
Date: 30 May 2020
Time: 10 am EDT/3 pm GMT
This event has ended.

The speakers for this first event are:

Mona Arshi (UK)
Heather Clark (US)
Sarah Corbett (UK)
Amanda Golden (US)
Julie Goodspeed-Chadwick (US)
Gary Leising (US)
Maeve O'Brien (UK)
Nic Presley (UK)
Maria Rovito (US)
David Trinidad (US)



Sylvia Plath Zoomposium II
Date: 6 June 2020
Time: 10 am EDT/3 pm GMT
Click here to register for Sylvia Plath Zoomposium II

The speakers for this first event are:

Di Beddow (UK)
Gail Crowther (UK)
Peter Fydler (UK)
Julie Irigaray (FR/UK)
Giulia de Gregorio Listo (BR)
Carl Rollyson (US)
Kitty Shaw (UK)
Peter K. Steinberg (US)
Eva Stenskar (SE/US)
Dorka Tamas (HU/UK)
Emily Van Duyne (US)

The Zoomposiums will be recorded. Each speaker will present consecutively with no breaks other than to introduce the next person.




P.S.: Reminder! 

Gail and I will be reading from our 2017 book These Ghostly Archives: The Unearthing of Sylvia Plath on Saturday 9 May at 10 am EDT/3 pm GMT. Registration is open now. Sign up, please! It is the first time we have ever read from the book!

All links accessed 28-30 April 2020.

29 April 2020

New YouTube Video: The Search for Sylvia Plath (Talk, 2007)


I have posted the talk---the first talk I ever gave---"The Search for Sylvia Plath" on Plath websites at the 2007 Sylvia Plath 75th Year Symposium at University of Oxford on my YouTube page. Please go check it out. All the information in there is remarkably dated, but yet, some of it might actually hold true even today, about 13 years later.

All links accessed 29 April 2020.

27 April 2020

A reading from These Ghostly Archives: The Unearthing of Sylvia Plath

Gail Crowther and I are happy to announce that we will be giving our second live public reading from our book These Ghostly Archives: The Unearthing of Sylvia Plath.

The event will be on Zoom on Saturday, 9 May 2020, at 10 am EDT/3 pm GMT.

The first five essays in These Ghostly Archives (Amazon) are written conversations about our experience of researching Sylvia Plath and her archive. They were composed textually, completely, with us emailing back and forth documents and responding to what was said. This reading provides an opportunity to hear our Sylvia Plath conversations in our own voices.

Registration will be required for the event. Please click here register.

All links accessed 27 April 2020.

25 April 2020

Zoom Talk on Sylvia Plath


Thank you to all of you who participated with me in today's Zoom talk on "Sylvia Plath's Letters & Traces". It was wonderful to see so many people and to interact. This was the first one in a series that I will be hosting.

As mentioned, I pre-recorded the talk yesterday using Loom as a fail-safe in case something went wrong with today's which, like a dodo, I forgot to record! I do not think anything went wrong? I hope the sound quality was alright throughout.

So, that talk is now available on my YouTube channel for anyone who missed the talk or truly wants to suffer.

The next talk will be 9 May 2020 with Gail Crowther as we read from our book These Ghostly Archives: The Unearthing of Sylvia Plath. Is anyone else planning on hosting Plath talks? Cause I think you should! Talk about your research?

Following that, the first Sylvia Plath Zoomposium, featuring more than 10 speakers, will be on 30 May. More information on the blog in May.

All links accessed 25 April 2020.

21 April 2020

Sylvia Plath: Letters, Ghostly Archives, and Zoomposium


Something I heard from people was that they wished they could have attended some of the talks on editing The Letters of Sylvia Plath from the Belfast symposium and or at some of the other events I was lucky enough to give it.

I recently joined Zoom and would like to offer anyone the opportunity to join in on a reading of my paper. So please join me on Saturday, 25 April 2020, at 10 am Eastern Time US.


My talk should run about 25-28 minutes. I will try to answer questions if some are presented in the chat feature, or, also, on Twitter @sylviaplathinfo!

I plan to give the very same talk for those on the other side of the clock, as it were, in places such as New Zealand, Australia, Asia, and the like.

Please bear with me if there are any technical glitches. This is a trial run for two additional events:

1. A reading from These Ghostly Archives: The Unearthing of Sylvia Plath that Gail Crowther and I plan to do on 9 May.

2. Gail Crowther and I are lining up an international cast of participants for the first ever Sylvia Plath Zoomposium on Saturday 30 May. We envision possibly doing a series of these.

Look for more information here and on Twitter regarding all of this.

All links accessed 18 April 2020.

15 April 2020

Revamped Sylvia Plath Info Translations Bibliography

Oh 17 December 2019, the topic came up on Twitter about how many languages Sylvia Plath has been translated into. I had not spent much time staying on top of these important works as I should have in the last decade, but the tweets got me motivated to revamp the Translations bibliography over on A celebration, this is.

As with the initial presentation, the information was taken from WorldCat so if there are any issues with it, then please excuse them. I did the best I could with formatting, translating the titles and what not. In the process I decided to tweak the standard format for the entries.

All of the works by Plath start with the title of the book and are listed first. Books about Plath are listed alphabetically by author following these. I did not think it was necessary to repeat "Plath, Sylvia" several hundred times. The title is followed by the English work it most closely aligns to, if it could be determined. When I could identify the translator(s) they are listed next, followed last by city, publisher, and year.

In addition to this bibliography, there is a page on my website for the covers of foreign titles. Since around the first of the year and then throughout the winter I added more than 100 book covers to the gallery. Long overdue. I hope that enjoy seeing these interesting covers.

There are 42 different languages represented in the bibliography with more than 520 titles listed. Wow! They are in order by year (or, they should be). The languages with the most titles are Italian, Spanish, French, and German. I said in my tweet it could be north of 50 and it still might be because I did not include translations of Plath's works that appeared in periodicals. If you know of a book not listed, in any language or in any edition, please let me know so I can add it. Thank you.

I am deeply grateful to Marie in Russia who, in March, sent me citations and information on book covers of Plath's Russian translations. Thank you Marie!

All links accessed 20 January 2020.

08 April 2020

Barnes and Noble "Collectible Editions" of Sylvia Plath


HarperCollins has teamed up with Barnes and Noble to produce a book in their Collectible Edition Series. The book, as you may have surmised, is by one Sylvia Plath. The book is a combined The Bell Jar and Collected Poems.

Coming in at 688 pages, the cover price is $25. ISBN: 978-0-06-2-97354-2. Bizarrely, when I searched Amazon I saw that the price is double!

The endpapers are a knockout!



This is a book that was dreamed up a long while ago by Ted Hughes. In fact, he wrote an introduction on a proposed edition of a joint Collected Poems and The Bell Jar. I like Hughes' introduction very much and you can find it printed in his Winter Pollen: Occasional Prose. Many foreign editions of Plath's work have even included both such as Opere (Italian) and Ouevres (French). You can view their covers on A celebration, this is.

This Barnes and Noble edition repeats some of HarperCollins' perversions to Plath's text (which I discuss in "Textual Variation"). It includes the usual Foreword by Frances McCullough and Lois Ames' Afterword (which prints "Mad Girl's Love Song"; and so for the first time that poem appears in a volume with the rest of the poems in Plath's Collected Poems). Additionally, shockingly, "Daddy" appears in the Index for the first time, too. Joyce Carol Oates' well-known essay "Sylvia Plath and the Death Throes of Romanticism" is printed, too.

All links accessed 25 March 2020

03 April 2020

An old Sylvia Plath Ariel

Recently I acquired a 1971 edition of Faber's Ariel with funds that were generously gifted at the end of last year. This one filled in a gap; I still need one printed in 1970; but the goal is to have the as complete a run as possible of editions. I cannot possibly have better life goals.


Just a used edition to go with my other "reading" copies of the book from that era (1972, 1974, 1976, 1979, and 1981). In total I have now fifteen copies from which to choose.

01 April 2020

For Men, Who Read Sylvia Plath

Men. Do you find it embarrassing not to remember your favorite Sylvia Plath lines of poetry and the concomitant premature evaluation that you are a dolt?

Do you intentionally avoid ALA, MLA, and other academic conferences for fear of drawing a blank when quizzed about Plath's use of gerund versus the infinitive in her college sonnets?

Did last October 27th's Google Doodle send you straight to A celebration, this is?

PLATHAGRA is a prescription pill that may help you achieve Plath poem retrieval the natural wayin response to cerebral stimulation which combats Plathtile Dysfunction. Ask your primary source-loving Ph.D if PLATHAGRA is the right step for you.

PLATHAGRA (sylviaplath citrate) should not be taken by men who read Ted Hughes habitually in any genre, at any time. This may reduce blood pressure to unsafe levels if used in conjunction with PLATHAGRA. And you might end up going pre-dawn fishing.

In poetry survey courses, PLATHAGRA was well received. Some men experienced side effects, including brilliance, charm, blushing, and marriage proposals. A small percentage of men experienced mild and temporary fulfillment. If poetry recitation continues in excess of four hours you should immediately take another pill because why kill the buzz? (See product information for more details.)

PLATHAGRA: Erect your self-confidence, in any occasion.

25 March 2020

Unfinished drawing by Sylvia Plath

International Autograph Auctions Europe had an auction today of Autograph Letters, Historical Documents & Manuscripts. Sylvia Plath's unfinished drawing of a village church and cart was in Lot 437. Ted Hughes signed the back as a way to authenticate it as being drawn by his first wife.

The estimate placed on the drawing was €2,400 - €3,600. This is roughly $2,173 - $3,912 and £1,847 - £3,325.

The drawing sold for €3,000 /$3,257.78 /£2,758.86.


All links accessed 24-25 March 2020.

18 March 2020

Unfinished Sylvia Plath Drawing at Auction

Next week, on 25 March 2020, an unfinished drawing by Sylvia Plath will be up for auction via International Autograph Auctions Europe S.L. The official Lot number is Lot 437. Bidding can be done online. As far as I can tell the auction is going forward.


The description for the auction reads:

PLATH SYLVIA: (1932-1963) American Poet, wife of Ted Hughes from 1956 until her death. A good, original pencil drawing, unsigned, one page, 8vo, n.p., n.d. Plath has drawn an appealing image of an old street scene with an empty wooden cart abandoned in the foreground and several buildings in the immediate background including a church tower, the spire of which features a cross at its highest point and which Plath has carefully heightened in dark fountain pen ink. Annotated and signed to the verso in pencil, 'By Sylvia Plath, Ted Hughes', by her husband, the English Poet Laureate. Any original item in the hand of Plath is extremely rare and desirable as a result of the poet's tragic suicide at the age of 30. Some very light, extremely minor foxing and a few very minor creases to the corners, VG £2000-3000 The present drawing is one of just a small handful by Plath in existence, and most likely dates from the late 1950s, shortly after her marriage to Hughes. The poet was an artist of some talent, and Hughes wrote of her artistic nature in Birthday Letters - 'Drawing calmed you. Your poker infernal pen Was like a branding iron. Objects Suffered into their new presence, tortured Into final position. As you drew I felt released, calm. Time opened When you drew the market at Benidorm. I sat near you, scribbling something. Hours burned away. The stall-keepers Kept coming to see you had them properly. We sat on those steps in our rope-soles, And were happy…' -'Drawing'
This particular drawing appeared at auction at least once before on 13 July 2006 via Sotheby's. It sold for £900. That day four other drawings, some complete and some not, appeared as well.

You can read more about Sotheby's Past Sylvia Plath Lots if you desire.

Thanks to Peter Fydler for tweeting about the auction and thus notifying us about the forthcoming sale.

All links accessed 3 March 2020.

10 March 2020

CFP: Edited Collection: A Self to Recover: Negotiating Sylvia Plath and Disability

The following Call for Papers is by Maria Rovito, a Graduate Assistant and PhD student in American Studies at Penn State University. ~pks


As the author Sylvia Plath exists within the Anglophone canon as the quintessential "madwoman" and tragic figure of mental illness and suicidality, new theoretical arguments must be made in order to unpack the question of illness within Plath's life and work. Although we view Plath as a woman with mental illness, we do not view her as a woman who was disabled, and who experienced other corporeal impairments beside her psychic pain. Not only this, but Plath has been unfairly pathologized by previous and current scholars, who only seek to analyze her poetry and writing using a medical analysis. This has influenced not only the cultural understandings of Plath, but how students treat her work as well. Ultimately, these practices have harmed both Plath as a cultural figure and the disabled Plath reader who is traumatized by these readings. Previous accounts of Plath scholarship that have focused on her mental illness include Edward Butscher's Sylvia Plath: Method and Madness (1976), arguing that Plath "suffered" from narcissism, a split personality, and psychosis. David Holbrook's Sylvia Plath: Poetry and Existence (1976) also medicalizes Plath's work and pathologizes her, as Holbrook states that Plath was a "schizoid." Anne Stevenson's biography of Plath, Bitter Fame: A Life of Sylvia Plath (1989), argued that Plath dealt with paranoia, violent mood swings, a split personality and hysteria. Although these previous accounts of Plath and her work have unfairly pathologized her, this trend of medicalizing Plath still exist today.

Disability studies scholars have rejected this medicalized terminology and thinking, and have attempted to bring attention to this practice of pathologization in their work. As the disability studies scholar Michael Bérubé states, disability studies limits itself when it is only concerned with searching for diagnoses within authors and literary characters: it "need not and should not predicate its existence as a practice of criticism by reading a literary text in one hand and the DSM-5 in the other" (20). Moving beyond this tradition of pathologizing Plath, Plath scholars must seek to integrate these disabled perspectives in their work, and challenge the medical authority that influenced Plath's life, work, and cultural legacy.

New research within the intersections of Plath scholarship and disability studies can help us (re)imagine the questions of illness, disability, and impairment that permeates Plath's poetry, letters, journals, and novel. Ultimately, this collection will serve as a collaborative account where Plath's work can be critically investigated by disability, crip, and Mad studies scholars, and where discourses within disability studies can enter the Plath canon of scholarship. This is much needed within both Plath studies and disability studies, and this collection will serve as a starting point for many students, junior, and established Plath and disability studies scholars. Pieces may focus on a range of topics, including:


  • Plath and the asylum
  • Plath and electroshock therapy
  • Plath and madness/mental illness/mental disability
  • Plath and self-identifying as disabled
  • Plath and psychiatric consumers/survivors/ex-patients (C/S/X)
  • Plath and physical embodiment
  • Plath and eating disorders
  • Plath and menstruation
  • The figure of Plath as a "madwoman"
  • The issue of suicidality in the Plath canon


Bringing together disability studies scholars, Plath scholars, and disabled Plath readers, this collection will move beyond previous medicalized and pathologizing readings of Plath, and consider how disability studies can aid our understanding of Plath and her work.

Proposals should include author's name, a brief biographical statement, and a 500-word abstract. Please send these materials to Maria Rovito (mrr354@psu.edu) and Jessica Mason (jlmason1@buffalo.edu).

Proposals due: July 16th, 2020.

Conditional acceptances: July 31st, 2020.

Manuscripts due: December 31st, 2020.

Works Cited

Bérubé, Michael. The Secret Life of Stories: From Don Quixote to Harry Potter, How Understanding Intellectual Disability Transforms the Way We Read. New York and London: NYU Press, 2018. Print.

Butscher, Edward. Sylvia Plath: Method and Madness. Tucson, AZ: Schaffner Press, Inc., 1976. Print.

Holbrook, David. Sylvia Plath: Poetry and Existence. London and New York: Bloomsbury Academic, 1976. Print.

Stevenson, Anne. Bitter Fame: A Life of Sylvia Plath. Boston: Houghton Mifflin, 1989. Print.

04 March 2020

Guest Blog Post: Sylvia Plath Collections: The Newnham File

The following is a guest blog post by Di Beddow, who is currently researching "The Cambridge of Ted Hughes and Sylvia Plath" at Queen Mary University London, on a recently found collection of papers by and about Sylvia Plath. Thank you, Di! ~pks

Cambridge can be cruel in the Winter as Sylvia Plath tells us in her letter of January 1956: "the atrocious food, the damp cold & the unsimpatico people" (Letters Vol I, 1080). During the worst of times then, meeting up with the archivist at Newnham College recently (we became friends after finding much in common after my first visit to the archive) she told me that because of building work that had taken place at the college, she had uncovered a file which might cheer me a little. As luck would have it, Anne Thomson found the file of alumna, Sylvia Plath, who had attended the college as a Fulbright student from October 1955 to June 1957. Anne read through the file and appreciating that it contained very personal information, consulted with the college records board and suggested that she advise Frieda Hughes, Plath's daughter, of the finding. Frieda looked at copies of the file and found it poignant; she agreed that it could be viewed by Plath scholars, but because of its intimate nature, she asked that copying and photography should not be allowed. Later then, in February, Anne allowed me to see these papers as she knew that my thesis on the Cambridge of Sylvia Plath and Ted Hughes would benefit from such material. She was right.

The file comprises a college registration form, completed in October 1954, with the date of intended entry to Newnham being the following year. Anne had arranged the enclosed documents chronologically; inside this form and apart from letters of reference from Smith and a statement of purpose by Plath as she applied for her funding, there are three letters which are not included in the excellent Letters of Sylvia Plath. One is to Edith Crystal at Newnham, (dated October 20 1954) requesting affiliation to the college; the second is six months later to the Principal of Newnham at the time, Ruth Cohen and the third, just a month later is again to Ruth Cohen. However, as Plath had now heard that she had been accepted to the college, she is now eager in this letter, to gain suggestions for summer reading and to wonder whether in her room she will need to sort, "bookcases, or lamps." In her statement of purpose she writes, "I plan to become a college teacher upon completing graduate work abroad and I hope to share and interpret intelligently the knowledge and experience acquired in England by bringing back to America a rich, vital appreciation of British culture as well as British literature." Plath shows the foresight and determination to achieve her goals that we see of her again and again when she looked, for example, for publication of her work or her husband's Ted Hughes (she met Hughes in Cambridge in February 1956; they were married in June of the same year.) She gathers together some of her most positive contacts and requests they refer her to Newnham; she also asks that in a medical reference, that the Smith doctor, Marion Booth is brutally honest about the applicant's attempted suicide in the late summer of 1953. Booth writes that the McLean hospital cites "delayed adolescent turmoil" as the cause for her depression and that the prognosis for recovery is "excellent." She refers to Plath, saying that she was keen for her to be straight-talking with the university as she wanted "consideration of her to be made 'with their eyes open.'"

The academic and character references are even more poignant: Evelyn Page from Smith writes, "Her fault is to demand too much of herself and to react too intensely", but she finishes that she has, "no reason to qualify my respect and admiration for her." Ruth Beuscher, Plath's psychiatrist claims that during the summer of 1953 Plath was, "suffering from a state of mental turmoil which is highly unlikely ever to recur" and Elizabeth Drew from Smith tells the admissions office at Cambridge: "She is outstanding in both personality and intellectual gifts." Mary Ellen Chase calls her a "literary artist" and Marion Booth, writing in her medical capacity, but also from knowing Plath from the Student Honor Board at Smith, states that she is "not psychotic" and that she had made a sustained recovery, whilst Gladys Anslow, Director of Graduate Studies at Smith, believes Plath to have the ability to check her own mood and "that she would be the first one to recognise any difficulties and to take measures to offset a recurrence."

When from Cambridge Plath applies to renew her Fulbright scholarship, Irene Morris, Plath's tutor at the time, describes a student who has settled well, made friends and is, "very easy to deal with; she is reliable and considerate and has an engaging friendly manner. She is an asset to the College." The college secretary completes the file, updating Irene Morris of Plath's progress through Newnham; she finishes: "As you remembered, she had a room at the top of the house which she liked very much and she was very thrilled with the view from her window over the gardens."

Some of these documents will not be new to scholars who have studied Plath in the archives of America, but it is important that the file has been uncovered in the college here in England, which Plath describes as the "home of the writers I most admire."

Di Beddow (website | twitter)
4 March 2020

My thanks to Anne Thomson for allowing me to study the file and also of course to Frieda Hughes for the permission to use such personal and sensitive material about her mother.

All links accessed 4 March 2020.

01 March 2020

Carl Rollyson's The Last Days of Sylvia Plath


Carl Rollyson (website | Twitter) has had a passionate interest in Sylvia Plath for a long time. In 2013, he published his first biography of her as American Isis: The Life and Art of Sylvia Plath (St. Martin's Press). And he has followed this up with a second exploration into the life and afterlife of Sylvia Plath in the recently published The Last Days of Sylvia Plath (University Press of Mississippi).

The book was scheduled to be published later this month, but this morning I learned while on Amazon that the book was published on 18 February. I immediately bought the Kindle edition because at $9, how could I resist!?

So this post about the publication is overdue and I apologize for the late notice.

ISBN: 978-1496821225. 264 pages. Cover price: $25.00. The book is available in hardback and in a Kindle edition.

From the Amazon page:
Book Description
Rollyson has written a unique, vital contribution to Plath studies. In many ways it’s a microbiography of Sylvia Plath, concentrating solely on the marriage and last years of Plath’s life. Rollyson offers original reading and interpretation of Plath’s works, her life, and some of the drama that surrounds her afterlife. The real value in this book lies in Rollyson’s use of archival materials, some of which are available to a large audience for the first time.

The Last Days of Sylvia Plath highlights how a writer can be shaped after their death and the subsequent fallout from posthumous literary editing. Rollyson’s inclusion of previously unused primary sources and extended discussion of Susan Fromberg Schaeffer’s Poison, a work not applied to Plath’s life and afterlife in any detail before, offers new angles and interpretations.

About the Author
Carl Rollyson is professor emeritus of journalism at Baruch College, CUNY. He is author of a dozen biographies, including American Isis: The Life and Art of Sylvia Plath; Amy Lowell Anew: A Biography; A Real American Character: The Life of Walter Brennan; Hollywood Enigma: Dana Andrews; and Marilyn Monroe: A Life of the Actress, Revised and Updated, the latter three published by University Press of Mississippi. His reviews of biography have appeared in the Wall Street Journal, the Washington Post, the New Criterion, and other major periodicals.

Also by Carl:


Carl is simultaneously publishing The Life of William Faulkner: The Past Is Never Dead, 1897-1934 (University of Virginia Press). This is Volume I. Volume II will be out later.

All links accessed 1 March 2020.
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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.
  • 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.
  • Elements of Literature, Third Course. Austin, Tex. : Holt, Rinehart and Winston, 2009. (Photograph used)
  • Gill, Jo. "Sylvia Plath in the South West." University of Exeter Centre for South West Writing, 2008. (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, Volume 1, 1940-1956. London: Faber, 2017.
  • Plath, Sylvia, and Peter K. Steinberg and Karen V. Kukil (eds.). The Letters of Sylvia Plath, Volume 2, 1956-1963. London: Faber, 2018.
  • 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. "'A Fetish: Somehow': A Sylvia Plath Bookmark." Court Green 13. 2017.
  • 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. "'They Had to Call and Call': The Search for Sylvia Plath." Plath Profiles 3. Summer 2010: 106-132.
  • 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. "Sylvia Plath." The Spoken Word: Sylvia Plath. London: British Library, 2010.
  • Steinberg, Peter K. "Textual Variations in The Bell Jar Publications." Plath Profiles 5. Summer 2012.
  • Steinberg, Peter K. "The Persistence of Plath." Fine Books & Collections. Autumn 2017: 24-29
  • 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. "Writing Life" [Introduction]. Sylvia Plath in Devon: A Year's Turning. Stroud, Eng.: Fonthill Media, 2014.
  • Steinberg, Peter K. Sylvia Plath (Great Writers). Philadelphia: Chelsea House Publishers, 2004.

Interviews