The following is an extract from Elizabeth Hardwick’s review of Sylvia Plath’s The Bell Jar and Crossing the Water, which appeared in The New York Review in August 1971. It can be read in full at nybooks.test/50/plath.
In Sylvia Plath’s work and in her life the elements of pathology are so deeply rooted and so little resisted that one is disinclined to hope for general principles, sure origins, applications, or lessons. Her fate and her themes are hardly separate and both are singularly terrible. Her work is brutal, like the smash of a fist; and sometimes it is also mean in its feeling. Literary comparisons are possible, echoes vibrate occasionally, but to whom can she be compared in spirit, in content, in temperament?
Certain frames for her destructiveness have been suggested by critics. Perhaps being born a woman is part of the exceptional rasp of her nature, a woman whose stack of duties was laid over the ground of genius, ambition, and grave mental instability. Or is it the 1950s, when she was going to college, growing up—is there something of that here? Perhaps; but I feel in her a special lack of national and local roots, feel it particularly in her poetry, and this I would trace to her foreign ancestors on both sides. They were given and she accepted them as a burden not as a gift; but there they were, somehow cutting her off from what they weren’t. Her father died when she was eight years old and this was serious, central. Yet this most interesting part of her history is so scorched by resentment and bitterness that it is only the special high burn of the bitterness that allows us to imagine it as a cutoff love.
For all the drama of her biography, there is a peculiar remoteness about Sylvia Plath. A destiny of such violent self-definition does not always bring the real person nearer; it tends, rather, to invite iconography, to freeze our assumptions and responses. She is spoken of as a “legend” or a “myth”—but what does that mean? Sylvia Plath was a luminous talent, self-destroyed at the age of thirty, likely to remain, it seems, one of the most interesting poets in American literature. As an event she stands with Hart Crane, Scott Fitzgerald, and Poe rather than with Emily Dickinson, Marianne Moore, or Elizabeth Bishop.
The outlines of her nature are odd, especially in her defiant and extensive capabilities, her sense of mastery, the craft and preparation she almost humbly and certainly industriously acquired as the foundation for an overwhelming ambition. She was born in Winthrop, Massachusetts. Her mother’s parents were Austrian; her father was a German, born in Poland. He was a professor of biology, a specialist, among other interests, in bee-raising. (The ambiguous danger and sweetness of the beehive—totemic, emblematic for the daughter.) Her father died and the family moved to Wellesley, Massachusetts, to live with their grandparents. The mother became a teacher and the daughter went to public schools and later to Smith…
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