Mad Girl’s Love Song
by Andrew Wilson
369 pages / $30 buy from Amazon
1. After reading the Bell Jar and the biographical note in the back, the next piece of information about Sylvia Plath that I encountered was the only point of reference I had about her for a very long time. Alice Miller’s For Your Own Good features an essay called “Sylvia Plath: an Example of Forbidden Suffering,” in which Miller illustrates a scene of young Plath presenting to her mother and grandmother a pastel piece on which she has worked hard. The ebullience she demonstrates in showing off her achievement made a searing impression on me—I was not used to seeing female artists proud of their work; I was used to seeing them compromised and unfulfilled. The conclusion of the scene is equally powerful and so devastating, it remains my primary reference point regarding Plath as a depressed person: when her grandmother stood up, she smudged the pastel enough to ruin it. Plath’s flat affect, her inability to situate her disappointment where it belonged, has never not occurred to me when I’ve read about her, even though this scene does not recur with the canonical relish of, like, the St. Botolph’s Review launch party. By virtue of this scene’s inclusion in Andrew Wilson’s Mad Girl’s Love Song, I was swayed at first.
2. Plath’s writing is very important to me, and I love biographies where she is treated as the inexhaustible writer she was. As a subject, though, the way her work is so visceral, so loaded with the feelings that connect her to contemporary readers, that access overwhelming emotion, when she was remote, blank, totally affected: that I find riveting. Death notwithstanding, the more accessible her work, the less accessible she was. One cannot experience the closeness with her as a subject that one feels through her writing.
3. Although I bought and read the book because it’s about Plath, I am reluctant to use the biography as a means to discuss her because her work is more interesting than she is, so there’s that shame: why not talk about the work? In Wilson’s case, I do agree that the events of her young life are unfairly glossed over when she was so productive and disciplined so early, and for that I was excited to read Mad Girl’s Love Song.
4. The people in proximity to Plath aren’t ghosts here, either. Wilson talked to people who remembered her petulantly in some cases and fondly in others, and all vignettes get a greater sense of who they were than who she was, which makes for a livelier telling than what occurs from corralling facts from her archives—how real personalities generally unmoved by her achievements react to the young, raw person who remains animated in their pasts.
5. Her sexual voracity is emphasized as soon as possible, and much dwelled on are the rape fantasies she confessed to correspondent Eddie Cohen. The sole editorialization by the Wilson surrounding these incidents—which occur throughout the book—is: “We have to remember that Sylvia was a young woman overloaded with a huge store of sexual energy that she was not allowed to express…” This is pretty remarkable considering how Wilson handles other events.
6. Besides the unprecedentedly thorough examination of Plath’s childhood and Smith College years, the big news of this biography is how she demonstrated the tendency to self-harm in the immediate aftermath of her father’s death, and that self-harm manifested in the deliberately extreme and suicidal manner of attacks on the throat. This new fact, central to Mad Girl’s Love Song’s purpose, was the point at which I started to feel like I was reading Us Weekly not in terms of content but in terms of how I felt like, why am I reading this, I am so full of shame.
7. An aside: in Twin Peaks: Fire Walk With Me, Laura Palmer knows she’s about to die. Agent Cooper points out how, while she did not commit suicide, she did consent to and prepare for her murder. In her last days, she warned her best friend, Donna, not to wear her stuff: don’t fetishize me, she was saying, don’t make me into a symbol or a set of aspirations, don’t channel me as a transcendent measure to get free from your boring suburban life; I am a broken person and I am in so much pain. It’s an incredible privilege that the dead girl gets – the audience is not only used to her as a structuring absence, but they’ve also seen Donna access her sexual awakening by wearing Laura’s sunglasses. Mad Girl’s Love Song is the kind of book Donna would have written about Laura Palmer: endowing talismanic power to incidents and items in lieu of presenting the facts of her life and why she is worth discussion.
8. “Although I thought [Plath] might be awfully good, I was on the cusp a little on how she might fit in. Her behavior was almost a performance, which I found a bit of a problem. You might be there another day and find an entirely different personality.” – Gigi Marion, college department, Mademoiselle
9. Eddie Cohen chastised Plath for her complete inability to be spontaneous, and the roots, extremes, and repercussions of her constant performance are explored fully in Mad Girl’s Love Song. Mademoiselle‘s ambivalence about Plath provides a great launching pad for a vital paragraph on the magazine’s own artificiality. The way the magazine fully constructed the “New York” experience that the co-ed guest editors has for too long gotten off without comment, but it is so much a part of what powers the Bell Jar, to wit, the conclusion may justifiably be drawn, it made a serious impact on Plath. It’s one thing to put on a face and look the sweetest and the most congenial, it’s another to play along with the mass hallucination that high-rise parties with hired dates have any place in reality.
10. “It was a lunch designed for the girls to get to know one another a little better, and we were at that stage where we were watching one another very carefully, all of us groping to see what we should do, how we should behave. Very shortly after we were seated—at this nice table with a white table-cloth—a large bowl of caviar was served. The caviar was supposed to be for everyone on the table, but Sylvia reached out for it, pulled it in front of her, and began eating. She proceeded to eat the whole bowlful of caviar with a spoon. I remember thinking to myself ‘how rude’…” – Ann Burnside Love, guest merchandise coordinator READ MORE >
April 2nd, 2013 / 2:23 pm
Alexandra Petri and John Deming Should Probably Get Married Because They Have A Lot In Common Because They Are Both Considerably Misinformed About Poetry
I intentionally missed most of the inauguration of Bruce Springsteen’s boyfriend. Symbols of democracy and freedom make my tummy quite queasy. I prefer the enchantment of The Little Mermaid to the mediocrity of the middle class and the person that they pick to govern them. But a couple of days after The Boss’s “partner” was publicly sworn in, I overheard two princess friends of mine discussing a poetry quarrel that arose from this inauguration. Supposedly a poet named Richard (I’m not sure of his last name, and considering his connection to Obama, he’s certainly not talented enough to Google or even Bing) read. The poem prompted a girl Washington Post blogger, Alexandra Petri, to declare that poetry is probably dead. A poetry boy, John Deming, quickly rendered a rebuttal. After reading both, I’ve come to the conclusion that each has a very un-magical, unsupportable viewpoint on poetry.
To begin, I’d like to declare that being “dead” isn’t deplorable: it’s delightful. Sylvia adored the dead. She covered herself in concentration camp victims. Her skin was “bright as Nazi lampshade.” Was Sylvia disempowered or on the margins of culture? No way, progressive gays! Sylvia was a spitfire. She slashed her daddy and her canonized poet husband. Charles Baudelaire, one of the best boy poets ever, sought the dead too. In “Spleen (ii)” Charles boasts that his skull holds “more corpses than a common grave.” Identification with dead doesn’t disadvantage Charles either. He’s a dandy — someone superlatively superior to humans, a boy who follows his own special set of laws. The dead are special and unique. They’re much more powerful than humans. To call someone or something dead is a term of incredible endearment, and should be embraced.
Yesterday, my boyfriend and I were out walking the dog, and I was feeling shitty about work as usual. Rounding the corner where the Bay meets the roadway, sun setting pinkly, I blurted out, “Sometimes I just wish I could be a housewife.” He looked at me and said, “Me too.”
That was the end of it. Which pissed me off even more. I wanted to have a legitimate conversation about what it means to be a housewife (which, by the way, I could never be in the 19050s sense), the fact that it’s not even an option anymore for most women. We’re worker bees now, too. It’s only fair. If I want to stay home, which I kind of do, I have to figure out a way to pull in enough income to pay the mortgage on the house I bought all by myself. I have to be able to pull my weight. Not to mention take care of the dogs, do the laundry, make dinners–all because I’m home, which somehow still means, not doing anything at all. My boyfriend would never say or think these things, by the way, but I would. I struggle with these concepts because I would feel guilty if I had the luxury to write. As if writing isn’t work. Writing poetry isn’t work, it’s what you do in your spare time.
In her essay “The Bell Jar at 40,” Emily Gould writes of Sylvia Plath:
Newly released by the British Library archive, and published in the New Statesman, Ted Hughes’ poem “Last Letter” recounts the three days leading up to his wife Sylvia Plath’s suicide, ending with the moment he is informed of it. Fervent Plath fans, of the kind who vandalized her tombstone to remove his name from its inscription, may or may not receive his anguish well, for he is commonly blamed for her suicide, given that their break-up (initiated by him) immediately preceded it.
It is dangerous when fans, readers, and critics meddle in the private lives of writers, for their biographies, poetry, and nonfiction are all a kind of fiction; we can never know them, let alone judge them, the way we can never know ourselves. For anyone who thinks words, of any sort, lead to truth, I say: look outside. It is odd how Ted Hughes can finally be vindicated, as if such a pardon was ever needed. He had a severely depressed wife who killed herself, much like Leonard Woolf, except the former was also famous, so more meaning was attributed, relished, to their drama. Biographies are highbrow soap operas.
My week, but maybe you’ll relate.
Assigning Scott McCloud’s Understanding Comics is really the best thing you can do for anybody.
“Fox and Whale, Priest and Angel,” by Russell Banks is travel writing, but it’s also about vision. So is nearly every travel piece I love. They all find the spark in a landscape and look into it and worship it—especially if the spark has been induced by altitude sickness (Banks) or nostalgia and maybe mushrooms (Jason Wilson, “Whistling at the Northern Lights”).
I learned this week that CK Williams does a better job of translating Francis Ponge than the translations I’m reading in Models of the Universe when a student brought me Francis Ponge: Selected Poems. That Ponge is masterful at conflating disparate objects. That you can make opening a door sexy if you’re Francis Ponge. I learned the definition of peduncle from the not-so-good translation of Ponge’s poem, “The Candle.” I learned that Ponge wasn’t interested in titles so much. And that maybe I’m having a love affair with the prose poem.
I read and discussed poems from Kathleen Ossip’s The Search Engine with a very cool student. I learned that the only thing more depressing than a Plath poem, is a cento of lines by Plath and Sexton. I remembered how much I love Plath. Thanks, Ms. Ossip. And thanks for these lines, among others:
I’m eating bread and water
alone, naked as the day
I was born. Hey, Ma,
I say, though she’s not
around, you won’t believe this.
Physicists say that in
addition to a yes and a
no, the universe contains a maybe.
Off in the distance, under the stars,
she moves like a platypus,
neither here nor there.
I read In The Year of Long Division by Dawn Raffel because Alec Niedenthal told me to. He and I will argue about this book soon enough. I’ll report back. But I learned that I like my dialogue to say something. And I remembered how important titles are.
Other very important things I learned this week: I love copyediting; I want a pet crow; I can’t stop thinking about the first season of Friday Night Lights; and I’m pretty sure I believe in magic.
Dido Merwin lived in one of these beautiful houses at some point in her life. In the biography Bitter Fame: A Life Of Sylvia Plath by Anne Stevenson (which is not as good as Janet Malcolm’s book, The Silent Woman, although it is more extensive), there is an appendix that contains a nasty thing written by Dido Merwin called “Vessel of Wrath: A Memoir of Sylvia Plath”:
Hi. I mentioned this once in the comment section, but I’ll say it again: I dyed my hair red when I was fifteen and recited all of “Lady Lazarus” (click here to read it) in English class, which ends with, “Out of the ash/I rise with my red hair/ and I eat men like air.” I was really popular- dudes were lining up to get some action from me after I did that!(Click here to hear Syliva read it) ! I loved high school. Oh wait, that is a lie. Anyway, Sylvia Plath can also be funny, which I feel like highlighting due to the recent tragedy of her son’s suicide. Here she is, picking her nose: