Manual Sylvias Lovers with full annotated (new edition)

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Sylvia's Lovers (Annotated) Kindle Edition . Inevitably, Kinraid returns to claim Sylvia and she discovers that Philip knew all the time that he was still alive.
Table of contents

• Sylvia Plath’s suicide note – did it name a final lover?
• Sylvia's Lovers
• 1. Introduction
• A White Heron Analysis

Did she also send out a cry for help to another man, with whom she had become intimate during her last months? This is not something Hughes himself could ever have written about directly: it would have looked too much like self-exculpation. Alpha Alpha: what symbolic initials might these be? The story I have heard is this. It is not in my biography because it is based on hearsay and a lost document: biographers should only fix in print those things that they have fully corroborated.

It allegedly revealed that she did telephone another man that last weekend, in a desperate bid to renew their brief liaison. He told her that he was now in a relationship with another woman. Yet one more male rejection: this could have been the thing that tipped her over the edge.

The last person who saw Sylvia alive was the neighbour in the flat below hers in Fitzroy Road, Primrose Hill. She asked him for some airmail stamps a few hours before her suicide. If she needed stamps, there must have been a last letter.

The story at the party in New York was that it was a suicide note addressed to her mother, Aurelia; that at some point it went astray; and that it named the other man. Hughes did not kill Plath. Nor did the other man. Mental illness killed her.

But biographic closure will not be achieved until we know what was in the last letter. He has not replied to my request to take a look at it. Sylvia Facebook Twitter Pinterest. Topics Sylvia Plath. Again, OTT. Less definitely would have been more.

She really is a very talented actress, and it is a shame the whole celebrity thing gets in the way. She was particularly fine in the latter stages of the film, and the sad descent into loneliness and irreversible depression was very well judged. Likewise, Daniel Craig was very enigmatic, although I wonder whether the one sidedness of the relationship as mentioned above may have come from him.

As a whole the film was very sympathetic, and showed how hard it must have been for Hughes to live with Plath. It doesn't justify his behaviour but rather tries to show an understanding. It also evokes a sense of a time when poets were considered important. This film stayed with me for some days after watching it, and I would recommend it. It is somewhat uneven in pace and direction, but I think Christine Jeffs is a director with talent, although her inexperience showed. But above all, it renewed my interest in both Plath and Hughes.

Paltrow was competent, Daniel Craig as Ted was appropriately brooding and charismatic. That said, I found the film to be little more than a series of mainly gloomy vignettes rather than a more accurately energetic glimpse into her actual life. Even the scenes that we know from Plath's journals happened in real-life are dulled-down here: Plath's bang-smash account of her sexually-charged initial meeting with Hughes, for instance, which we know resulted in tooth-marks on Hughes' face and his snatching her hair-band, is rendered as little more than a fairly polite dance and kiss in the movie--you get little sense of the urgency and excitement of their attraction.

Another scene, rendered far more cinematically in Plath's journals and in Hughes' poem "Chaucer", is her enchantment of the local cows with her recitation of The Wife of Bath's Talein reality, the cows apparently gathered around her as she spoke, entranced by her voice, and Ted had to literally drive them away. When I read THEIR accounts, I could feel the magic of the odd situation; in the movie, though, Plath speaks a few lines to watching cows as she and Ted row past them on the river.

1. Introduction

While the two lived in Boston, Plath not only taught at Smith, but later entered weekly analysis, worked at a local mental hospital because Ted wouldn't get a job, and hung out with fellow poets at Lowell's weekly workshop, then got drunk with Anne Sexton, for one, afterwards. Again, that's all pretty darn cinematic; but in the movie, the Boston life consists primarily of a few seconds of Plath droning on before a class or two, then a scene of women gathering around Hughes after a reading.

In London and Devon, too: In actuality, up 'til near the end, Plath was constantly in motion: setting up households, sending their work out, going to literary events, having babies, entertaining a myriad of friends and family and neighbors. Dido Merwin and Olwyn Hughes have both left testaments to Sylvia's sometime-hostility on occasion; Plath's own friends have left warmer accounts.

Whatever the case, she was interacting with others, for better and worse, and much more interestingly than in this movie, wherein she mainly mopes around the house in a series of grim solitary poses. PLEASE, I feel like begging, show her getting mad at Olwyn for smoking, or angrily striding out onto the moors after an argument at Ted's family's house, or yelling at Ted about the damn rabbit traps or his Ouija-predicted fame, or expressing her frustration at her mother's annoying visit.

In short, this movie sucks every bit of life out of Plath, portraying her as a zombie-like character almost from the get-go, when in fact we know from reading her own words that there was actually a thinking, feeling, LIVING person on the premises up until the very end.

So intense Paltrow does not let your eye leave her from the moment she enters the frame I love Plath and I love Paltrow as Plath She unlike most actresses becomes a character and she became Sylvia Plath. When I rented this movie, I thought it would be about Sylvia's entire life, or at least starting from her days at Smith College.

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I didn't realize that her marriage with Ted Hughes would be the entire storyline. For people who don't really know much about Plath and her poetry, understanding her life before Hughes would've made the film much more substantial. The audience has to realize that Plath led a very, very hard mental life even before she met Hughes, and her ideas for her poetry and 'The Bell Jar' mostly originated from her bachelorette days.

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She never recovered from her depression as a young woman and it branched out still as she married Hughes. Without understanding Plath from the beginning hinders the audience from understanding Plath at all. I feel like the movie only told half the story. Plath's mind was beautiful, colorful, and brilliant. It wasn't just about the jealousy, depression, and paranoia. Putting her works on the back burner really took away most of this movie.

I would've liked to see more narration by Plath and giving us an insight into her mind, the way her unabridged journals do. However, I really enjoyed the dialogue of this movie; the lines were poetic and beautiful. Unfortunately, I am still waiting for a better Sylvia Plath movie. I recommend people to read 'The Bell Jar' and 'Ariel' before or after seeing this movie though. What makes poetry a special art form? Answers might include bringing together extremes of joy and despair within a couple of lines, offering an alternative to rational thought, enriching our outlook and understanding in ways that prose would struggle to equal.

Poetry can provide a single phrase or sentence that is easily remembered and somehow unlocks difficult-to-express inner states, just as a song can and poetry is the basis of songs. It offers a freedom of expression where you don't need to explain every aspect of what you are saying - it urges the listener to grasp a semi-spoken truth or idea. That's my rough guess. I've got over 40 books of poetry on my bookshelf at the last count, yet I'm no literary expert and appreciate poetry in a very simple way. Most people might agree that poetry offers something special, so a film celebrating the life of a famous poet might be expected to bring us a glimmer of that something.

Cast in the lead role, Gwyneth Paltrow's Plath focuses much attention on how downtrodden she was, chained to two children, overshadowed by a brilliant and celebrated Ted Hughes, struggling with bitterness, jealousy, mental instability and a less than attractive persona. We also get the occasional poetic outburst, from who-can-recite-poetry-fastest undergrad shenanigans to romanticised performances of Chaucer addressed to an audience of watching cows whilst floating downstream in a boat. The only thing that distinguishes Sylvia from the now-unfashionable kitchen sink drama is that its central character is called Sylvia Plath.

So is the film worthy of the title? In A Beautiful Mind, we learnt of the joy of mathematics, Lunzhin Defence championed the addictive mysteries of chess, and Dead Poets Society made us lift our eyes to literary horizons that could inspire the dullest of minds. Sylvia was limited, perhaps, by the refusal of her daughter to allow much of Plath's poetry to be used in the film but, for whatever reason, it has failed to be more than a rather humdrum biopic.

It offers little insight into her poetry or the magic of poetry generally, and adds little of interest about the historical figure that doesn't apply to millions of women. If any deep philosophical statement can be drawn from this, the film certainly doesn't make it, poetically or otherwise. Sadly, it would seem that the words of Sylvia Plath's daughter almost became a self-fulfilling prophecy: "Now they want to make a film. They think I should give them my mother's words.

To fill the mouth of their monster. Their Sylvia Suicide Doll. Rather dull and uninspired biography, even though Gwyneth does a good performance, she's unable to save a biography which probably will make your own life look exciting - Sylvia Plath is portrayed as not much more than a quite ordinary housewife that is cheated on over several years. The affairs of her husband Ted takes its toll, of course, and quite predictably drives her paranoia, but really; this is not film material.

Ted Hughes comes across as a lame, rather brutal husband with little understanding of Sylvias troubled mind. Their story is told very straightforward and linear, probably wrong since there is very little story to begin with. A more adventurous structure, with glimpses of childhood, early years, etc might have added much needed lyricism to this lackluster project. While screenwriter John Brownlow has a long background in TV documentaries, director Christine Jeffs has previously made a young woman's mental disquiet dreamily visual in the superb New Zealand film "Rain.

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As played alternatively languid and aggressive by Gwyneth Paltrow and a Byronic Daniel Craig, they are an actively sensual couple, but notably not Bohemian. They are part of an intellectual but not counter-cultural set.