Home / voices carry | the many tones of sylvia plath

voices carry | the many tones of sylvia plath

Please Share...Print this pageTweet about this on TwitterShare on Facebook0Share on Google+0Pin on Pinterest0Share on Tumblr0Share on StumbleUpon0Share on Reddit0Email this to someone

A voice conveys so much about a person. I know as an immigrant, both the plus and the minus of this and I know that when I first came to the states, I would have done anything to get rid of an accent that brought me nothing but mostly grief, save for the occasional comment (that I still get) that it’s “cute” a word that exists in American, but not in English. In England, we don’t do cute, alas, and so this never connoted anything good.

And thinking about voice lately after thinking about poetry and how poetry was meant, intended that is, to be read aloud, I set out to see if I could find any original recordings of the poets that I was curious about. Of course, too many are not recorded because they are simply too old and their work too long ago. What I would give to hear Tennyson – but I am left to deal with what history has given us and I write to you today of Sylvia Plath.

I chose Plath because, like her or hate her or don’t give a hoot either way, she has become an important character in the field, and not just because of her death, but mostly because of her last book Ariel, written in the few short months before her death when it seems she was a poem machine, churning out the best work of her life, in fact, some of the best work period, and the work that, as she had predicted at the time, “would make her name.” Too bad she didn’t stick around to see it happen, for it would have happened regardless. Sylvia Plath is not famous solely because she killed herself. Let’s face it; lots of not so talented poet wannabes kill themselves or make half-hearted attempts and never achieve the measure of fame and myth that our Ms. Plath has achieved. No. Face the ugly truth, which is that like her or hate her, Plath had a rare gift for slicing through the bullshit (unless it was her own), and in particular, her husband’s bullshit, and telling us like it is an this icy and aloof tone and turn of phrase that made one almost glad that he was a cheating bastard because never before had infidelity been written about so brilliantly cuttingly. Of course, this kind of work can only grow out of great pain, and for this, I am truly sorry. But it happened and we are left with the remnants and we sift through them.

I have read all of Plath’s earlier work, including her stories and thought them good, but no better than most of the students I’ve had or some of the work I heard girls read in high school. It wasn’t until Ariel that I sat up and paid attention for here she gets to the root of the matter. But what were these poems meant to sound like I wondered, and so went in search of audio Plath.

I tell you, there is not very much to find; a few clips here and there but the rest you have to pay for. Not much is free and I do intend to buy the Plath recordings because now I’ve heard a few, I want to review the lot. First though, here, let me tell you about the few that I did manage to download and listen to. I found “Lady Lazarus,” the famous “Daddy,” (some would say her most important work, though I disagree), “Stones” and “November Graveyard.” I also found them all from different sources, which was interesting. None had all of the poems. It was a real hunt and peck.

Plath’s voice came through the wire as a shock. What I heard was not a thirty year old woman in the last months before her life – or that is what I heard, technically speaking. An old BBC recording from the year of her death, 1963, when she was still a young woman and just barely thirty. This was the voice of a sixty year old schoolmarm. I am quite used to the accent – pure Winthrop, Massachusetts, with its hard vowels and aahhs and flat affect, but Ms. Plath sounded more like an uptight school teacher giving us all a lesson on elocution. The other thing I noticed was that, and this part was less of a surprise, there was not a shred of humor in the tone. Now, I know that asking for a sense of humor from someone who is about to commit suicide is a tough thing, but I suppose I expected at least some sense of irony – irony because Ted Hughes, for all his sin and rubbish, was just being Ted Hughes. He was having his little sordid affair with Assia Weevil because she was different and he was bored and he was always a flirt and a charmer and couldn’t resist any woman who wanted him. Ted Hughes, for as much as he was our Ted Huge with his ego etc., was always an insecure man, and in this way, I can’t help but see him as a rather pathetic figure. Some part of me had hoped, or for all these years believed, that our Sivvy had seen this too. She had seen it because I had read about it in Ariel. I had read about her “Rabbit Catcher” and I had seen him mocked, shredded, put squarely back in his place, scoffed at, chided the way one would a child because that was all it deserved – that and a swift divorce perhaps – but certainly, his affair with Assia Weevil and any others before that as hurtful as they no doubt were, were never reason enough for someone of Plath’s intellect to actually end her life over. He was abusive, no doubt. He was a liar. All of these things, but Plath as we know had tested incredibly high on IQ tests, she had a good measure of success, and if she had just waited it out, her Ariel poems would have, and in fact did post-humously, have surpassed her ex-husband’s work if she had just waited long enough for the ex part.

The problem with Plath, and this is what her voice betrays, is that she could not see this. She was utterly lacking in any ability to get away from herself. For many poets, some of the best poets, their subject is the self, but often there is enough distance that the self becomes a stand in for what is universal. For a thing or an event or a quality that many or all can relate to. That is what makes good poetry transcendent. That is what keeps us reading, and even Plath managed to achieve this quality for there are millions of women who can relate to her work. Yet when I hear her read, she lost me. In place of that strong, albeit cold, woman who had a firm grip on the situation and was embittered yes, but who could blame her. I found a woman who could not, sadly, get any distance at all. Who was squarely in the thick of it, so much so that when in her Daddy poem she compares her father to Hitler, there is not a single note of irony or self-awareness to be found. Her father’s death feels to her what she imagines it must have been to be a Jew in a concentration camp. This kind of comparison is so extremely far-fetched and dramatic that, while it no doubt hurt a nine-year-old girl, it’s too much. She loses us.

When I had read the work, I hadn’t taken it so literally. I had added a bit of mirth, a bit of irony, a bit of self-awareness. I have even myself in a poem said that one had “Goering-ed it up” which was likening someone to Goering – to the person he was, elaborate, fussy, arrogant, vain, the famous “clothes horse” and that seemed appropriate and most agreed. But to so literally believe that your father leaving you through no fault of his own, by dying, is to make him like Hitler is a bit too much to take. How can we take this seriously? Haven’t we all lost those we love and been hurt, even at a young age? Did we ever think that our pain came close to that of those people who lost generations of their family in concentration camps?

The point I make here is the point I’ve always made about poetry and that is that poetry is meant to be read aloud. It’s hard to get a sense of what a poem is about or how the poet intends the poem if you do not hear them read it. Gone are the days of bards when reading poetry aloud was a regular practice. Now, the best we can hope for is a poorly attended slam at a bad coffee house, though frankly, that’s better than nothing and if we work on these slams and organize more readings, maybe we can get poetry back to what it’s mean to be. I’ve always felt it is of and for the people and that’s where it belongs. Poems are meant to be judged, to be felt, to be heard and to ring. Plath, alas, does not ring. She falls flat. She sounds so very old – at least sixty or more. A timorous voice, nervous and slightly mousy. Lacking in affect, but not so much that we don’t know that behind this Medea, this woman she created who was all strength and ice, there is still a frightened little girl and in a way, that’s a real let down. I had allowed myself to believe that in Ariel, although I knew Plath had committed suicide and no doubt this had something to do with her marriage, or more, with her husband’s infidelities (how could it not – an affair is just about the most devastating thing that can happen to anyone, next to the death of a relative, according to most psychiatrists.) I could understand a certain fragility in her voice, under the circumstances, and given that was likely having some kind of nervous breakdown, by most accounts. But I didn’t even find that.

I found a humorless, old, worn down, and overly self-involved woman who just can’t see irony anywhere. Who cannot see that the man she married is, afterall, just being himself. Maybe he’s a jerk, maybe not, but the fact is, Ted Hughes didn’t change – he was that way when she met him (at a party with another girl) and that way when she died (at a flat with another girl, his white fox, his foreign and lithe and prowling jaguar, the various metaphors he used for Assia – who, fyi, also took her life after finding out that he was cheating on her. Even our Assia who, initially anyway, seemed to have a sense of humor and went to “bag the great Ted Hughes” as she told a friend before leaving to visit the Hughes’s in Devon on the trip that would start the affair, in the end, was mortified and devastated to find herself in the same place she had left another woman. So much for love after all, eh.

Now what I want to know is what Plath sounded like before all of this mess. Before this devastation and the tears and the fights. Perhaps the affair with Hughes took the fight out of her, or perhaps she never had any fight. I can’t say. But what I can say is that her voice betrays a great deal and is worth listening to if for no other reason that a curiosity factor. I too record my poems because I want them to be heard as I intended – and you can check out my blog if the spirit moves you at www.number1audioblog.blogspot.com and see how I sound and judge me too. That’s okay. But do check out Plath and as for me, I am not on the hunt for Lowell, for Sexton, for any other of the greats whom I’ve admired to see how they sound. It’s not quality of voice we are looking for here – it is tone, and at the end of the day, how we ring our bell, how loud and how often, says everything about who we are and how we navigate our way through the world. May my bell never toll so solemn.

sadi ranson-polizzotti


For links to Plath’s reading, check out www.plathonline.com and go to the Audio links and download. Most can be played with Realplayer only.

Powered by

About Sadi Ranson-Polizzotti

  • Had her voice been as you hoped it would be, it might have come from an entirely different Sylvia Plath, one who might have been stronger, who might have overcome the pain that drove her toward ending her own life.

    It is interesting to observe how you react to your perception of her weakness. It has often struck me as odd that the one thing most likely to prevent people from giving support and sympathy to any person is for that person to show signs of really, deeply needing support and sympathy.

    We humans seem to love nobody else more than we love the pillars of strength, those people who seem to be full of confidence and to need nothing from anyone. We fall all over ourselves to show the confident self-assured people how much we admire them and want to share their company. We shun, almost by instinct without conscious thought, anyone who seems sad, lonely, or needy.

    This means, for some, the first stumble into loneliness and neediness is the beginning of the end. If a person falls into that mode, and lacks any friends who already love her (or him) enough to make the effort to break through that instinct to shun, the loneliness can easily snowball into despair and self-destruction.

    A much more complete view of her life would be needed for us to understand why Plath, even when young, had a voice so unable to draw toward her the support and sympathy that might have saved her life.

  • let me clarify, if i wasn’t clear. this is not an attack on Plath or her work. I’ve long admired Plath as a poet – i’ve felt she had a great influence and even liked her as person and felt that Hughes put her through hell. That said, i’m not going to be a Plath groupie, as i’ve witnessed and not see the other things that make her less than she could have been as a person that could have infact saved her.

    I think we’re speaking at cross purposes. The issue for me that camne across in her voice was NOT that she sounded weak so much, as that she sounded so self-involved and unable to get that necessary distance to really be able to look at her environment and see her way out of it. Obviously, i’m not limiting a definition of Plath to her voice ONLY or even a little bit; i’m saying that voices are telling and if you listen to her’s as i’m sure you have, then you know that it says something about her that, to me anyway, was quite surprising. I had expected to hear the woman behind Ariel – and that woman WAS stronger, or sounded it behind the poems. To hear Plath speak isn’t just to hear distress; that much i expected, but it’s to hear a woman entirely lacking in any sense of the irony that is so very present in her poems; so the two seem to be at odds with each other.

    I have first hand experience with suicide; i know how people do and do not ask for help. I’ve lost someone i loved a great great deal to this and so know damn well that this issue cannot be boiled down to a voice. but that wasn’t my point; the point was perhaps the opposite of what it seems to me you are saying i’m saying; BECAUSE i had respected Plath and still do, to a large extent, this utterly humorless woman i heard on the tape came as a great shock to me. She seemed cleverer than that, even in death. Even though she did kill herself, she got the last word in with Ariel (well, until Hughes published Birthday Letters).

    In any event, i think we’re speaking at cross purposes and nobody would say, Oh, she sounded weak or didn’t sound weak or whatever and that’s why she didn’t get help. The fact is, Plath was offered help time and time again, and each time she rejected it. Read Jillian Becker’s book, though you may have. OR any of the newer books that are written by those who were her friends; Plath rejected help because she was so down in that well. I wish like hell she could have seen her way out, but doing so would have meant having some sense of something other than just your own pain and yourself – like your kids, for instance. Seeing that doing what she did was an awful thing to do to them.

    I’m not trying to be cold, but a real friend would be real and honest and tell it straight. I wish i had a chance to do so with my brother because if i had told it to him the way it was, then maybe he would have stopped the self-pity crap and realized that we all go through some serious pain in life and we see our way through it.

    THAT is the point to me, and i’ve been there — believe me. I just think if you’re in that place, then frankly, just go do it. Enough whining about it because most of us have been there too and we have to carry on with life because we don’t have an option and more, if one is bent on suicide, i’m not sure that if they don’t want to be saved, i or anyone can save them. The first step is wanting to be saved — Plath did not want that.

    That’s her loss, and it’s our loss, but again, a little lightness never hurt anyone.

    “In the depths of winter, i found there was within me and invincible summer.” – Camus.

    thx. for reading – and be well,


  • typo in the quote; it should read:

    ” in the depths of winter, i found there was within me an invincible summer.” — Camus.



  • It’s clear you do not intend to attack Plath or her work.

    Yet it is also clear that in her recorded voice you perceive a definite lack. Whether you choose to define it in stark terms of strength against weakness, or in the more refined terminology of irony against self-involvement or cleverness against self-pity, it is clear that what you hear in her recorded voice leads you to think less of her.

    I point this out not to attack you, nor to defend Plath in particular, but to explore the broader implications of all similar reactions. Why do we so often find ourselves feeling attracted to people who clearly have no need of us, and feeling repelled from people who might benefit by our companionship?

    I don’t pretend to have the answer to this question. I certainly claim no right to pass judgement on anything you have said here. I mention the question here only because your reaction to Plath’s voice happened to bring it to mind.

    It is not meant to say you have done anything wrong.

  • dear k;

    thanks for your clarification. i understand what you are saying. here’s the deal; i was never a big Plathie as a young girl; never a groupie, but as an adult, i’ve long admired her work in Ariel and had and have real empathy for what she went through with Ted Hughes’s infidelity (you can check out my pieces on infidelity/adultery for my views if you like). I can totally relate to that kind of pain, and God, i’ve been there… truly.

    I guess it’s really simple for me; i WANT so much for her to just be strong enough to be over it and not let some idiot lead her down the path so that she takes her life. I realize wanting that and how she felt are different things. I also know that i did not live her life, but i have lived MY life, and like anyone’s it’s been pretty rough at times = and christ, yes, even i’ve thought of the easy way out (my opinion, yes…and i see this in my brother and it ticks me off). It’s not her voice, per se. it’s the self-seriousness that gets to me, and most likely because it came as such a surprise to me. I always imagined Plath, on some level, had some sense of humor about herself. In many ways, The Bell Jar is a hilarious book and is meant to be – she wrote it to be ironic. I just wish she had managed to retain that sense of irony.

    In short, all i’m saying is that before Ariel, i could have cared less. But once i read that book, i was deeply moved by a woman in great, great distress and though god knows i’ve been there myself, and written things just as maudlin and been just as humorless, i know that somehow, i got through it. and the way i got through it was by having some sense of humor about myself – some self-depracation, because i’m a ditz and a fuck up and a clown and so many other things and i think by 1963, Plath lost that ability to see herself in these ways and THAT comes through her voice in the later recordings.

    IF i had been a friend to her, i would have been like Jillian Becker. I would have loved and cared for her and been there truly, but i also would have told her to stop focusing so much on herself and to take a look elsewhere because in context, her issues may have been surmountable. Was Ted Hughes worth the life of a brilliant writer? Absolutely not. Should she have killed herself because her father died when she was 9? No. Absolutely not.

    Many many awful things happen in this life, but the minute you quit is the minute that everyone quits on you too – suicide is not the “hard” or the “honorable” way out -(and i’mn not suggesting you said that, by the way) – it’s a cowards way out. Look: my brother did the same thing and i’m saying this because it just PISSES me off because it is SUCH a waste.

    Every day, especially these days, i face great great hardships that are so sad and awful for me that i want to throw a great stadium self-pity party but i do not. I do not because i know that others have faced far worse and they do even as i sit here in my privelged life writing you this note (which i do because i care…).

    I guess without meaning to you have hit a nerve, and i’m not angry or pissy, i’m just so frustrated and not nec. at you, but with anyone who keeps feeling sorry for Plath and thinking her suicide was noble (i know you didn’t say that.). IT wasn’t noble; it was cowardly, selfish, and she left her own children for God’s sake. Can you imagine what THEIR life has been like? Plath may have lost her Daddy, but it was to natural causes. They lost their Mummy because she didn’t care enough about herself or them to live because she was to self-involved and overwrought and that makes me grieve and rage.

    One can admire Plath or anyone like this without believing that the way they opted out was not noble and that lacking perspective, that yes, shows up in her self-serious tone, is never something to aspire to. If my article was harsh, it is precisely because i do know so much about Plath and i DO care and i’m frankly, shocked to hear this woman whose work i have admired be so lacking in the awareness i had seen in her work.

    that’s all.

    no offense intended to you — i just have to clarify this otherwise i’ll lose my mind. this kind of stuff makes me nutty. perhaps that is my failing.

    cheers, and thx. again for such thoughtful comments,