A Study Guide for Sylvia Plath's "The Bell Jar," excerpted from Gale's acclaimed Novels for Students.This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Novels for Students for all of your research needs.

A Study Guide for Sylvia Plath's "Sylvia Plath's Mushrooms," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.

A comprehensive study guide offering in-depth explanation, essay, and test prep for selected works by Sylvia Plath, who at an early age won prizes for her poetry. Titles in this study guide include The Bell Jar, Two Views of a Cadaver Room, Night Shift, Disquieting Muses, Spinster, Crossing the Water, and The Bee Poems. As a collection of fiction, short stories, and poetry of the late- twentieth-century, Plath’s work was largely biographical and confessional as she wrote through her depression and other tragic circumstances. Moreover, critics praised her use of literary devices such as imagery, meter, and voice. This Bright Notes Study Guide explores the context and history of Plath’s classic work, helping students to thoroughly explore the reasons they have stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work - Character Summaries - Plot Guides - Section and Chapter Overviews - Test Essay and Study Q&As The Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including essay questions and answers as well as topics for further research.

This is the first study devoted to Sylvia Plath's fiction. Plath wrote fiction throughout her life, in a wide variety of genres, including women's magazine romances, New Yorker stories, comedy, social criticism, autobiography, teenage fiction and science fiction. She wrote novels before and after The Bell Jar. Discussing all these novels and stories, and based on research in the three major archives of her work, this book is the complete study of Plath's fiction. The author analyses her influences as a fiction writer, the relationships between her poetry and fiction, the political views she expresses in her fiction, and devotes two chapters to the central concern of her novels and stories, the roles of women in contemporary society.

Because wherever I sat, on the deck of a ship or at a street café in Paris or Bangkok, I would be sitting under the same glass bell jar, stewing in my own sour air. Readers who are familiar with Sylvia Plath's work may recognize this well-known quotation from her first and only novel, The Bell Jar, which tackles issues of depression, mental illness, and the search for individuality. This compelling volume examines Sylvia Plath's life and writings, with a specific look at key ideas related to The Bell Jar. A collection of twenty-three essays offers readers context and insight to discussions centering around the pervasive impact of illness, the novel as a search for personal identity, and the autobiographical nature of the work. The book also examines contemporary perspectives on depression, such as the sometimes deadly pressure of perfectionism on gifted teens, and the idea that depression and risk of suicide run in families.

Pulitzer Prize winner Sylvia Plath’s complete poetic works, edited and introduced by Ted Hughes. By the time of her death on 11, February 1963, Sylvia Plath had written a large bulk of poetry. To my knowledge, she never scrapped any of her poetic efforts. With one or two exceptions, she brought every piece she worked on to some final form acceptable to her, rejecting at most the odd verse, or a false head or a false tail. Her attitude to her verse was artisan-like: if she couldn’t get a table out of the material, she was quite happy to get a chair, or even a toy. The end product for her was not so much a successful poem, as something that had temporarily exhausted her ingenuity. So this book contains not merely what verse she saved, but—after 1956—all she wrote. — Ted Hughes, from the Introduction