Kean, Danuta (April 11, 2017). "Unseen Sylvia Plath letters claim domestic abuse by Ted Hughes". The Guardian. Archived from the original on April 15, 2020 . Retrieved March 9, 2021. The letters are part of an archive amassed by feminist scholar Harriet Rosenstein seven years after the poet's death, as research for an unfinished biography.

Moore, Honor (March 2009). "After Ariel: Celebrating the poetry of the women's movement". Boston Review. Archived from the original on July 11, 2017.

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Plath's gravestone, in Heptonstall's parish churchyard of St Thomas the Apostle bears the inscription that Hughes chose for her: [50] "Even amidst fierce flames the golden lotus can be planted." Biographers attribute the source of the quote to the Hindu text the Bhagavad Gita [50] or to the 16th-century Buddhist novel Journey to the West written by Wu Cheng'en. [51] [52] Some things are hard to write about. After something happens to you, you go to write it down, and either you over dramatize it or underplay it, exaggerate the wrong parts or ignore the important ones. At any rate, you never write it quite the way you want to. I've just got to put down what happened to me this afternoon. I can't tell mother; not yet, anyway. She was in my room when I came home, fussing with clothes, and she didn't even sense that something had happened. She just kept scolding and chattering on and on. So I couldn't stop her and tell her. No matter how it comes out, I have to write it.

Sylvia Plath's Cambridge-era Prose: A Survey". sylviaplathinfo.blogspot.com . Retrieved October 31, 2023. Parker, James (June 2013). "Why Sylvia Plath haunts us". The Culture File. The Omnivore. The Atlantic. 311 (5): 34, 36 . Retrieved July 6, 2015. So we drive into a driveway by a big white house with a lot of pillars. “It’s all pillars,” I observe brightly. That, it seems, is the name of the place. The Pillars.” – Sylvia Plath, The Unabridged Journals of Sylvia Plath Heinz, Drue (Spring 1995). "Ted Hughes, The Art of Poetry No. 71". The Paris Review. Spring 1995 (134): 98, cited in Ferretter 2009, p.15Newman, Charles, editor, The Art of Sylvia Plath: A Symposium, Indiana University Press (Bloomington, IN), 1970. It seemed of no significance then, but now I remember how Ilo had shut the door, had turned on the radio so that music came out. Hughes, Ted (April 20, 1989). "The Place Where Sylvia Plath Should Rest in Peace". The Guardian. London.

Poet Plath's son takes own life". BBC. London. March 23, 2009. Archived from the original on March 26, 2009. a b Thorpe, Vanessa (March 19, 2000). "I failed her. I was 30 and stupid". The Guardian. London. Archived from the original on March 20, 2016. Taylor, Robert (1986). Saranac: America's Magic Mountain. Boston: Houghton Mifflin. ISBN 0-395-37905-9. Plath Reads Plath– 1975, Released as a gramophone record by Credo Records and on Compact Disc by Harper Audio in 2000One primary theme that runs through the early journals and is also an identifiable current in Plath’s poetry and prose is the theme of rebirth. After a bout of depression during the fall of her junior year, she characterizes her rehabilitation as rolling “the stone of inertia away from the tomb.” She sees herself as “The girl who dies. And was resurrected.” Often sounding like Norman Vincent Peale, she credits her rebirth to mental magic, a belief that attitude can change everything. She attributes achievements—poems in Harper’s Magazine, a summer guest editorship at Mademoiselle—to the conscious choice she has made, that of transforming wish to reality through hard work. Radical feminist poet Robin Morgan published the poem "Arraignment", in which she openly accused Hughes of the battery and murder of Plath. Her book Monster (1972) "included a piece in which a gang of Plath aficionados are imagined castrating Hughes, stuffing his penis into his mouth and then blowing out his brains". [87] [85] [88] Hughes threatened to sue Morgan. The book was withdrawn by the publisher Random House, but it remained in circulation among feminists. [89] Other feminists threatened to kill Hughes in Plath's name and pursue a conviction for murder. [43] [87] Plath's poem "The Jailor", in which the speaker condemns her husband's brutality, was included in Morgan's 1970 anthology Sisterhood Is Powerful: An Anthology of Writings from the Women's Liberation Movement. [90] By the time Heinemann published her first collection, The Colossus and Other Poems in the UK in late 1960, Plath had been short-listed several times in the Yale Younger Poets book competition and had her work printed in Harper's, The Spectator and The Times Literary Supplement. All the poems in The Colossus had been printed in major U.S. and British journals, and she had a contract with The New Yorker. [57] It was, however, her 1965 collection Ariel, published posthumously, on which Plath's reputation essentially rests. "Often, her work is singled out for the intense coupling of its violent or disturbed imagery and its playful use of alliteration and rhyme." [10]