Текст книги "American Isis. The Life and Art of Sylvia Plath"

Автор книги: Carl Rollyson

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Sylvia did not mention in letters to her mother that she was already about a third of the way through the novel that would become The Bell Jar, the story of a college girl, as she told Ann Davidow, “building up and going through a nervous breakdown.” The book was full of real people, Sylvia admitted, and would have to be published under a pseudonym. The confident tone of her letter, written on 27 April, suggests that Sylvia had overcome the false starts and abrupt stops that had inhibited her previous attempts to write a long narrative. “I have never been so excited about anything,” Sylvia wrote—even though she predicted lawsuits. She found the book by turns funny and serious. It made her laugh. And indeed, the novel’s mordant humor is superbly conveyed in Maggie Gyllenhaal’s audiobook narration.

Early June brought yet another sign of Sylvia’s burgeoning reputation. The BBC devoted a twenty-five-minute program exclusively to her poetry, a mark of distinction, she told her mother, that put her in the company of Robert Lowell and Theodore Roethke, poets whose work had received similar treatment. The next week Aurelia arrived to mind Frieda, now just beginning to toddle, so that Sylvia and Ted could join the Merwins on their French farm for a two-week holiday. Ted said nothing at all about the Merwins’ negative reactions to Sylvia’s behavior, continuing his policy (as Dido Merwin described it) of never taking issue with his wife’s behavior.

In July, the couple joined Aurelia in Yorkshire, uniting with the Hughes family while Sylvia and Ted began looking for a country home, preferably in Devon, for their expanding family. Sylvia was now four months pregnant. The couple wanted easy access by rail to London, but also a more southerly climate—especially for Sylvia, who found Yorkshire cold and grim. By the end of July, the couple had discovered their dream home in Devon: Court Green, a nine-room house that included a wine cellar and an attic. It had a thatched roof, a cobbled court, and a lawn, making it a virtual picture-book English estate. At one time the home of Sir and Lady Arundel, Court Green is situated on land that had been farmed since the eleventh century, with a tumulus signifying the remains of even earlier Roman occupation. The three-acre walled estate included a two-room cottage and a stable that would serve as a garage. The grounds also included a vegetable garden, an apple orchard, cherry trees, and blackberry and raspberry bushes. An abandoned tennis court could be made into a yard for the children to play in. And there was a village, North Tawton, nearby. It was all quite grand, but also quite dilapidated. And it was not anything Ted and Sylvia could afford. An enthusiastic Aurelia wanted to foot the bill, taking out a mortgage for the whole property, but Ted resisted this proposal, ultimately agreeing instead to loans of $1,400 each from Aurelia and his parents, which greatly reduced the mortgage.

Busy planning their move to Devon, Sylvia and Ted sublet their London flat to a young Canadian poet, David Wevill, and his German-Russian-Jewish wife, Assia, both of whom made a strong impression and inspired a sense of identification, Sylvia told her mother. After all, Sylvia and Ted were just a few years ahead of this other twosome trying their luck in literary London. Writing to Lucas Myers shortly after moving into Court Green in early September, Ted observed that England gave Sylvia the leisure to “develop naturally” for a “more & more appreciative audience whereas America would be cramping & stunting & distorting her with that dreadful competitive spotlight, to which Sylvia is so susceptible, when she’s under it, as any Easterner over there.”

Sylvia luxuriated in her new home, swept clean by the Arundels. The coal stove warmed the first floor, and an electric heater took care of upstairs. As he always did when they moved into a new place, Ted built bookshelves. Sylvia had festooned the house with flowers from the garden and served breakfast with freshly picked blackberries. She had located a prenatal clinic nearby and seemed entirely pleased with her peaceful surroundings, which Frieda also found delightful. She was evidently taking after her mother, picking up every little crumb in her playroom. Sylvia had also lined up a midwife and doctor (his surgery was just three houses up and across from Court Green), and she was looking forward to another home birth in January. A local woman was engaged to do some cleaning and washing up. Warren visited in early September, and Sylvia loved the way he pitched in, mowing the lawn and chopping wood. He also sanded an elm plank that she used as a desk in the best front bedroom. Ted’s study was in the attic, a room of his own that had him joyously leading the kind of life he always wanted, Sylvia assured her mother.

Sylvia’s received gifts of money from Olive Higgins Prouty and her grandfather, which covered many of the moving-in expenses. Sylvia had sold a story, and Ted was doing some work thirty-five miles away at the BBC studio in Plymouth. From Exeter, about an hour away, he sometimes took the train to the BBC London studios. His descriptions of Court Green and its surroundings were nearly as ebullient as Sylvia’s, although he found their little village “grim.” Still, he had banished the “headache” of London and felt as though he had removed an ant’s nest from between his ears. He counted seventy-one apple trees, one less than Sylvia’s total, and was busy with strawberry plants, imagining there was money to be made out of their produce. He took pleasure in picking his own fruit and eating it atop his own prehistoric mound.

Writing to Daniel Weissbort, an old Cambridge friend, Ted congratulated him on his marriage, an institution Ted recommended. But he also made an oblique comment that reflects, perhaps, what it was beginning to feel like settling into a fully domesticated life without urban distractions, but also without the outlets the city provided. “Marriage is a nest of small scorpions, but it kills the big dragons,” Ted wrote. For all the couple’s talk about sharing the same wavelength, it is inconceivable that Sylvia could have written such a sentence—at least not then.

Unlike Ted, Sylvia really wanted to settle into village life, and she contacted the Anglican rector about attending church, even though, as she explained to him, she was a Unitarian. The broad-minded and well-traveled clergyman was most welcoming, although Sylvia found the Sunday service a rather tepid affair. The rector appears, along with other local characters, in Plath’s charming story, “Mothers,” revealing how curious she was about the lives of her neighbors, whom she invited into her home, bestowing on them the respect that her husband would not have thought of expressing. Sylvia’s satisfaction did not mean, however, that she did not miss her homeland. In mid-October she asked Aurelia to send a few issues of the Ladies Home Journal. She missed “Americanness” now that she was in exile. And she did not section herself off from what was happening in the rest of the world—especially the atomic testing that she feared would raise the levels of strontium 90 in the milk supply. Expressing herself just like a Brit, she declared the American fallout shelter craze “mad.” She wrote to Marcia Brown, hoping to coax her into a visit. As was usual with a close friend, Sylvia was more candid than she was with her mother, admitting the village was rather ugly and the rector dull and stupid. He had taken one look at the books on Sylvia’s shelves and called her an “educated pagan.” Still, evensong in the Anglican chapel soothed her. She realized that to the locals she was a curiosity, but they treated her with warmth and generosity.

During the autumn of 1961, Sylvia made occasional visits to London to see editors and publishers, attending the occasional party and meeting writers. But she never remained long and was always anxious to return to Court Green. Village life, including a hunt meet, continued to intrigue her. Red-jacketed, brass-buttoned foxhunters paraded through the village tooting their horns, accompanied by “sulphurous dogs.” Such events, she told her mother, were “oddly moving,” although she sympathized with the foxes.

Sylvia wrote reviews of children’s books for the New Statesman, assembling quite a collection for Frieda, and soon, Nicholas. Repairs to the house continued. She enjoyed peaceful interludes in the Anglican chapel and long walks with Frieda. On 9 November, she was elated to learn that she had won a $2,000 Saxton grant to support her proposed novel, the subject of which Sylvia still did not share with her mother. Instead, she reported to Aurelia that The New Yorker had just accepted her poem, “Blackberrying,” clearly based on one of her jaunts with Frieda, when they picked juicy ripe fruit that made them part of a “blood sisterhood.” Indeed, the blackberries are described in terms of Plath’s body, “big as the ball of my thumb.” The simple pleasures she described in letters to her mother become in this poem an unflinching evocation of rapacity—both hers and nature’s—suggesting the way humans eat and are eaten by the natural world. Blackberrying takes her down a sheep path that opens out “on nothing,” just a great space and the “din” of what sounds like silversmiths “beating at an intractable metal.” Even as Sylvia told her mother that her world was coming together, her poems offer an alternative vision of futility.

By mid-November, Sylvia had a draft of The Bell Jar in hand and was busy fiddling with details that would disguise her all-too-literal rendering of people and places. Her publisher worried about libel, an especially vexing problem in England, where the onus is on author and publisher to prove they have not libeled the plaintiff, whereas in America the burden of proof is on the plaintiff. At least Aurelia was not going to sue her daughter, Sylvia said: In the novel, the mother is “dutiful” and “hard-working,” with a “beastly” and “ungrateful” daughter. With the novel virtually completed, Sylvia swore her editor to secrecy, since the Saxton grant was supposed to be for fiction she had not yet finished.

With The Bell Jar, Plath was finally able to put her own experience in perspective as the story of what success meant in 1950s America to her alter-ego, Esther Greenwood: “I was supposed to be the envy of thousands of other college girls just like me all over America who wanted nothing more than to be tripping about in those same size seven patent leather shoes I’d bought in Bloomingdale’s one lunch hour with a black patent leather belt and black patent leather pocket-book to match.” Esther looks the part, with her perfectly put together ensemble like those of the other magazine guest editors with their “all-American bone structures.” The term all-American, usually reserved for superior college athletes, here suggests the conventionality with which this all-star team is assembled. Plath reduced the number of actual guest editors from twenty to twelve, the number of the apostles—in this case, devotees of American drive and energy. Only Esther has lost her ambition, and what troubles her is that very lack of aspiration. She cannot simply be. She has to become something more, and when the zeal to be great deserts her, she is left with nothing.

With children, a home, and a husband, Plath was able to confront her earlier self. But as Ted Hughes wrote in his introduction to her journals, while a “new self” had created her mature poetry and her novel, it could not “ultimately save her.” If one interprets The Bell Jar as, in a sense, Sylvia turning her back “on an enemy who seems safely defeated, and is defeated,” her victory may well be, Hughes speculates, the “most dangerous moment of all.” Not always the keenest reader of his wife’s mind-set, here Hughes seems to have got it right. She mistakenly thought that with The Bell Jar she had put her trauma behind her.

Esther is demoralized, in part, by the standardized America that Hughes so detested. She rejects Buddy Willard, modeled after Dick Norton, because he has no intuition. She scorns his “good marks,” but then turns this hostility upon herself, noting that after “nineteen years of running after good marks and prizes and grants of one sort and another, I was letting up, slowing down, dropping clean out of the race.” Unlike Doreen, who does have intuition and does take chances, Esther suffers from a failure of nerve and a paralyzing indecisiveness that she tries to remedy with reckless behavior, resulting in a nearly successful rape she has invited in a desperate effort to “go the whole way.”

Esther makes it through her time of trial, rejecting the facile advice of Joan Gilling, whose false recovery from a mental breakdown ends when Joan kills herself. Esther is not cured, any more than Plath’s demons had been banished. Indeed, as Esther observes in the novel, “How did I know that someday—at college, in Europe, somewhere, anywhere—the bell jar, with its stifling distortions, wouldn’t descend again?” Indeed, Ted Hughes would use the metaphor of the bell jar more than once in Birthday Letters to suggest the return of Plath’s furies.

“Frieda moos & baas & peeps back at cows, sheep & birds,” Sylvia reported in a holiday card to Ann Davidow and her husband, Leo. In fact, Sylvia sent out most of her Christmas cards by 7 December by “ordinary mail” at considerable savings. It might be good for Frieda, Sylvia supposed, to attend Sunday school, even if she was bound to reject the dogma. Plath suggested it was better to have a religious background to rebel against than no background at all. Writing to Aurelia, Sylvia confessed that she found Cold War politics deeply disturbing and criticized the harsh, threatening rhetoric President Kennedy aimed at Nikita Khrushchev. She feared for Frieda, growing up in such a self-destructive atmosphere. The work of right-wing organizations like the John Birch Society and the growth of the military-industrial complex convinced her that America was on the wrong course. She thought the British misguided to ally themselves with the United States. She would have preferred a neutral United Kingdom. Even so, Sylvia rejoiced in receiving the Ladies Home Journal from her mother—especially the recipes in the magazine, since the English equivalents were “things like ‘Lard and Stale Bread Pie, garnished with Cold Pigs Feet’ or ‘Left-Over Pot Roast in Aspic.’” The lack of central heating was taking its toll, even though they had four electric heaters now in addition to the coal stove. But Frieda thrived, and on balance Sylvia believed they were better off than in an overheated American home. She reveled in a traditional Christmas, complete with tree trimming and a display of fifty Christmas cards.

Near term, Sylvia stopped writing in January 1962, contenting herself with baking and performing other household routines while awaiting the imminent arrival of her second child. Finally born a few days late on 17 January, Nicholas was a big baby. At over nine pounds he was more than two pounds heavier than Frieda had been, and he felt like it, Sylvia reported to her mother. Even though her labor took longer this time, she seemed perfectly at home with her midwife and a gas cylinder she tapped into by applying a mask to her face. Sylvia described the birth as an epic event, with the bluish-looking boy shooting out of her onto the bed in a “tidal wave of water,” drenching her, Ted, the midwife, and the doctor. Frieda stood by, safety pins in hand, kissing the baby. Ted thought he had taken it all in stride, but the next day, he admitted in a letter to a friend, he was exhausted. Births, he assured his correspondent, took as much out of the father as the mother.

Sylvia emerged from her “cow-state” and resumed writing in February, relieved that she could give Ted a respite from so much childcare. Although the night feedings depleted her, having babies, she told her mother, was wonderful, and she wished she could just go “on and on.” She felt reborn. Nicholas seemed more docile than Frieda had been as a baby. Frieda was now the household terror, tearing off pieces of wallpaper when she found a niche that fit her fingernail and uprooting bulbs. Sylvia tried to keep her daughter busy by showing her how to garden, a “pacifying pastime,” as she put it in a letter to Ann and Leo Goodman. Nicholas was proving to be a “true Hughes”: “craggy, dark, quiet & smiley.” Too much wet and windy weather in March, however, had Sylvia yearning for a full spring. Finally, her letters to Aurelia began to mention a novel, “something amusing.”

After a cold and sunless March, Sylvia, afflicted with chilblains (as she wrote the Roches on 12 March) and busy with expensive repairs to the house, looked forward to the spring and visitors, including (she hoped) the Roches and a BBC crew coming to interview her. Ted was taking day trips to London to see publishers and work on BBC programs. She was picking six hundred daffodils a week and taking them to market. Baby Nick, as Frieda called him, was sleeping in his pram among the daisies. Sylvia could not have presented a more idyllic picture for her mother, who was preparing to visit that summer. To the Roches, she offered a more sobering report on the toll the winter, which produced temperatures lower than forty degrees inside parts of the house, had taken on her. She was working, she told them, on a “grossly amateur novel” (The Bell Jar).

Ted sent an enchanting May Day letter to Aurelia and Warren, likening the array of thousands of daffodils on their property to a “perpetual court-ball.” Sylvia, he said, was staggering with delight. Away from the “panic pressure” of the American poetry world, she was in her own element, writing extremely well. The house had given both of them a grounding utterly lacking in the unreality and fantasies of literary life, he concluded. Sylvia’s calendar shows that she was painting moldings and other items in the children’s playroom, baking, working in the garden, reading Dr. Spock, writing reviews for the New Statesman, and working on a dramatic poem, “Three Women.” She was also developing a warm relationship with Elizabeth Compton and her husband, David, both admirers of Ted’s work who were beginning to read Sylvia’s as well.

Besides working on the house and in the vegetable garden, Ted took off twice a week to fish on the Taw River. He surely would have done so whatever the state of his marriage. But his participation in Sylvia’s all-consuming domesticity—especially after the initial excitement over Nicholas’s birth and refurbishing of the house—may have given way to his sense of marriage as a “nest of small scorpions.” Writing to his brother, Gerald, in early May, Hughes went into considerable detail about his fishing expeditions, reminiscent of the boyish hunting days he had spent with his older brother. Ted did not mention the weekend visitors he and Sylvia had just entertained, David and Assia Wevill. To Aurelia, Sylvia described David as a “nice young Canadian poet,” and Assia as his “very attractive, intelligent wife.” Accounts vary as to what happened that weekend. To Sylvia, however, the attraction between Ted and Assia was palpable. Ted later told Olwyn his affair with Assia began in June, although David Wevill later told Olwyn he was not aware of the affair until Sylvia wrote to him in October.

Just the faintest hint of trouble may have been signaled in Ted’s 24 May letter to the Merwins, in which he confessed he had “written nothing.” He said he was “quite content” to let the tension smooth itself out instead of “writing purely out of nerves.” Taking it easy that way, he hoped he might be able to “hear myself speak.” It is a common enough idea—the writer awaiting the arrival of his own voice—but the words, in retrospect, seem also to convey an undertow that perhaps Hughes himself did not yet appreciate. He may have exaggerated his dry spell, since his letters to Olwyn are full of news about his writing projects, but perhaps he meant “nothing” in the sense that he had not produced anything worth being called writing. Certainly nothing in the tone of Ted’s letters approaches Sylvia’s avowal in a 7 June letter to her mother: “This is the richest and happiest time of my life.” Apparently, her husband was beginning to see married life as an engulfment.

A. Alvarez visited the couple during this period and noticed that Sylvia no longer seemed the subordinate wife he took her for when they first met. Now, as he puts it in The Savage God, she appeared “solid and complete, her own woman again.” She was sharp and clear and in command of her household. The power, in short, had shifted to her. As she showed him around Court Green, Alvarez had the distinct impression that this was “her property.”

Sylvia wrote to Olwyn sometime in June, describing Nicholas’s birth, his pacific demeanor, and his “Buddhalook,” which she found “endearing.” During a lunch, Elizabeth Compton remembered, Sylvia bounced Nicholas on her lap and said, “Just watch those eyes. He’s such a greedy little boy. He wants his fair share.” To Olwyn, Sylvia described mowing and scything “like a black,” and being preoccupied with many other household tasks. In a letter to Elizabeth Compton a few months after Sylvia died, Aurelia evoked the scene: “the cobbled Court, the giant elms—the front and rear doors open so that one can see through from the court to the green—where Sylvia mowed her bit of lawn and planted the flower beds and Frieda brought her toys out on the green to play.”

Sylvia was quite excited about, “Three Women: A Poem for Three Voices,” set in “a maternity ward and round about,” suggesting that what occurs is as much in the mind as in a tangible place. Performed on BBC radio on 19 August 1962 “to great effect,” Ted thought, this haunting piece incorporates several aspects of Sylvia’s psyche: a woman with child who feels a part of the world, as though she is a “great event”; a mother who in giving birth rages against the world of “flat” and “formless” men who plot destruction, bulldozing and guillotining their way to death, which becomes the woman’s lover like a disease she carries with her; and a woman who wonders what it is she misses and feels “solitary as grass.” How shocking this prophetic piece is to read when set against the benign letters Plath and Hughes were writing at the time. While the calm and contented voice of Sylvia’s correspondence is represented in “Three Women,” so, too, is her anguish and her anxiety that her life was about to miscarry. The “second voice” insists she can love her husband and that he will understand her and love her “through the blur of my deformity.” But she cannot be sure that, like starfish who can grow back missing arms, she can be “prodigal in what lacks me.” She remains suspended between hope and doubt. And for Sylvia, it would only get worse.