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There will be people who disagree quite strongly with what I’m about to say . . . What Plath most often wrestles with is a sense that, as the metaphor of a bell jar suggests, she’s seeing the world through glass. She’s trapped. She’s constrained. She knows that there’s something greater within her, but it can’t break through. She’s struggling; she’s puzzled. To borrow one of her titles as a metaphor, she’s writing ‘stillborn’ poems. Scholars like Christina Britzolakis have written powerfully about why they think that this breakthrough narrative isn’t appropriate, but it seems right to me, and it’s Plath’s own language to describe her development as a poet.

It’s always seemed to me that Plath develops in fits and starts. There’s no kind of linear progression; she goes through phases. She’ll try out one style for a period, and then she’ll fall silent, and then she’ll try out another one and fall silent. Like any apprentice poet, she’s experimenting, casting off styles as she goes. Thi

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