Ariel by Sylvia Plath

By Sylvia Plath

"In those poems...Sylvia Plath turns into herself, turns into anything imaginary, newly, wildly and subtly created."
-- From the creation through Robert Lowell

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Example text

About sheets: I am the spill and the snarl of their knotting, their drape and blotting all that abounds. I am the bodhisattva of sheets, an American come here to learn to see inly. Shut the blinds. I’m learning to see at the red end of the spectrum through the louvers of the jalousie that scores the bed with bars of light and dark. About color: I am the ambulance driver. I carry a body in its bloody sheet or carry a space for a body back and forth. There’s a war. I slow the spirit, move the matter, dye the room a roast beef color.

Everywhere a miasma and fictional mooring of desire and father. This token is good if you’re white and rich. In the trash—a crutch, a mattress, a cymbal. What more do I need? A book, twelve bars of the brutal, and rent money. And music to be made as I am able. 27 devotion: dizzy gillespie Half what you make of it and half envy and fear and the rest living in the world, buying a lottery ticket and a coffee to go while anointing with your oil the face of the one you love then the faces of all those you love while you’re loving the one you love.

She is partly sunny. Does the bus stop in Verona? Does it stop for a fifteen-minute break from experience? We’ll go through cities of one feeling, towns thin as angelfish, deadpan villages. Cut open Dickinson and you’ll find the blues, you tell me. Kiss Dickinson and you’ll find distance. Does the bus stop at Wellbutrin? I can’t draw, but you can. If the bus goes through 44 Mexico are we Mexicans? You draw a sketch of a Cadillac convertible, top down, (it’s not all representational): Elvis drives into the horizon.

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