University Of York

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Sylvia Plath loved mermaids and fairytale princesses and glamour girls. 'Ocean 1212-W' is not the only place where we glimpse her 'belief in mermaids.

The fairytales are not confined to her poems ('The Disquieting Muses', 'Bluebeard' Cinderella', and 'The Princess and the Goblins', to name but four).

The glamour girls step out of the pages of her journals, which are dotted with references to Marilyn Monroe, Grace Kelly, and Elizabeth Taylor.

These fascinations can be traced in the dynamic relationship between Plath's writing and her lifelong practice as a visual artist, and reveal an alternative fantasy world that is prompted by Plath's simultaneous impulse towards complicity and critique.

My own impulse when opening Chanel Jewelry Eye Rhymes for the first time was not to read, but to look. First and foremost, Connors and Bayley present a rich and beautifully ...
... reproduced collection of Plath's visual art.

Eye Rhymes put in the public domain, in most cases for the first time, a huge array of images. These are drawn from Plath's lifelong production of illustrated greeting cards for her family, paper dolls with extensive movie star wardrobes, paintings, drawings, collages, art scrapbooks, and doodles in the margins of her own written texts and notes.

Plath's art is good it is worth looking at in its own right. Moreover, it adds to our understanding of Plath's overall importance and her imaginative landscape.

Connors's essay is the critical equivalent of a novella, taking up 140 of the book's 233 essay pages. It is an impressively well informed piece, the product of long immersion in the Plath archives.

Connors offers a detailed account of Plath's lifelong movement 'between art-making and writing' and makes the crucial point that Plath deployed a 'wide range of styles, an experimental approach to the arts also reflected in her writing genres'.

Like the other pieces in Eye Rhymes, this essay takes seriously all of Plath's textual and visual production, quietly working Jewelry On Sale against a prevalent view that praises poems over prose or valorises the late work by dismissing the earlier.

There are numerous fine details in Connors's piece. Connors acknowledges Aurelia Plath's role in collecting 'what is surely one of the most complete records of a great artist's life ever assembled'.

She observes Plath's 'habit from childhood' of 'writing while looking out the window'; concern about 'which color of ink to use for her writing', and attention to the 'rhythmic design of white snow on black wire' in a photo Plath took of a winter scene. All of these instances illustrate the crossover in Plath's mind between linguistic and visual activities.