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Beschreibung des Verlags
The poems in Sylvia Plath's Ariel, including many of her best-known such as 'Lady Lazarus', 'Daddy', 'Edge' and 'Paralytic', were all written between the publication in 1960 of Plath's first book, The Colossus, and her death in 1963.
'If the poems are despairing, vengeful and destructive, they are at the same time tender, open to things, and also unusually clever, sardonic, hardminded . . . They are works of great artistic purity and, despite all the nihilism, great generosity . . . the book is a major literary event.' A. Alvarez in the Observer
This beautifully designed edition forms part of a series with five other cherished poets, including Wendy Cope, Don Paterson, Philip Larkin, Simon Armitage and Alice Oswald.
Along with withholding (or allegedly destroying) one of Plath's journals after her death in 1963, Plath's husband, the late English poet laureate Ted Hughes, brought out a version of her second and final book of poems, Ariel, that differed from the manuscript she left on her desk. That edition--for which Hughes dropped 12 poems, added 12 composed a few months later, shifted the poems' ordering and included an introduction by Robert Lowell--has become a classic. The present edition restores the 12 missing poems, drops the 12 added ones, and prints the manuscript in Plath's own order, followed by a facsimile of the typescript Plath left, along with a foreword by Plath and Hughes's daughter Frieda Hughes (Wooroloo), several hand- and typewritten drafts of the book's title poem and notes by David Semanki. The original manuscript's contents have been widely known since Hughes published them in the 1981 Collected Poems, but there is an undeniable thrill to reading Plath's book as she left it--the lacerating "The Rabbit Catcher," left out of the Ted Hughes edition, comes third here, with its rhyme of "force" with "gorse," the flowers of which "had an efficiency, a great beauty,/ And were extravagant, like torture." As to whether this version is a better book, only time will tell. For now, despite Frieda Hughes's repeated references to her father's respect for Plath's work, tally another shot in the Plath wars.