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Suggesting that the motives of biographers are less than altruistic, if not intrusive, Malcolm's book concentrates on her lengthy research process, particularly dealing with Olwyn Hughes, the executor of Plath's literary estate, and interviewing other Plath biographers to discuss how writing their biographies affected them personally.
This has made research difficult for Plath's biographers, who have been denied access to many of Plath's journals and letters, key sources that biographers of other individuals often take for granted.
Once considered a noble genre, whose standard was James Boswell's Life of Samuel Johnson (1791), biography in recent years has become increasingly dependent on the lurid details of its subject's life, becoming a psychology of an artist's pathology instead of an exploration of the guiding principles and philosophies that underscored a person's life. [In the following essay, Horne details how Plath's published journals were manipulated by Hughes and his editor, thus providing a skewed rendering of Plath's life.
There is a noticeable comparison between the poem “The Mirror” By Sylvia Plath & the article “Barbie” that appeared in the Newsday Tuesday November 18, 1997.
The comparison is about how people look, and how society could reflect how you may feel about your looks. In the poem it shows how the lady wants to be pretty.
Kroll's analysis of the characteristics of the confessional writer might also be applied to Plath's journal.
She is not a confessional poet, nor does she use her journal as a confessor.And this could hurt somones self esteem, and could damage the way someone looks upon ones self.In the poem the girl tries to make her self prettier, by creating artificial pretty ness. The poem & the article compare about how the way people look ad feel, and how society has a role on their lives.The Mirror by Sylvia Plath There is a noticeable comparison between the poem “The Mirror” By Sylvia Plath & the article “Barbie” that appeared in the Newsday Tuesday November 18, 1997.Sylvia Plath and the Nature of Biography With the advance publication of The Silent Woman (1994) in the New Yorker in August 1993, Janet Malcolm reopened debate about the life of poet Sylvia Plath and raised some larger issues about the nature of biography itself.Indeed, Malcolm questions the efficacy of the biographer's project—capturing a person's life—and wonders if the biographer is, in fact, more of a burglar than a benefactor. Reid, for instance, argues in Necessary Lives (1990) that "biography ought to be as well written as a novel; but it should not try to be, or to feel like, a novel.Several other writers have also pondered this predicament. Biography becomes a fine art when it performs superbly within the right limits of its own nature….'Confessional' poetry usually comprises a plurality of concerns—politics, the writing of poetry, marriage, aging, fame, and so on—that remain relatively independent.But in Plath's poetry, there is one overriding concern: the problem of rebirth or transcendence; and nearly everything in her poetry contributes either to the statement or to the envisioned resolution of this problem.In the published American edition of The Journals of Sylvia Plath, the writing often appears fragmented as Plath shifts from one topic to another.A comparison of the published Smith Journal (1950–1953) to the original manuscript, however, reveals that the published edition edits, and often deletes, much of Plath's creativity and sensuality as well as her pain and anger.