How Much Money Aurelia Got For Sylvia's Letters

It was such a big event in Aurelia's life I had to pursue the question although told the answer was confidential, none of my business, they didn't know or they wouldn't say.

Aurelia Plath was paid $190,000 for her daughter Sylvia's letters and other items now in the Sylvia Plath mss. at the Lilly Library at Indiana University at Bloomington.

The sale, through a dealer, was completed in March 1977.

$190,000 in 1977 is worth in 2024 either $985,150 or $1,101,400. In either case, a cool million.

Worth it, for Sylvia's letters home, early short stories, diaries, paintings, and memorabilia: more than 3,000 items. Aurelia opened the Lilly collection to the public having decided what the public should see. I think she removed Sylvia's "lost" short stories "The Trouble-Making Mother" and "The Mummy." But let's admire Aurelia's amazing foresight in amassing and preserving for 45 years this dazzling literary trove and making it available. Many a scholar has made money from it.

Aurelia's writings and correspondence never mention meeting an appraiser or dealer, or negotiations over the price and dealer's fee.

Aurelia -- in 1977, age 70 -- for tax reasons divided the $190,000 into 10 annual payments. [1]

I heard more than once that the dealer held back some items and sold them.

Aurelia at a later time donated further Plath materials to the Lilly Library's Sylvia Plath archive.

[1] In 1977 a single filer with a taxable income of $19,000 (in 2024 money, $100,000) was taxed at 34 percent. $190,000 would have been taxed at 70 percent. TaxFoundation.org.

"But You Stopped the Piston!"

Aurelia Plath shorthand annotation on London Magazine, p. 32

 

London Magazine in April 1963 and Encounter, in October 1963, published some of Sylvia Plath's "Ariel" poems, hot properties after she had died. Encounter published a group of ten. Aurelia Plath collected and preserved magazines that published Sylvia's work, read them thoroughly, and wrote on them in longhand and Gregg shorthand, mourning or talking back to her famously dead daughter, or guiding future scholars and biographers to what they ought to notice.

In 1983 Aurelia donated her collection to Smith College's Plath archive. In Boxes 7 and 8, Dr. Gary Leising of Utica University found two British litmags with Aurelia's shorthand annotations alongside two Plath poems, and sent me photos. As you know, I read shorthand. These annotations express mixed grief and fury.

Sylvia's poem "Years" (a favorite of mine), in London Magazine, includes these lines:

What I love is

The piston in motion.

Aurelia underlined and penciled alongside of this, "But you stopped the piston!"

She was speaking directly to Sylvia, a rarity among Aurelia's annotations. Aurelia visited this page more than once, adding an exclamation point in black ink. I think Sylvia was referring to a different type of piston, but Aurelia had her own opinion.

In Encounter's shorthand annotation, on "Daddy," -- this is the context:

Encounter, October 1963

Penciled in shorthand next to "The vampire who said he was you" is " = Ted."

Understand that Aurelia knew the poem's references long before critics caught on. For years, through interview after interview, in 1966, in 1970, Aurelia withheld the "vampire's" identity, never said the "black telephone" incident was real and she had witnessed it. Ted Hughes told Aurelia she must stay silent about the circumstances of Sylvia's death or never see Sylvia's children again. Aurelia would not risk that. 

So under this gag rule, keeping secret the "why" of Sylvia's suicide that puzzled a generation of critics and fans -- had Sylvia Plath been in love with death? A victim of incest? A gifted woman driven mad? Was a crazy bitch? -- when journalists and biographers probed, Aurelia changed the subject, or simpered, said nothing and passed the cake plate.

But Aurelia could annotate. In shorthand, which no one else in the family could read, Aurelia penciled Ted's name. Besides pencil, in Encounter there is black ink, disclosing a second visit to the page, this time singling out identifying details. Dr. Leising added that on London Magazine's table of contents, Aurelia "marked a cross followed by the date of Sylvia's death. That little detail was, to me, a very poignant reminder of Aurelia's grief."

Not only that: where the poem says "I was ten when they buried you," Aurelia circled "ten" and wrote "8." Encounter's headnote, written by Ted, says Sylvia was nine when her father died. Aurelia corrected it to 8. These annotations, not dated, were probably made before it was widely known that Sylvia Plath's father died when she was eight: before 1975, when Aurelia Plath's preface to Sylvia's Letters Home made that clear.