"Family Reunion"'s Real People

Sylvia Plath published the satirical poem "Family Reunion" in The Bradford, her high-school newspaper (she was co-editor) in April of 1950, her senior year; she was 17. Aurelia Plath first read the poem in the paper and was shocked, in part because it names real family members. The poem's speaker is upstairs at home, listening as relatives arrive for a visit:

Oh, hear the clash of people meeting--

The laughter and the screams of greeting:

Fat always, and out of breath,

A greasy smack on every cheek

From Aunt Elizabeth;

There, that's the pink, pleased squeak

Of Cousin Jane, our spinster with

The faded eyes

And hands like nervous butterflies;

While rough as splintered wood

  Across them all

Rasps the jarring baritone of Uncle Paul;

The poem is witty but at the expense of the real-life Elizabeth and Paul, Aurelia's aunt and cousin, both by marriage. Elizabeth C. Schober, nee Etlin, married Aurelia's uncle Henry Schober in 1912. They named their only child Esther, then a fashionable name.

Paul McCue, college grad, 1931

Esther Schober might have been the model for the poem's pallid "Cousin Jane." After high school Esther got a secretarial job and lived with her parents until she was 30, escaping spinsterhood by marrying Paul McCue in 1943. In the extended family there was no one named Jane.

Esther's wedding was late enough in 1943 so that Boston's 1944 city directory (above) still shows her as one of three Schobers employed in Boston. Her husband Paul McCue, a college graduate, worked at Boston's Museum of Fine Arts as shipping clerk and custodian, finishing his career at Harvard University Art Museums, which threw him a retirement party in 1973.

The poem does not name or describe "Schober Herman F," a more distant relative. Yet he was close enough that Aurelia in her preface to Letters Home transferred Herman's job title "cost accountant" -- an industrial job -- to her own father, Frank Schober, a waiter like his brother. In the 1930s Frank managed a tearoom and after 1942 was maitre d'hotel in a country club outside of Boston. Good at his job, Frank was bad with money, losing family funds to the stock market, prompting his wife to take control. He was never a cost accountant. Why Aurelia wanted readers to see her father more prestigiously titled and employed than he was, we don't know.

"Family Reunion" specifies and belittles maternal relatives. Yet before assuming, because Sylvia in this early poem said so, that all of them must have been laughable or gross, know that Sylvia never met a paternal relative until she was 26 and went to visit one.

"An Emotional Voyage": Dr. Rachel Trethewey on Writing About Mothers

Rachel Trethewey; photo by Poppy Jakes

Published this week by The History Press UK, Mothers of the Mind is a triple biography of Virginia Woolf, Agatha Christie, and Sylvia Plath and their mothers, researched and written Dr. Rachel Trethewey, a fellow of Britain's Royal Historical Society and the author of five nonfiction books: Mistress of the Arts, Pearls Before Poppies, Before Wallis, The Churchill Sisters and now, Mothers of the Mind.

Dr. Trethewey read History at Oxford University, then did an M.A. in Victorian Studies followed by a Ph.D. in English from Exeter University, where she will speak about the book in November. I had questions I wanted answered right now, and Dr. Trethewey kindly replied.

1.     Why did you choose Woolf, Christie, and Plath?

      I first had the idea for this book at an exhibition at the Tate of St Ives in Cornwall. Alongside a quotation from Virginia Woolf, “We think back through our mothers if we are women,” was a bewitching photograph of her mother, Julia Stephen. It made me want to know more about Julia and her relationship with her famous daughter. I then wondered if the quotation was equally true for other female writers.

     As an avid reader of literary biographies, I recalled that Agatha Christie and Sylvia Plath also had intense relationships with their mothers. Fascinated by Plath since I was a teenager, I had always wondered how her mother coped with discovering Sylvia had such a different view of their bond. Agatha Christie had also always been on my radar because I was born and brought up in the same town as she was, Torquay, in Devon. Perhaps because I am so close to my own mother, when I read a biography of Christie, I was struck by her great affinity with her mother.

      When planning this book, I did consider other writers, but the mother-daughter bond was not so central to their lives. For instance, I am very interested in Daphne du Maurier, but her father was the focus of her early life.

2.     Why write about these writers’ mothers? What were you thinking?

      Inevitably every woman is influenced by her mother, but I wanted to write about exceptional mother-daughter bonds. My criteria was that the relationship must have profoundly influenced the famous author’s life, literature, and attitude to feminism. Like Virginia Woolf, I believe not enough has been written about women’s relationships with each other. Too often Virginia, Agatha, and Sylvia have been defined by their relationships with their lovers. I wanted to redress the balance by focusing on their formative affinity with their mothers. As I began researching, I discovered that the mothers were just as interesting as their offspring, formidable women who had shaped the outstanding writers their daughters became.

 

3.     Woolf and Plath had older, tyrannical, intellectual fathers and self-sacrificing mothers with Victorian values. It seems like a kind of formula that encourages creative daughters. Your opinion?

I was struck by how many similarities there were between two of the fathers, Leslie Stephen and Otto Plath. Intellectuals who wanted to be seen as geniuses, they were disappointed when they did not live up to their own exacting expectations. This had serious repercussions for their families. They were demanding men to be married to, who drained their equally talented wives. 

 

I agree that this complicated family dynamic played its part in the development of creative daughters. In each case, both parents were exceptional and had varying degrees of literary talent, which Woolf and Plath inherited. Their parents noticed and nurtured their children’s creativity. Family tensions also later provided plenty of subject matter for the daughters to write about. Certainly, the way the daughters viewed their mothers’ treatment influenced their feminism. They rebelled against a sexist society in which vibrant, independent young women were transformed into exhausted, self-sacrificing wives. 

 

However, although their daughters viewed them as martyrs, Julia and Aurelia perceived themselves as having more agency than that. As my book shows, they lived very full lives and would not have wanted to be viewed as passive victims. As Aurelia once wrote, Sylvia could only imagine what she thought her mother thought. Her mother's true feelings were very different.

 

4.     None of the mothers was abusive. Or were they?

None was, but Virginia’s and Sylvia’s relationships with their mothers proved to be detrimental to their mental health. When Virginia was a child, Julia was so involved in philanthropy and nursing that she was rarely alone with her daughter. When present, Julia was often sharp-tongued and impatient. Her death, when Virginia was thirteen, was devastating for her daughter. The Bloomsbury author felt haunted by her mother for the rest of her life. She tried to recapture her in her literature, but Julia always remained elusive.

 

Agatha’s relationship with her mother Clara was certainly not abusive. Clara’s unconditional love provided the firm foundation on which Agatha built the rest of her life.

 

Sylvia’s bond with Aurelia was arguably the most complex of the three. Plath’s psychiatrist encouraged the poet to believe that the mother-daughter relationship was at the root of many of her mental health problems. However, I think Aurelia always did her best by Sylvia, often at great emotional, physical, and financial cost to herself. It seems to me that both mother and daughter loved each other deeply, but the way their personalities reacted to each other could be toxic; perhaps they were just too similar. As perfectionists, they both wanted a perfect mother and daughter relationship, but that was just not possible in the real world. 

  

5.     Why did you include among your three writers an American younger by 50 years than the British writers? Are you one of those who consider Plath as British as she was American?

My criteria was the strength and complexity of the mother and daughter relationship rather than when they were born. However, as I wrote the book I was pleased that it covered a wide time span because it ended up charting how far attitudes to women’s roles had changed over a crucial century for feminism. I was also interested to see how Plath was able to take both her literature and feminism a stage further than Woolf had. For instance, Virginia broke new ground in the way she wrote about women’s bodily experiences, and Sylvia went further by writing about the visceral experiences of motherhood. 

 

I don’t consider Plath as being as British as she was American. Tracing both Sylvia’s and Aurelia’s story, I think it is tied up with the American dream. The fact Aurelia was the daughter of immigrants played an important role in Aurelia’s attitude to life and influenced Sylvia imaginatively, as can be seen in some of her short stories which drew on her mother’s experiences. My research also showed that rather than Aurelia being an atypical pushy mother, her parenting was influenced by the culture of her era in America. Her didactic approach was very similar to that of Rose Kennedy, who also acted as a teacher as well as a mother to her embryonic political dynasty. 

 

6.     Woolf and Christie came from families with money and status. Plath did not. What difference did this make, in your opinion?

A great difference. As I wrote about Aurelia Plath, I felt her life was the embodiment of Woolf’s feminist theories. Virginia’s tract suggesting that a woman needed an independent income and "a room of her own" to write came out at about the time Aurelia was choosing her career. Like Sylvia, Aurelia was exceptionally clever and ambitious; she wrote a brilliant thesis about Paracelsus, and could have pursued a career in academia. She also had aspirations to write, and would have liked the chance to explore a literary career. However, because her family lacked money and status, she had to take the safer option and become a teacher.

 

Finances also affected her relationship with her daughter. Aurelia wanted Sylvia to have all the opportunities she had missed out on. She worked exceptionally hard to make that possible. At times Sylvia resented her mother’s self-sacrifice. When Plath went to Smith College, she was very aware that she had to work hard for the same lifestyle her wealthier contemporaries took for granted. 

 

7.     Can you speak briefly of your own mother’s influence on you?

My mother Bridget has been my rock throughout my life. She has always supported me without smothering me and our relationship has been one of the most complete and uncomplicated in my life. I consider myself very lucky to have experienced that unconditional love. She has been very involved in this project from start to finish. She was with me when I first had the idea at the art exhibition and, while I was writing the book, she encouraged me every step of the way. I have dedicated it to her because our relationship is what really made me so interested in other mother-daughter bonds.

 

8.     Anything else you find interesting or want your readership to know?

Writing this book has been an emotional voyage of discovery for me. I found myself comparing my relationships to the bonds I was writing about. I didn’t find one formula which makes for a good relationship. But it did make me question how well we can ever know another person, even those we love best. I realized that rather than want our loved ones to be happy, we should want them to be fulfilled, and only the person themselves can know what will give them that fulfillment. At times I found writing the book harrowing, particularly the parts about Aurelia and Sylvia: I could feel how powerful the love between them was, and it was so sad that it went wrong. 

Mothers of the Mind: History Press.com UK ISBN: 9781803991894

Mothers of the Mind Amazon Pre-Order USA (April 2, 2024)

Mothers of the Mind: Remarkable Mothers of Woolf, Christie, and Plath

Delighted to tell you History Press of U.K. will publish on September 14, 2023, Dr. Rachel Trethewey's triple biography Mothers of the Mind: The Remarkable Women Who Shaped Virginia Woolf, Agatha Christie, and Sylvia Plath. Dr. Trethewey asked archivists who to call about Aurelia Plath. She got the right number: mine!

I shared with Dr. Trethewey facts and resources about Aurelia Plath, and Dr. Trethewey wove them into an Aurelia-Sylvia narrative you will like -- the first of its kind of any consequence -- plus intriguing and enlightening stories of mother-daughter pairs Julia Stephen-Virginia Woolf and Clara Miller-Agatha Christie.

Too often Woolf, Christie, and Plath have been defined by and discussed in terms of their lovers or mates -- when for each there was one person who loved them better.

Pre-order the book from History Press UK here.

Pre-order from Amazon.com here (available in April).

What Is a Traumatic Death?

Would you agree that a death (which is always a loss) is an especially traumatic loss if:

·      it occurs without warning

·      is untimely

·      involves violence

·      there is damage to the loved one’s body

·      the survivor regards the death as preventable

·      the survivor believes that the loved one suffered

·      the survivor regards the death, or manner of death, as unfair and unjust [1]

 

If you agree that any sudden needless untimely death, especially your child’s, is particularly grievous, then imagine Aurelia Plath’s grief after her daughter Sylvia died, overseas, at age 30. Told at first that Sylvia died of pneumonia, Aurelia learned days later that it was suicide, and son Warren told Aurelia the context and the details.

 

Aurelia wrote a brief angry note to a London newspaper that says those responsible for Sylvia’s death “know who they are.” She did not mail it, but kept it; it’s in archives. For future readers of this unsent letter, Aurelia added the initials of the suspect parties.

 

I can’t find in Sylvia Plath studies any respect or allowance for Aurelia’s trauma and grief. Her trauma would be as severe and multidimensional as ours if authorities phoned right now to say they found our child dead by suicide on a kitchen floor.

 

Rather than empathy (meaning, feeling what others feel) or sympathy (saddened by what others must be going through), Plath biographies and essays imply that Sylvia’s U.S. death notices – few and short because Sylvia wasn’t famous yet -- do not say “suicide” because prim Aurelia hoped to hide the real cause. No reason besides her personal character flaw.

 

We will be called to account for our assumptions.

 

Studies of mothers whose children died by suicide say mothers have not only the grief of suddenly losing a child but a burden of guilt, and, on top of that, they are judged. Even people who know suicide is never simple still suspect that a young suicide’s parents did not love them enough or in the right way, or were not prescient enough, or present enough, to stop them.

 

Aurelia in 1963 sent Sylvia’s friend Elizabeth Compton a note that was less about Sylvia than Aurelia’s own grief. Compton was offended and later sent Aurelia’s letter to a biographer as an example of Aurelia’s true personality. In summer 1963 Aurelia went to England. Her son-in-law, unable to think of any good reason a parent might want to visit their dead child’s former home and grave and children, thought Aurelia was coming for an “investigation.” And that she might dump too much love on her grandchildren. Remember he too was bereaved, as were the grandchildren.

 

Sylvia’s readers sympathize with her loss of her father and how his death changed her. It would be a truer picture if we saw that his death disrupted and changed her whole family. Sylvia’s 1953 suicide attempt shocked and terrified them. Aurelia wrote that she dreaded a recurrence. For her and her son 1963 was the second time around, only worse. Two families became survivors of a suicide and to this day they have not heard the end of it.

 

The National Alliance on Mental Illness says each suicide directly affects about 115 people and one in five (=23)  are devastated.

 

Living in a time of epidemic suicide we know that survivors of traumatic loss might cope by saying or writing tasteless vengeful unhinged or sentimental things, or frame the death as a murder, point fingers, or try everything to fix or explain it and never heal. A percentage will commit suicide themselves. Sylvia’s traumatic death very obviously colored all that occurred afterward, not much of it worth celebrating.

 

Sylvia suffered. But so did her family.

 

[1] “Traumatic Bereavement: Basic Research and Clinical Implications,” M. Barle, C. Wortman, J.A. Latack, 2017.

Diary of an Aurelia Plath Researcher

On the train to Independence, 23 January 2023

 To read my Diary, click here or on the Pages tab above.

See Aurelia In These Two Rare Educational Videos, Now Online

I am pleased to provide (at last!) access through these private links to two made-for-television videos, produced in 2000 for the "Sylvia Plath" segment of The Poets of New England series. They include rare footage of Aurelia Plath. At the time she was filmed (1986) Aurelia was 80 years old, and you bet she gets her say about how Sylvia's poetry creatively transformed her parents, Otto and Aurelia, into figures with the stature of myth.

Dr. Richard Larschan, professor of English and Aurelia's good friend, wrote and narrates these well-wrought 28-minute films woven through with Sylvia's image and recorded voice. 

-The "Monstrous Mother" video interprets "Medusa" ("that stinking poem," Aurelia says), "The Disquieting Muses," "Morning Song," "Kindness," and a portion of "Three Women" which Aurelia recites from memory and savors. 

-The "Omnipresent/Absent Father" features "Ballad Banale," "The Colossus," "Electra on Azalea Path," "Daddy," and the graveyard scene from The Bell Jar. Aurelia appears mostly in this video's first few minutes. Sylvia demonstrated intense creativity as she tried in each poem to articulate her mixed feelings about her father and his early death. Note that for the purpose of this video Sylvia's recording of "Daddy" has been abridged.

I think you'll be surprised, especially by the "Monstrous Mother" video.

These videos are not public. They are available online only through this site. I did not want YouTube ads posted on them. I wanted to preserve for online study the contents of these videos still otherwise confined to VHS format [pictured] and did the transfer at my own expense. Please do not copy, sample, embed, or alter these videos. Thank you.

*Sylvia Plath and the Myth of the Monstrous Mother

*Sylvia Plath and the Myth of the Omnipresent/Absent Father

"Be Sure That You Conform to the Rules"

The student handbook from Aurelia’s alma mater divided its rules into sections:

• Rules
• College Rules
• Dormitory Rules
• Miscellaneous College Rules
• Reminders

“Remember that you are being watched”

These rules, formulated by the college’s student government, include a 5 percent reduction in your final grade for each unexcused absence from class, and 2.5 percent off for tardiness. The dormitory had mandatory study hours and curfews. The handbook said that more important than good grades were high standards of personal conduct and character.

“to be very strictly enforced”

 

My point is that at Aurelia’s all-female college in midtown Boston in the 1920s and early 1930s caution and conformity were not unusual values. Nor were they Bostonian or working-class values; handbooks from women’s colleges in all regions, including Smith College, said much the same. [1] So what Plath fans like to call “Aurelia’s Victorian values” were not Aurelia’s own inventions or her personal failings. They were cultural and institutional norms. [2]

 

I was delighted to find on eBay three consecutive Boston University College of Practical Arts and Letters (CPAL) handbooks/personal appointment calendars for the school years beginning in 1932, 1933, and 1934. That was not too long after Aurelia’s graduation in 1928. CPAL student Gudrun Hetzel owned and wrote in all three of them brief personal notes about her classes, campus events, and social life. I hoped Hetzel’s cellphone-sized handbooks would bring me nearer to understanding Aurelia Schober Plath’s undergraduate experience.

 

Hetzel noted that CPAL tuition in 1932 was $180 per year; textbooks $1-$5 each; lunch 25 cents. On Hetzel’s calendar were dances, sorority rush, the German Club play, teas, numerous meetings of clubs and classes. She took and proctored exams. She wondered, “Is a real Christian ever blue?” Every Wednesday a mandatory assembly featured a guest speaker. In 1932-33 Hetzel penciled several pages of undated notes about Richard B. Harrison, African-American actor who at 65 had his first Broadway role as “De Lawd” in Green Pastures. The performance was so celebrated it landed him on the cover of Time. [3] Hetzel’s calendar does not say she saw the play.

 

From year to year CPAL rules did not change, but the 1932 handbook’s gleeful pages about earning pins and letters for CPAL athletics were reduced and moved to the back of the handbook in 1933-1934, the worst year of the Great Depression. Hetzel made these notes:

 

1933, February 4: “all banks in country closed for bank holiday – no one can draw out money except for payrolls and necessities after holiday ends”

 

1933, March 13: “Poverty party” [4]

 

1933, March 18: “Papa stopped working”

 

Hetzel said no more about her home or family. CPAL had opened in 1919 as a business-science a.k.a. secretarial school, but like Aurelia, Hetzel was a “degree student” preparing to become a teacher of languages. Hetzel’s senior-year courses in fall 1934 were Philosophy, Foreign Affairs, French, German Drama, and German 13-14. In spring 1935 Hetzel studied Psychology of Education, French, “Soc,” Shakespeare, and Ethics.

Hetzel’s calendar, September 1934. Sat. 29 says, Picnic at Haskell’s Farm, the shorthand says “with Sam”. Sun. 30 says, “Football game in the afternoon, supper, movies in the evening.”

 

Several of Hetzel’s notes are in Gregg shorthand. Hetzel met a man named Sam in December 1933. In February he brought her Valentine candy. I liked seeing their romance unfold week to week. Sam became her only date for dances. They also went sledding, and to a Red Sox game, and horseback riding. Just before graduation in 1935 Hetzel wrote, “Engaged to Sam.” Her Gregg shorthand notes say nothing scandalous, and only one surprised me:

 

In her senior-year handbook Hetzel wrote that a Mr. Benson recommended her to the North Andover (MA) school district to teach German, or French and English. He might have been the one who advised her:

 

Applying for position

• smooth appearance
• no nail polish
• Type-write letter 
• [in Gregg shorthand] religion will make a difference
  

 

[1] For example, North Carolina College for Women handbook, 1929-30: “The best things in life must necessarily come from service and self-sacrifice.” Typical of men’s-college handbooks was the dean’s message to Amherst’s class of 1933 stressing how others had sacrificed so that they might flourish. https://acdc.amherst.edu/view/asc:1407028/asc:1407057

[2] Gordon Lameyer’s unpublished memoir, p. 214, refers to “her rigid, Victorian values” (but wanted Aurelia to be his mother-in-law anyway).

[3] Time magazine, March 4, 1935, retrieved 24 April 2022.

[4] Guests at a poverty party wear ragged or dated clothing and hairdos, speak with ethnic or regional accents, take refreshments in tin cups, etc. Usually such parties were fundraisers.

N.B.: Gudrun Hetzel and Sam Hodges married in June 1936 and had three children. Gudrun died in 1988 and Sam in 1991, both in Florida, and were buried in the Hetzel family plot in Woburn, Massachusetts.

Where Aurelia Plath Went to College

Voyeur Arthur Inman lived across from Aurelia's all-female college, its campus here portrayed in its handbook, 1932.

Boston University in 1900 didn't want a business college. The word "business" itself was tainted; it stank of corruption and money-grubbing, and only grudgingly--responding to a survey of what male high-school seniors wanted, because female B.U. graduates outnumbered males--did B.U. allow in 1913 a College of Business Administration. The university's president and board of trustees, holding their noses, imposed certain conditions: 1) Night classes only. 2) The business college, being "unacademic," must be strictly separate from B.U.'s College of Liberal Arts. 3) The business college must fund itself; B.U. allowed the use of its classrooms but none of its money.

Hundreds of males enrolled. At last, a college that taught something practical: accounting, business law, economics, advertising, and also Spanish, because trade with Latin America was trending and Pan-Americanism was a live ideal. In three years the college more than paid for itself, and B.U. made it full-time and degree-granting. It was the first undergraduate business college in New England, its first graduates the class of 1917. [1]

During the Great War, men enlisted and women had to fill their office jobs. Without any fuss, B.U. in 1919 opened for women the College of Secretarial Sciences, degree-granting but with many options. College graduates and those with some college could earn secretarial credentials in one year or two. With two more years of literature and languages, women as cultured as they were self-supporting received a bachelor's degree. In its first semester 300 women enrolled. Aurelia Schober enrolled in 1924, when the school, offering a four-year teaching track, renamed itself the College of Practical Arts and Letters (CPAL). Aurelia earned the two-year secretarial certificate, as her father required, and could then have found a job, but the flourishing college where she was a star inspired her to want a career.

B.U.'s CPAL was first located in the old Massachusetts College of Pharmacy building on Garrison Street in Boston's Back Bay. In short order CPAL expanded into three adjacent buildings. One was the dormitory Aurelia lived in during her senior year. [2] [3] [4] In 1942, CPAL hired its own alumna, now named Aurelia Plath, to develop a medical-secretarial program at its new location, Dunn Hall on B.U.'s more picturesque Charles River campus [color photo]. CPAL in the 1940s had other specialty majors: business education, applied art, home economics, and retailing. But secretarial studies was its bread and butter and that was what Professor Aurelia Plath taught.

Where Aurelia Plath taught: Dunn Hall, Boston University

As crucial as such training was to women who needed it, at universities "secretarial science" was reduced to "skills" that high schools and vocational schools could teach in less time and with fewer books. CPAL was dissolved in 1955, its courses and faculty portioned out to B.U.'s art school, school of education, and thriving College of Business Administration, where Aurelia was promoted to associate professor. Dunn Hall today houses the Elie Wiesel Center for Jewish Studies.

[1] https://www.bu.edu/articles/2015/birth-of-a-college/

[2]

The Journal of Education, Sept. 29, 1922.

[3] Recluse and diarist Arthur Inman lived from 1919 until the 1960s in Garrison Hall, a residential hotel at 8 Garrison Street. His September 21, 1921 diary entry describes looking through field glasses from his sixth-floor apartment down into Boston University's gymnasium, where, in an office, naked female students were being measured and examined. The Inman Diary (Harvard Univ. Press, 1985).

[4] After CPAL left Garrison Street, two other colleges moved in. The buildings were razed in the 1970s for apartments and senior housing. Garrison Hall, on the next block, still stands.

Aurelia Plath, Young Wife and Mother: 24 Prince Street, Jamaica Plain

Newlyweds Aurelia Schober and Otto Plath rented here the lower left unit from 1932 until 1936. This was where the couple rewrote for publication Otto's dissertation about bees. Here Aurelia studied Latin for a college course Otto had her take so she could better draft his paper about insects. Sylvia Plath was born in a Boston hospital, but this house in the Boston neighborhood called Jamaica Plain was her first home. In a little pink baby book Aurelia chronicled her daughter's growth and milestones. Sylvia spoke her first words at eight months old. At 14 months Aurelia noted that Sylvia said, "Daddy," "specially when someone shakes the furnace!" Back then, someone had to shake the house's furnace about every 12 hours to knock the ashes off the burning coals.

In this house Sylvia learned to walk, talk, and read. Little Sylvia, using tiles, here copied onto the living-room carpet an image of the Taj Mahal, artwork that delighted her father. Built in 1916, 24 Prince Street is a short walk from the Arnold Arboretum, a botanical garden and haven for bees, where Otto had dwelt for years with a houseful of fellow Harvard graduate students. Sylvia could recall from her very early childhood her grandparents' house in Winthrop, by the ocean, but only Aurelia recalled in writing some of the events that took place here.

Aurelia Plath's Trips Abroad

Aurelia Plath traveled quite often, but only in later life. In 1956, she was 50 years old. In 1981, she was 75.

1981: Bermuda, May 18-25

1979: Antigua with Roberta Wood, April

1978: Antigua, with Roberta Wood

1973: England, Aug. 23-Sept. 5

1970: European Tour with Dot and Joe Benotti, June 4-30

1969: Italy, Greece, Yugoslavia with Marion Freeman, May 31-June 22

1967: England, July-August

1965: England, June 10-c. July 23

1964: England, June 10-July 1

1963: England, June 6-July 11

1962: England, June 21-August 4

1961: England, June 18-July 14

1958: Bermuda with Francis Schober, Sr. (father), arriving May 31

1956: England, France (eight days in Paris), Netherlands (five days in Amsterdam), Germany, Austria (three weeks), Switzerland (three weeks), England (nine days), June 13-August 14 [1]

1908: San Remo, Italy, with Aurelia Schober, Sr. (mother), according to Francis Schober's citizenship papers, and returning to the U.S. in May 1909, according to a ship's manifest. Aurelia was a toddler at the time and never mentioned this trip.

[1] Itinerary according to Aurelia's Christmas letter 1956 to Miriam Baggett (archive, Smith).

Above All, Does It Pay? The Plaths' Financial World

Otto Plath died in 1940. Aurelia Plath said he left his family a $5,000 life-insurance policy. In 2021, the equivalent of that payout would be $93,000.

 

The cost of a typical funeral in the US in 1940 was about $800; $650 of that was for the casket. Burial is a separate expense; Aurelia paid $375 for Otto's burial, about $7,000 today. A typical funeral/burial package in 2021 costs $12,000.

 

Fee for leg-amputation surgery in 1940 is unknown; in 2021, it’s $20,000 to $60,000. A prosthesis is a separate expense.

 

Aurelia Plath’s Money:

 

Aurelia did substitute teaching at $25/week in 1941, equivalent to $420/week in 2021. At that rate a 40-week school year would pay Aurelia our equivalent of $16,880/year. The average US public-school teacher in 1940, working 40 weeks, made $1,435/year, or about $36/week.

 

Aurelia in 1942 became a full-time instructor at Boston University at $1,800/year, the equivalent of $30,250/year today. (Letters Home, 29) This put their household of five below today’s poverty level ($31,000). Aurelia taught summer school and tutored to earn more, and there were Grampy’s earnings, amount unknown.

 

A survey of 158 US colleges and universities for 1947-48, the year Aurelia was promoted to assistant professor, showed the median salary of assistant professors to be $3,000/year. In 2021 dollars that’s a bit over $36,000.

 

Aurelia in 1953 wrote Olive Higgins Prouty she earned $3,900/year. The 2021 equivalent is $38,000.

 

Associate Professors in 1968-69, shortly before Aurelia retired with that title, made a national median salary of $12,151/year; $93,300 in 2021 dollars. But counting only faculty salaries in non-public colleges such as Boston University, the median salary sank to $7,662, or, in 2021 terms, $59,000/year. As a female, Aurelia would likely have been paid about 70 percent of whatever her male colleagues made.

 

A publisher’s $5,000 advance payment in 1975, such as Aurelia got for Letters Home, would equal $25,000 today.

 

Sylvia Plath’s Money

 

In 1947 if Sylvia earned $25, that would be like $302 today.

 

The $850 Olive Higgins Prouty scholarship given Sylvia in 1950 would equal $9,400 today. (SP to ASP, 31 October 1950)

 

A “classic pair of silver closed pumps” priced at $12.95 in 1953 would cost $126 today. (SP to ASP, 3 March 1953)

 

In a May 21, 1955, letter to her mother, Sylvia summed up her past year’s earnings from writing: $470, which would look like $4,585 in 2021.

 

Smith College paid Sylvia $4,200 to teach Freshman English for nine months. The equivalent today would be $39,640 (SP to ASP, 12 March 1957). The median pay for instructors in 1957 was $4,562, equivalent today to $40,300. Women’s colleges were known for paying lower salaries all across the board.

 

Sylvia and her friend Anne Sexton’s 70-cent cafeteria meal would be $7 in 2021.

 

What was, in 1959, a $15 eagle tattoo would cost $135 today.

 

In 1960, the US median monthly apartment rental was $71; in Massachusetts, $74. Source.

 

Sylvia’s $100 bonus for signing a New Yorker contract would equal $874 today. (SP to ASP, 1 March 1961)

 

1000 British pounds in 1962 would today equal $22,500 US. (SP to ASP, 9 October 1962)

 

The $700 check Sylvia received from her Aunt Dot was the equivalent of $6,000 in 2021 money. (SP to ASP, 29 November 1962)

 

The book Lord Byron’s Wife, in 1962 priced at $6.50, would be priced at $56 today. (SP to ASP, 29 November 1962)

 

The equivalencies were calculated with the DollarTimes.com Inflation Calculator. Median salaries for college and university faculty are from the US Department of Labor, Bureau of Labor Statistics, Occupational Outlook Handbooks for 1949, 1951, 1959, 1970-71, accessed through “Prices and Wages by Decade,” https://libraryguides.missouri.edu/pricesandwages. Federal poverty guideline information here. There were no US federal poverty guidelines until 1963.

Errors of Fact in Aurelia's "Letters Home" Introduction

-Aurelia Frances Schober (later Plath) was born and lived her "early childhood" not in Winthrop, Massachusetts, but the working-class neighborhood of Boston called Jamaica Plain. Irish families were settled in Jamaica Plan when Aurelia was born in 1906; Italians began congregating there in 1910. Her family did not move to seaside Winthrop until 1918, when Aurelia would have been 11 or 12, well past early childhood. 

-It was at the close of Aurelia Schober's sophomore year, 1926, when a German-speaking, highly cultured guest professor at MIT hired her as his secretary. Letters Home says this happened "at the close of my junior year (1927)," but his diaries first mention "Miss A. Schober" in August 1926. He was 43, she 20. Aurelia gives broad hints but does not actually name Dr. Karl Terzaghi, or admit that the pair fell in love and dated for two years. Aurelia knew well, from her own notes, that they met in 1926. But placing their first meeting in 1927 makes Aurelia 21 years old instead of 20, shielding Karl, 50 years after the fact, from any jeers about cradle-robbing, and perhaps shielding herself from any side-eye about her naivete

-Otto Plath was born in April 1885 in the "country town of Grabow" in Prussia, but was still an infant when his parents moved 150 miles northwest to Budzyn, where Otto actually "grew up." Otto's five younger siblings were all born in Budzyn, beginning with Paul in December 1886. When Otto arrived in the U.S. he listed his last residence as Budzyn. (8)

-Otto Plath was 15 years old, not 16, when he arrived in the United States on September 9, 1900, according to the ship's manifest. 

-"[w]hen his father, years after his son's arrival here, came to the United States": Correctly, Otto's father Theodor Plath arrived in the U.S. less than a year after Otto did, in March 1901.

-Otto "spoke English without a trace of foreign accent" - those who had met him, interviewed in the 1970s by Harriet Rosenstein, said Otto spoke English with a German accent. (9)

-Frieda Plath Heinrichs, Otto's youngest sister, did not die in 1966 but in 1970. She and her husband's Walter's names appear together in California voter registration rolls until 1968, when Frieda's becomes the only name listed. Walter died May 26, 1967.

-A cost accountant figures out how much money a firm is really spending to put out its product. Aurelia's father Francis Schober was never a "cost accountant" for Boston's Dorothy Muriel bakery company. Rather, in the 1930s the former hotel headwaiter and maitre d' was listed as "manager" of dining rooms; in 1938 it's specifically a Dorothy Muriel bakery-tearoom on Tremont Street, one of a chain of about 50 local Dorothy Muriels. The Boston city directories for the 1940s list a Herman F. Schober, who was a relative, employed as a "cost accountant" for Measurement Engineering and the American Meter Company. Herman F. Schober was born in Boston in 1893, and between 1926 and 1940 the city directory gave his occupation as "foreman." 

Maybe Francis Schober counted the day's proceeds at his own Dorothy Muriel location, but he was never a "cost accountant" for Dorothy Muriel, which had its factory and offices in Allston. (28)

Take Note

-Aurelia Plath is careful to say her two siblings grew up in a matriarchy, but that she as the eldest was the only one of Schobers' children brought up in the European (patriarchal authoritarian) style. The Introduction says: "[m]y father made the important decisions during my childhood and early girlhood" (3) and Aurelia says that it did not occur to her, in her late teens, to argue when her father decreed she would attend either secretarial college or no college.

The Letters Home edition referred to is a hardbacked first edition, 1975.

New: AureliaPlath.info, and an Aurelia Video

Facts about Aurelia Plath need to be "out there" and more available to the public, so I have made two positive changes! This blog can now be accessed using the simpler name Aureliaplath.info. Easier to remember. Then, using some of my research and getting professional guidance, I made a video about Aurelia and Sylvia, 4 minutes 44 seconds, now posted on YouTube. No, I don't appear in it.

I'd like to make more videos about the wealth and vitality of Sylvia Plath studies and the community of Plath scholars and fans.

Move Over, Daddy: Professor Aurelia Plath's University Teaching Career

“Sylvia Plath’s father was an entomologist and professor of biology at Boston University. Her mother was a shorthand teacher” is how biographies commonly explain it when Aurelia Plath’s job is mentioned at all, although she taught for 29 years at the same university. History.com says that after Otto Plath’s death in 1940, “Sylvia’s mother went to work as a teacher.” End of story. Less vague, from poetryfoundation.org: “Aurelia Plath taught advanced secretarial studies at Boston University.”

 

At Boston University, Aurelia was Professor Plath. Sylvia Plath called her that in one letter, but only one. [1] Aurelia Plath’s New York Times obituary calls Aurelia an “associate professor.” Yet no Plath biography or archival materials, including Aurelia’s own writings, answered the question: Professor of what?

 

Seeking information about Aurelia’s work life -- territory entirely unexplored -- I knew only that B.U. hired her in 1942 to establish a medical-secretarial program and teach it. Her employer, Boston University’s College of Practical Arts and Letters, closed in 1955, and B.U.’s College of Business absorbed it. Sounds disastrous, but in fact Aurelia got promoted. Sylvia wrote Ruth Beuscher in 1962 that her mother had lost her job. [2] Is that true? And besides Gregg shorthand, what did Aurelia teach? Can we have any sense at all of how Sylvia Plath’s mother spent most of her days?

 

I found out, thanks to Boston University archivist Jane Parr, who scoured and photocopied B.U. General Catalogue annuals. Meet the other Professor Plath:

 

1942: Instructor in Secretarial Studies

1947: Assistant Professor of Secretarial Studies

1957: Associate Professor of Secretarial Studies, College of Business Administration

1971: Associate Professor of Secretarial Studies, Emerita

 

But really, now: How demanding could secretarial studies be? It’s not as if it was a real discipline like Otto’s, or taught anything serious, right? Here’s a sample of what Aurelia taught, from the 1967-68 Boston University General Catalogue’s course listings, with my commentary:

 

SE 203, 204. MEDICAL SECRETARIAL PROCEDURES. Prerequisite: SE 102, 104, 131, 134.  

 

-Prerequisite SE 102 was Shorthand II; SE 104, Typewriting II. From the B.U. School of Medicine, Professor Plath brought Drs. Alice Marston and Matthew Derow to teach SE 131 and 134:

 

SE 131. Human Biology for Medical Secretaries. Background in anatomy and physiology for the secretary in the physician’s office. Lectures and demonstrations using skeletons, dissections, histological slides, films, and other practical material.

 

SE 134. Bacteriology for Medical Secretaries. Survey of the principles of bacteriology. Application to the fields of food, nutrition, and medical diagnosis.

 

-After acing those courses, you may enroll in Professor Plath’s 12-credit two-semester course:

 

SE 203-204. MEDICAL SECRETARIAL PROCEDURES. Development of secretarial skills, with emphasis on accuracy and speed in transcribing from shorthand and from recording machines. Use of office machines, including the IBM Executive typewriter. Medical terminology and transcription of medical case histories and correspondence. Practical problems in office and records management, including filing systems.

 

-The medical-secretarial student then faced SE 232, which Professor Plath might have coordinated, but others must have taught:

 

MEDICAL SECRETARIAL LABORATORY. Lectures and demonstrations in hematology, clinical pathology, tissue pathology, and clinical chemistry. Lectures and library research in areas related to the present-day practice of medicine. Field trips.

 

-I cannot prove, but I will bet, that Professor Plath taught also the course SE 419, limited to senior students in the Business Education division:

 

SHORTHAND METHODS LABORATORY. Perfection through practice of the basic techniques of teaching shorthand, such as blackboard shorthand writing, introduction of principles and brief forms, and dictation.

 

-Aurelia’s boss at that time was Donald G. Stather, Professor of Secretarial Studies and Business Education; B.S. in Ed., State College at Salem; Ed.M., Ed.D., Boston University. He supervised an all-female faculty of five.

 

Then, in the 1969-70 General Catalogue, the College of Business Administration announced:

 

The programs in Secretarial Studies have been discontinued with the last entering class in September 1968. Students presently enrolled in the program should consult the Division of Secretarial Studies for curriculum requirements.

 

The end was near for what must have been among the most rigorous of medical secretarial programs. In 1970, Professor Plath was age 64, one year away from mandatory retirement. B.U.’s pension plan for profs was 20 percent of their salary. [3] Lacking the money to retire, Professor Plath hoped for five more years of teaching work at Cape Cod Community College, where she taught secretarial studies from the autumn of 1970 until 1973. Then Professor Plath asked for and was granted time off to edit Letters Home.

 

[1] SP to ASP, November 22, 1962, refers to Aurelia as “Professor A.S. Plath.”

[2] SP to Ruth Beuscher, September 22 and 29, 1962.

[3] ASP to Hilda Farrar, April 20, 1970.

A favorite piece of Aureliana: B.U. President John Silber’s letter promoting Aurelia into joblessness, with Aurelia's correction of his Latin.

Aurelia Moves Out of the House

Built in 1925

Aurelia Schober roomed her first year after college at 86 Vinton Street in Melrose, Massachusetts, teaching at Melrose High School in 1928-29. In the group photo of the faculty she looks older than 22. Melrose, where no windows look out upon the sea, isn't far from her parents' and siblings' house in Winthrop. But she'd lived during her senior year in her college dormitory in mid-town Boston, and instead of moving back in with her family, the novice teacher roomed in this house perched on a hill, with the elderly homeowner, his wife, their grown daughter, and a seamstress.

Vinton Street was a half-hour walk from Melrose High School, then at 585 Main Street. One of her students, Mary Stetson (1911-1994), later known as novelist Mary Stetson Clarke, became Aurelia's good friend and correspondent. [1]

Whether teaching at Melrose was a one-year appointment, or what the rooming arrangements were, we do not know. On November 5, 1928, as Aurelia and her boyfriend of two years, her first love, Karl, were hiking in the Middlesex Fells Reservation just west of Melrose, he broke up with her. She cried and was horribly grieved. Karl moved on to date and marry a Radcliffe graduate student. Fifty years later, Aurelia incorrectly remembered their painful parting as taking place in 1927. We know it was autumn 1928 and the exact date and place because he kept a diary.

Aurelia waited tables in New Hampshire in summer 1929 and attended Boston University graduate school during the academic year 1929-1930 (while Mary Stetson was a freshman there). Aurelia lived in Winthrop with her parents while earning her master's degree, and remained at home after securing a very good full-time teaching job at Brookline High School. In 1932 Aurelia quit her job and moved in with her new husband Otto Plath. But we cannot say Aurelia otherwise ever really left her parents. They rented out their Winthrop house and stayed with Aurelia and Otto during the summer of 1932, while Aurelia was pregnant with Sylvia, and also in summer 1933.

[1] Aurelia S. Plath to Mary Stetson Clarke, letter 15 March 1959.

The White Waiter: Sylvia Plath's Grandfather at Work

More cosmopolitan than either his daughter or granddaughter was Frank Schober, Aurelia Plath's father and Sylvia Plath's "Grampy," headwaiter at Boston's elegant Hotel Thorndike from 1908 to 1921. He spoke four European languages; neither Aurelia nor Sylvia ever matched that. Schober had worked in hospitality since his boyhood in Austria and then in Italy, France, and England. Neither his daughter nor his granddaughter ever went abroad to find work.

Schober had arrived in the U.S. in June 1902, stating his destination as Magnolia, Massachusetts, where rich Americans vacationed at seaside resort hotels. He is listed in the Boston city directory as a "headwaiter" in 1905, and "Hotel Thorndike" is first specified in 1908. His brother Henry was a waiter there too.

Credit: New York Public Libraries

Built in 1886 on "Boston's Fifth Avenue," Boylston Street, by the Public Garden, Hotel Thorndike was one of giant knot of downtown Boston hotels built from the Gilded Age into the Jazz Age. Thousands of recent European immigrants like Frank and Henry Schober staffed the Thorndike, the Parker House, Hotel Vendome, the Westminster, the Touraine, the Lenox, and more.

European staff, desirable in these "European-style" hotels, displaced African-Americans who'd held those jobs during the 19th century. African-American waiters were well organized by the 1880s and making gains. [1] European hotel staff in 1904 created their own trade association, the international Geneva Association of Hotel and Restaurant Employees. The Boston Globe noted in 1908 that the Association's annual ball drew 2000 attendees, many not arriving until after 11 p.m. when their shifts ended. Frank Schober served on the reception committee. The hotels' owners were invited and feted. [2] 

The Geneva Association was not a labor union. In that time and place "Geneva" seems to have evolved into a code word for "white." [3] In case of a strike, hoteliers could replace white staff with African-Americans, as happened in New York City in 1912. The striking white workers became furious not at management but at the African-Americans.

The Hotel Thorndike had a relatively modest 150 rooms, 100 with private baths. Handwritten on the Thorndike picture postcard is "The English Room is the best place in Boston." Harvard students frequented the hotel's Olde English Room and were sometimes thrown out. 

"American-style" hotels provided lodging plus meals. In "European-style" hotels, guests paid for their own meals, so it paid to have a fine hotel restaurant. Here is a December 1907 Thorndike dinner menu [click to enlarge. I will have the roast duck, thank you. How easily I imagined myself the served rather than the server]. The Thorndike also gets credit as the first Boston hotel to make an event out of New Year's Eve, packaging food and drink with entertainment and lodging.

Prohibition, enacted in 1920, ruined fine dining and cut off highly profitable liquor sales, so it is no surprise that Frank Schober's headwaiter job changed and then vanished. From 1924 to 1926 he worked in Swampscott, Mass., hosting at a dine-and-dance palace called The Sunbeam. In 1929 he was a steward at the Hotel Westminster. Then came the Great Depression, and the grand-hotel era was over.

Aurelia's father, 1910

Also gone, forever, in America: "waiter" as a steady job that might support a family. Schober in the 1930s managed unspecified dining rooms, and in 1938 specifically a bakery-tearoom, Dorothy Muriel's, at 127 Tremont Street, one of a chain of about 50 local Dorothy Muriels. [4] The 1940 census shows him unemployed at the end of 1939. [5] As of 1942 he worked as maitre d' at the Brookline Country Club. The "Grampy" Sylvia Plath knew best was required to live at work.

Traits of a good headwaiter: patience, poise, supervisory skills, and a knack for service. Complaining in letters to her mother about how hard it was, Sylvia waited tables for a month in summer 1952 before getting sinusitis and, instead of facing her manager and quitting, had Aurelia do it. Waiting tables was by then a default job, menial, the last in any list of Sylvia's choices; a part-time job for minorities and students. Plath scholars portray it as almost tragic that Plath had to serve lunches or chop vegetables at her Smith College dormitory to earn part of her tuition.

Sylvia Plath had The Bell Jar's narrator kick an African-American orderly who was serving dinner. Now we have further context for that seemingly gratuitous act.

[1] "An African-American Waiters' Ball, Boston, 1892," The American Menu, August 11, 2014. Web.

[2] Boston Globe, "More Than 2000 Make Merry," Dec. 15, 1908, p. 9.

[3] Boston Globe, Sept. 21, 1914, p. 6, reports on a Boston waiter's marathon swim and lists three fellow waiters in his support boat: Francis Schober, Fred Kreuzer, and A. Tussin "of the Geneva Athletic and Swimming Club."

[4] The Dorothy Muriel's bakery chain was bought out in 1940 by what eventually became Brigham's bakery and ice-cream shops.

[5] In Winthrop in mid-March 1940, Frank Schober reported to the federal census that he had been unemployed for 13 weeks and was seeking work as a restaurant manager.