The Only Aurelia Tape at Emory: A Guide to Digital File v7b4x

Taped recordings now digitized and held by Emory University Libraries’ Special Collections preserve the words of about 60 interviewees who in the 1970s told researcher Harriet Rosenstein what they knew about Sylvia Plath. Aurelia Plath’s voice is on only one recording, at the tail end of the digital file named v7b4x. Abruptly, at 38:15, Aurelia is heard in mid-sentence speaking about Sylvia, and is about to take questions from an audience.

 

A friend brought Rosenstein this partial, undated and often inaudible audio cassette, and the pair listened for 16 minutes, taping its contents and chafing while Aurelia says only what they already know: about Sylvia’s second novel of “adventure, joy, and romance,” burnt in summer 1962; that Sylvia never wanted her novel The Bell Jar published in the U.S.; the composite nature of its characters, such as Mrs. Greenwood (“the character that’s made my life miserable,” Aurelia says, and explains why). Early on, the pair begin to complain, mock Aurelia, and laugh at her taped remarks. Exasperated (“For Christ’s sake! She just goes on, huh?”), they halt Aurelia’s tape at 54:05 and discuss it, then shut off their own tape recorder at 54:29.

To be fair, the two listeners are no more pitiless than any other two high-literates who verbally skewer lesser people for sport. They are, after all, critics. Here's a brief partial transcript; listen in. Aurelia speaks about Letters Home, published in November 1975, so the date of the talk might be March 16, 1976, when Aurelia spoke at the Wellesley Club. The blanks represent inaudible words or phrases.

 

Aurelia: And for those of you who haven’t read it [Letters Home], it starts off with her entering Smith as a freshman, with all the fears and all the hopes of a freshman student.

Listener 1: (sarcastic) A normal, solid, American freshman girl.

Aurelia: ____________ of the fall, and it also takes the time of her experiences at Mademoiselle and her junior year, goes right straight through to _______________.

Listener 1: (sighs) Oh matter.

Aurelia: And she wrote a letter to a friend of hers, whom I refer to as “E” in the book, to protect the person—

Listener 1: From what?

Aurelia: describing her reaction, her own evaluation of the whole experience of her breakdowns. And that’s _________. And then a mother of a son who knew her well, was going through a depression, had written me asking my advice about how to handle a child who was suffering a depression, and I sent that letter over to Sylvia, who was at that time happily married, and asked her to write

Listener 1: She wasn’t “married,” see; she was “happily married.”

Listener 2: You betcha.

Listener 1: You understand?

Listener 2: You betcha.

Listener 1: It’s a whole other category!

 

I transcribed this recording because I too hoped it would reveal more about the Plaths, but instead it reveals part of a process of diminishment and erasure.

While Sylvia Went Missing, 1953

In the Daily Boston Globe newspapers of August 25 and 26, 1953, the search that used Boy Scouts, police and dogs to try to locate the "beautiful Smith girl missing at Wellesley" was front-page news. Peter K. Steinberg's research showed that news of Sylvia Plath's disappearance ran in newspapers all over the United States, but the source story sent over the national wire came from the Globe, the Plaths' hometown paper, and its reportage was from Wellesley. The Globe interviewed and quoted Plath's mother, Mrs. Aurelia Plath, on August 26, 1953:

"She [Sylvia] recently felt she was unworthy of the confidence held for her by the people she knew," Mrs. Plath said. "For some time she has been able to write neither fiction, or her more recent love, poetry. 

"Instead of regarding this as just an arid period that every writer faces at times, she believed something had happened to her mind, that it was unable to produce creatively anymore.

"Although her doctor assured us this was simply due to nervous exhaustion, Sylvia was constantly seeking for ways in which to blame herself for the failure and became increasingly despondent." 

This is the most complete version of this quotation. Other papers trimmed or summarized this quotation ("Mrs. Plath said her daughter had been depressed") -- because newspaper stories must fit their pages and fit among other stories.

Of particular interest is that the quotation calls poetry Plath's "more recent love."

Burning The Letters: Aurelia's "Eyewitness" Account

From a 1976 interview of Aurelia Plath by Robert Roberton, published in The Listener, Vol. 95, p. 516. Aurelia had just described Sylvia Plath's sequel to The Bell Jar, an autobiographical novel "provisionally titled The Hill of Leopards," about an American Fulbright student who marries and has her first child in England.

Roberton: And yet I believe that you saw this manuscript destroyed.
Aurelia Plath: Yes, this was one of the most terrible experiences of my life, really. She had built an enormous bonfire in the court outside her home in Devon. I stood in the doorway, holding her little daughter by the hand, and holding the boy, her son, in my arms, not able to go to her. And then I saw her emerge from the household with her arms full of manuscripts, and I saw the second volume, in rough draft, which was to be a gift to, and a surprise, to her husband -- she tore the pages apart bit by bit and fed them into the flames. She fed much else into the flames.
Roberton: There was no way of stopping her?
Aurelia Plath: No, I couldn't. I couldn't leave the children.

The above, which supposedly happened on Aurelia's visit to Court Green in summer 1962, is probably false. In an unpublished version of the introduction to Letters Home, Aurelia describes in elaborate detail Sylvia sitting her down earlier on that visit and reading to her from this manuscript supposedly in honor of and dedicated "To Ponter" (Sylvia's private nickname for her husband Ted). 

This assumes that Sylvia had labored over a lengthy creative work she intended as a gift, but Sylvia wrote for money and never wasted any of her scant and precious writing time on giveaways. She had already dedicated The Colossus to Ted. Sylvia left no trace of this supposed second "happy" novel: no rough drafts, no calendar notations, no mentions in letters, nothing.

Aurelia wanted readers to believe that Sylvia after writing The Bell Jar -- a brutal novel which harmed Aurelia's reputation and the other real people it caricatured -- wrote a joyous novel about an Esther-Greenwood-type character in love, married, and having a baby, an "anti-Bell Jar" that unfortunately the author burned after showing it only to Aurelia. Sylvia did write her mother on March 4, 1962, that she had begun writing something lighter that might turn into a novel.

While writing The Bell Jar in 1961, and preparing it for publication during 1962, Sylvia wrote notes in her calendar and letters to her brother, her agent, friends, and publishers -- keeping the book secret only from her mother. Of the lighter manuscript or the  "joyous" "second novel" Sylvia made no mention. Aurelia's editor rightly deleted from the draft of Letters Home Aurelia's "she read to me from the second novel" episode. It could not be verified, and the anecdote as written rang false. Aurelia had Sylvia saying that art and life were not the same, something Aurelia dearly wished her daughter would have said.

After confirming Ted's adultery in July 1962, Sylvia began an angry novel about a cheating husband titled The Interminable Loaf and then renamed Double Exposure. That manuscript actually existed, because Sylvia mentioned it in letters and on her calendar, and Ted and Olwyn Hughes and Assia Wevill read the unfinished 60 or 70 pages after Plath died. All were horrified by Plath's savage caricatures of themselves. Gosh, when they received The Bell Jar treatment, just like Aurelia they didn't like it at all! That manuscript is considered "lost" and rumor says it might one day be found.

Biographers have guessed that Sylvia burned all her mother's letters in July 1962 or soon after, but Aurelia did not say that, at least in 1976. Aurelia would have mentioned somewhere in her many letters to others, or in Letters Home, how much the burning of her letters hurt or disappointed her.

Aurelia Speaks About "Mrs. Greenwood"

Quoted from a 1976 interview of Aurelia Plath by Robert Roberton, published in The Listener, Vol. 95, pp. 515-16. They're discussing The Bell Jar:

Roberton:  [W]hat sort of similarity do you feel between yourself and Mrs. Greenwood in that story?
Aurelia Plath: Very little, really. As my son and I analysed it, the words uttered by Mrs. Greenwood were uttered by five different individuals in real life. The counsel Sylvia gave me to bear in mind, whenever I read anything that she wrote in the form of poetry or prose, was: 1. that there is a manipulation of experience--this is part of the creative act, of course; 2. that there is always a fusion of characters--that's very, very evident; 3. that she firmly believed that art was a rearrangement of truth--this was to make the art form more consistent than life ever is.

[The Listener was the BBC's weekly print magazine, published from 1929 to 1991.]