Sylvia Plath and Speedwriting

c. 1960s

Sylvia Plath did learn a form of shorthand -- "Speedwriting," the "cn u rd ths" note-taking system invented in the 1920s by Emma B. Dearborn, a suicide, and persistently advertised for 50 years in the unglamorous back pages of Mademoiselle, but also in Popular Mechanics, Glamour, and Ebony: pretty much everywhere. Plath certainly saw these now-iconic ads; they ran in the August 1953 issue of Mademoiselle Plath had guest-edited. Mademoiselle had the last word, printing in September 1977 the latest Speedwriting ad I could find. It said, in plain block letters, "Yes, I went to college. But Speedwriting got me my job."

And so it was with Smith and Cambridge graduate Sylvia Plath who couldn't get her secretarial job at Harvard in 1959 without it. I wrote a paper, "Sylvia Plath and Speedwriting," that goes into depth about the topic. It includes the history of Emma Dearborn, her invention of Speedwriting and why it became big business, when and where Sylvia learned and used Speedwriting, and why she wanted to use it again while living in London. There are no known examples of Sylvia's Speedwriting, but some might yet be discovered. 

Shorthand and 1950s office practice and office machines will always be relevant in Plath studies, as they were in her life. Plath's clerical and secretarial skills -- typing poetry manuscripts, keeping track of submissions, filing carbon copies, answering editors' letters -- were essential to Plath's career and her husband's. My paper was published in Plath Profiles, vol. 11, 2019.

The First-Ever Aurelia Panel

The Sylvia Plath Conference at Ulster University hosted an unprecedented "Aurelia panel," titled "'Old Barnacled Umbilicus': Considering Aurelia Plath." I was delighted to have as co-panelists Dr. Adrianne Kalfopoulou of The American College of Greece, and Dr. Janet Badia, of Indiana University-Purdue University. "Panel on Aurelia is on fire!" said a tweet from our audience as we knocked it out of the park. Some other comments: "Jaw hit the floor." "Mic drop."

Cathleen Allyn Conway chaired a thrilling 90 minutes that acknowledged that Sylvia Plath had a mother, or shall we say a parent, who introduced her to poetry and helped shape her voice, as Dr. Kalfopoulou described in her paper, "Witches in the Gingerbread: The Making of the Plathian Voice." After Dr. Badia presented "'There is nothing between us': Mother-Daughter Intimacy in the Plath Archive," there can be no question Aurelia was Plath's first and most important poetry critic. During her formation and as an adult, Plath sent her mother sheaves of poems, requesting feedback.

I'm not saying Plath loved or used all her mother offered. We don't know, right now, what her mother offered. Plath burned her mother's letters. Like any daughter Plath worked against her mother's influence as much as with it. But you can't do either without first having a mother who has influence.

Bolstered by the new Volume One of Plath's complete letters, most of them to Aurelia and her family, the Aurelia panel provided Plath biographical scholarship with much-needed corrective lenses. We have liked to believe with the Romantics that artists create themselves and their work independent of their contexts, cultures and families. But those provide the support and friction that help a born artist become a consummate and pathbreaking artist.