This Ghastly Archive: Remembering a Plath Superfan

Claim to Fame

 

Like many dying women she spent her time making collages.

I mean it. Stuffed between oversized scrapbook pages,

  clashes of greeting-card images cut

from the times she had been greeted or congratulated.

None is attractive or makes any sense.

It was late in life that she became an artist and no less;

finally we all get around to making art,

the language when language ends, and the motionless track

travels on while the train puts us out

onto the platform that at any hour is inadequately lit.

 

A boy named Sawyer his mother calls Soya

  brings chimneys of magazines seventy percent advertising,

exactly life’s proportion. Mary Ann must make her mark.

Neighbors interrupt her making-for-posterity

collages, edge-to-edge frustration, a series of barren wants

coupled with annoyances. In her thirties she had written

letters to celebrities asking them for money and tried to sell

to rare-book dealers their angry or astonished replies, events

not in the collages. No words are. Language couldn’t root in them.

The colors red and black did. Frowning, she concentrated.

 

Collage as a claim to fame. If only it had the body’s depths

of bone, sinew and fat. Remarkably she had gone from shameless

begging to graduate school in her fifties, choosing a place

she could go entirely mad, a comparative arts program,

where no one said anything and no judgment was final. Ginsberg’s

penpal, she called herself; everyone knew she was lying.

Ginsberg had replied that her letter was stupid. She ran and begged

Sylvia Plath’s mother to “Tell me something secret about her,”

as Mrs. Plath backed out of her Wellesley driveway

in 1977. She clings to the historical record by fingertips.

 

That is what she approached with scissors and what

she approached the scissors with. To acquire the few letters

from the famous in her files, the archive had to take the lot

and store acid-free cartons of late-in-life collages

in bulk, uninteresting and unattractive, dated,

made daily as she tried to live, Mary Ann Montgomery,
old and sick and living on Social Security in a house

in Michigan she had inherited, magazines to its ceiling, every

scrapbook filled to the limit of its binding with images.

Tired of words and reading, she tried collages, wanting

her name in an archive’s collection, and succeeded.

 

Mrs. Aurelia Plath was usually generous with the Sylvia Plath fans and mourners who came unannounced to her house on Elmwood Road, but one morning in September 1977 Aurelia could not stop to talk with a would-be visitor parking a motor home with a Michigan license plate. The stranger was a 47-year-old ex-nun, music teacher and divorcee trying to live by selling famous people's letters, and obsessed with Sylvia Plath. Terribly hurt that Aurelia didn't speak with her, she sent Aurelia a letter and, each having ulterior motives, they kept up an unctuous correspondence from 1978 to 1989: eleven years. Some of Aurelia's replies include useful biographical information. 

 

Montgomery early on begged Aurelia for "something of Sylvia's, even a letter or scrap" and for Aurelia to tell her something secret that Aurelia had never told anyone else. Aurelia declined. Montgomery sent Aurelia a poem comparing her own life to Sylvia's; she sent unwanted gifts such as flowers (once) and cassette tapes of her piano playing, refusing to take seriously Aurelia's statements that she didn't have time or energy or eyesight enough to correspond. Montgomery visited twice, once bringing a priest friend, once sick with a cold or flu that Aurelia caught.

 

Plath superfan Mary Ann Montgomery, Ph.D. (1931-2022) in the 1990s distinguished herself as a university teacher and donated her letters collection and more to the Lilly Library at Indiana University. Viewing her archive there moved me to write the poem "Claim to Fame," which takes poetic license, but the boxes of collages are real.

Five Reasons Why We Hate Aurelia Plath

Witch, bloodsucker, martyr -- and she probably voted for Eisenhower. She's not a writer, not talented. She was manless, not sexy, not a real professor. She had bad taste in clothes, furniture and wallpaper: Photos prove it. She gave her daughter Sylvia Plath advice she didn't ask for, was a terrible role model, a helicopter parent who nearly suffocated Sylvia out in the suburbs -- except Sylvia got away and became a great creative artist!

That narrative of Aurelia's evil banality is so embedded I can only build on it. I wondered why trolling Aurelia -- even now! -- is so easy and popular that anyone can do it. It must come down to trolling basics:

1) Sexism. Sylvia's father was her important, influential parent, yadda yadda, and his death was her life's most important event; next-most important was marrying a man. Aurelia had no man and thus no life worth looking into. Sylvia believed that, and as she came of age under patriarchy scorned her mother and allies as hags and rivals. She wrote that being like her mother was the worst that could happen. First Worlders aware that starvation or prison might be worse can sort of sympathize, because of:

2) Freudian cultural debris. Yes, we are post-Freudians but still vigorous individualists and deep down blame our own and other people's parents for all ills. We can't forgive Aurelia or our own mothers for not letting us be ourselves and other psychic injuries. We experience Sylvia's hate-my-mother rants as quintessential and truthful, not political or cultural or even a problem.

3) Snobbery. Aurelia's immigrant parents did not go to college, had three kids and no money and had Aurelia choose either secretarial college or no college. Exceeding expectations Aurelia got a bachelor's and master's and became a teacher and married a man with better degrees than hers, which makes him brilliant but her not. Widowed, Aurelia moved her family from the oceanfront to a boring suburb and taught business subjects and never had sex with strangers or did anything cool that we know about.

4) Ageism. Letters Home, published in 1975, was Aurelia Plath's debut as a public figure. She was 69 years old. Sylvia, dead at 30, is a forever young and ageless rebel -- just like us! Otto, being male, looked seasoned, never old. The old battle-ax kept sorting and doing and saying things of no value until she had to be put away.

5) Cultism. Venerating Sylvia's every word and thing, we annotate, edit, air our views and skip what doesn't fit our narrative. We identify with Sylvia and sentimentally cling to any trace of her. Our view is the only accurate view. Polite and passive-aggressive in public, among ourselves we are judgy and pissy. In short, we are Aurelia.

"The Passing Dazzle of Each Face"

Eternal vigilance is the price of more context for Sylvia Plath and her mother Aurelia Schober Plath. In March came up for sale a set of college yearbooks for 1926, 1927, and 1928, for the college Aurelia attended, the years she was there, and I bought them. Yes, Aurelia Plath went to college. Her college yearbook was called the Sivad.

Although not Aurelia's personal copies, Aurelia inscribed in them personal notes to owner Muriel Brigham, fellow 1928 graduate of Boston University's College of Practical Arts and Letters, called by its students "P.A.L." Muriel Brigham (1898-1983) majored in English. She and Aurelia were both members of the college's Writers Club.

The 1928 Sivad -- Aurelia Schober, editor-in-chief -- is scarce and insanely priced when auctioned. A blurry, faulty scan costs $99; I would not pay that. I secured all three yearbooks for less. Star and valedictorian of her class, Aurelia appears in each volume. How instructive to see Aurelia's face among those of a few hundred of her peers (sadly, none interviewed while it was possible) and good photos of the campus and dorm rooms as she knew them. I learned that not only Aurelia but some classmates staffed Camp Maqua in Maine in summer 1927 -- when Aurelia invited her 43-year-old boyfriend for a week and sneaked around. Will present Aurelia's inscriptions next week.

The yearbook had to go to press in early spring, so Aurelia's late-spring honors are published in the 1929 Sivad, in which Aurelia is called "Daughter of the Dawn." Think you that I am joking? Here it is:

The Junior year in many ways was the most active of the lot, filled as it was with college work, a wonderful SIVAD and a Prom that has glittered as only Betelgeuse has glittered on the shoulder of Orion. In the midst of this radiance that Daughter of the Dawn, Aurelia Schober, shone as editor-in-chief of SIVAD, adding many new features . . .

I'm seeking a copy of Aurelia Schober's 1928 valedictory speech, delivered June 6, 1928. Do you know where I can find it? It's not in the yearbooks or the Winthrop, Mass. newspapers.

The Mysterious Gap of 1958

Aunt Aurelia bought us a parakeet!

There are no letters from Sylvia Plath to her mother Aurelia between August 13, 1958 and July 9, 1959. Aurelia in Letters Home said that Sylvia and her husband Ted had moved to Boston and "We were close enough to visit often, and used the telephone." (322)

Sylvia wrote that Aurelia phoned ("the usual depressing call from mother") and visited. But knowing how militant Aurelia was about presenting her family as conflict-free, I think Sylvia in that 11-month gap must have mailed her mother something, at least one thing, that has been removed. There is not even a December happy-birthday note to Sylvia's Grampy. 

Aurelia was conscious of that gap and tried to fill it in Letters Home with three excerpts from her own journal, dated August 3, September 9, and September 20, 1958. Aurelia's editor at Harper & Row published only the August 3 entry (348).

In one of Aurelia's notebooks her reflections on autumn 1958 have been razored out.

All this made me suspect dirty family laundry.

Aurelia maybe didn't want us to know that in 1956 she dismissed from her house her 75-year-old widower father, "Grampy," after his 12 years in residence, telling her sister Dotty and brother Frank that it was now their turn to host him.

Grampy was also going blind. None of his three adult children wanted him. Sylvia wrote her brother that Aurelia faced Grampy's resentment along with Dotty's and Frank's. Sylvia's letter is dated April 23, 1956; Grampy's wife wasn't even dead yet.

They sound like a typical American family.

Dotty lived near Wellesley and Frank in Pennsylvania, and both had spouses and kids. In June 1956 Grampy went to Dotty and lived on a porch enclosed to make a room. [1] Aurelia from then on did only respite care, taking Grampy to Bermuda and doing summer Dad-sitting. Aurelia wrote a friend in 1959 that she abandoned the novel she was writing, to keep her father company. [2]

Grampy was a burden. But whoever hosted Grampy got access to his pot of retirement money.

Dotty and Frank's "underhanded business with Grampy's money" -- as Sylvia described it; we don't know the details -- was perhaps exposed or fought over in autumn 1958. In 1959 Frank and Dotty both bought really nice new houses; Dotty's a second house. Sylvia's letter to Aurelia (January 16, 1960) comments on Aurelia's report that Dotty ducked questions about the purchase.

Shipped away to Frank's house, Grampy stayed only eight months because Frank became seriously ill. Grampy went back to Dotty's.

What Grampy wanted is not known. But Aurelia wrote a friend that she bought Grampy a parakeet, an unpredictably noisy little gift and hard for a man with low vision to care for.

Aurelia and siblings were willing to offload and carousel their elderly dad so they might enhance their own lives with his money. If this wasn't the issue, whatever it was, Aurelia wiped it from written records. Meanwhile, in autumn 1958 Sylvia was entangled in her own agonizing problems, described in detail in her journal.

While Aurelia was in England in summer 1962, Dotty put Grampy in a nursing home. On August 27 Sylvia wrote to Aurelia, who was back in the U.S., "I am glad to hear that Grampy is better off in the home and think that decision was the best & only one."

[1] "a converted porch," Harriet Rosenstein transcript of K. Goodall interview on 24 June 1974, Special Collections #1489, Box 3, Folder 3, Emory. [2] "the novel," ASP to Miriam Baggett, 6 February 1960, Smith.

Meditation on a Photo: Aurelia Plath's Ankles of Clay

Front row, third from left. Her Winthrop High graduating class had 146 students.

Aurelia Schober in this yearbook photo from 1924 -- she's a high-school senior, 18 -- differs from her classmates in height and build and is the worst-dressed of the lot, her faded cap-sleeved cotton dress, with a decorative bow and ribbon so it's not a housedress or what her mother called a "wash dress," a vivid contrast to her schoolmates' woolen sweaters and skirts. They're dressed for autumn or winter, yet wear pretty shoes while "Ri-Ri's" oxfords look too tight. Her ankles will always be a weak point, broken twice (when she was 10, and again at 21) then repeatedly twisted or injured. Ankles of clay. Or maybe ill-fitting shoes.

Readymade clothes didn't (and still don't) accommodate tall women, so Aurelia wore whatever fit. In this photo she looks like what she is: eldest daughter of immigrants with two younger siblings and a breadwinner father who in 1924 was literally walking Boston's streets seeking jobs, a former headwaiter reduced to taking intermittent or seasonal employment. He had already chosen for Aurelia a two-year business college that would train her to make her own money. Her parents would never recover from her father's underemployment and later depended on Aurelia for housing.

In the photo Aurelia stands tall, doesn't look unhappy or self-conscious or shunned. She was the First Rebuttal speaker on her women's debating team and a star at school -- always, always, a top honor student. Freshman year, the yearbook's "Who's Who" picked her out and said: "Aurelia Schober doesn't hesitate to swallow every morsel of knowledge to be found." Sophomore year, when they knew she could take a joke: "A. Schober doesn't swallow the books much. She has brains in her feet, even. Just think!" The 1924 Winthrop High School senior class "prediction" said:

". . . one of [a classmate's] planes [is] making its daily trip to Florida. Seated at the extreme left is George B., world-famed violinist. . . in the third seat is Cecelia D., a school teacher . . . The young aviatrix is Aurelia Schober, who, not able to get seated comfortably because of her height, stood during the entire trip. Aurelia is now President of Schober Soapy Soap Flakes, Inc."

The future Aurelia piloted the plane and CEO'd an industrial firm! Which female in your own graduating class compares? (On the yearbook staff, Aurelia might have written this "prediction" herself.) It seems that the Schober family was poor but clean, as the trope goes. Aurelia wore to school a shapeless over-washed unseasonable thing without publicly pouting because her parents, as immigrant parents do, scolded her to mind her schoolwork and be at the top of her class because they'd sacrificed their whole lives for her and she should be grateful for any shoes and clothes she got.

Aurelia had friends and always did. The local newspaper records that she attended a classmate's quite elegant tea party, but never that she gave one. For certain of my readers I must point out that in 1924 females holding hands or linking arms with besties was not gay.

Photos of Aurelia -- fairly rare -- show that except for the first years of her marriage to Otto Plath she wore unflattering or misfit clothing, often secondhand. That for years she wore a ratty coat "like some teachers you'll see," a witness has confirmed. In her late 60s Aurelia, retired from teaching, made some money from the work of her famously dead writer daughter and was photographed in suits that fit and pearl earrings, her incorrigibly wavy hair tamed with a permanent. The best she could do in high school was a hairband.

Aurelia Schober, later Plath, as her class salutatorian gave a speech about "Loyalty" (a mind-blowing document to be discussed in a future post). Unwillingly, and unprepared for it, "Ri-Ri" became the most famous alumna of them all.

["146 students," Winthrop Sun, 14 June 1924.]

Maybe You Too Have Felt Like This and Know It's Not a Joke

Unable to look on the bright side. Aurelia is 22.

While I take a week's break from posting, here is a yearbook photo of Aurelia Schober with Melrose High School's faculty, winter 1928-29. Distanced and then dumped by her boyfriend that November, Aurelia cried, despaired, then angrily told him she did not want to be "an episode." He said, too bad. Unlike her colleagues in this photo she is too dispirited to rustle up a smirk or close her coat.

But the sting wakes her up. Aurelia, 22, resolves to next year earn a master's degree, lines up a summer job waitressing at a fancy resort to make tuition money, envisions a teaching career like the world has never seen, and so on.

Aurelia Plath in 1984 recalled that while she was teaching a high-school English class a school inspector came by to observe her. Aurelia had memorized and was acting out, word for word, for her students, all the parts of the most dramatic scene in the novel Ivanhoe. The students loved it and eagerly took up the original. Afterward, the inspector came up to Aurelia, “shaking his head in wonderment,” and said to her, “Sheer genius; sheer genius.” [1]

[1] AP to L. Sanazaro, 2 December 1984.

"My Mother Is My Best Friend" -- Uh, No

Reacting in 1972 to an article called "My Parents Are My Friends," Aurelia Plath judged it "excellent and was my aim in life because my mother was my best friend!" Aurelia and her parents shared a house for 40 of Aurelia's first 50 years, so warm feelings or feigning them was required, but being friendly with parents is one thing and "best friend"-level intimacy with one's mother is another. 

Sylvia wrote that her mother was "always a child" while her grandmother lived, but let's take Aurelia's word that Aurelia and her mother were each other's best friends. For exploring what mother-daughter "best friends" meant in the Plaths' house, we have what Aurelia wrote in 1982:

Maybe parent-child friendship was once an ideal, but today it's widely agreed that children feel emotionally burdened when their parents try to be friends and confidants. Thank goodness Millennial parents know better:

The emotional burden of "best friendship" with parents usually falls on daughters. Did "friend for life, such as I was for my mother" oblige the daughter to fulfill the mother's needs?

Sylvia's letters home are "intimate correspondence" as Aurelia said, and they read like best-friend letters, but Sylvia was not into fulfilling Aurelia's needs. Aurelia fulfilled Sylvia's needs and hid or downplayed her own. She liked keeping Sylvia close, but didn't depend on Sylvia for best-friendship because Aurelia had her own good friends who valued and helped her.

Aurelia had friends from her decades-ago college days and high-school teaching days. A friend from the 1920s, a novelist, in 1969 wrote her editor about Aurelia's idea to publish Sylvia's letters as a book. When the time was ripe, it happened! Friends in 1953 had hosted Aurelia for two weeks and six weeks, and in the 1970s, hosted her five days a week for three years while Aurelia taught at Cape Cod Community College. Sylvia's juvenile diaries mention Aurelia slipping out of the house to visit the "Ortons," meaning the Nortons, Aurelia's intellectual equals and, for her first ten years in Wellesley, her very good friends.

As friends and family members, including Sylvia, died, moved away, or distanced themselves -- the family saw close-up Aurelia's faults and critical side -- new people such as playwright Rose Leiman Goldemberg even wanted to be Aurelia's friend. Goldemberg was concerned that it might be asking too much. Others weren't so concerned and pretended friendship, love, and goodwill to get closer to the late great Sylvia Plath. 

Pretending she did not know some pen friends were opportunists, Aurelia feigned affection as long as both parties could keep it up. To us this seems strange and unnecessary. To women of Aurelia's time, it was only polite.

Bereft of old friends and increasingly injured as Sylvia's meaner words about her were published, aging Aurelia hungered for love and friendship. Her move into senior housing in 1984 separated her from neighbors who esteemed her and set her among people unfriendly because of what Sylvia had written. She had counted on family to love her as she had loved them. Only daughter-in-law Margaret Wetzel Plath regularly wrote Aurelia, and arranged for her an 80th birthday party. She made Aurelia feel loved, and according to Aurelia's last good friend, Dr. Richard Larschan, Aurelia was desolate when Margaret died of cancer in her fifties.

Sylvia was not around to be Aurelia's best and lifelong friend.

Aurelia Goes to a Poetry Reading

Aurelia Plath's medical-secretarial student sat down with her for tutoring and then Aurelia said, Do you mind if just this once we cut this short and double up next time, because there's a poetry reading on campus I want to go to. Would you like to come with me? Aurelia also hoped to talk with the poet. The student went, but doesn't remember his name.

1977. Antifa AF. Read the title poem here.

This Cape Cod Community College senior, 1973, took several courses with Mrs. Plath and was tutored her senior year. I am tracing and talking with Aurelia's Boston University and Cape Cod former students because 1) it's never been done and 2) for firsthand witnesses it's now or never. I was curious which poet Aurelia interrupted their work for.

It was April 11, 1973 and they heard John Beecher (1904-1980), gritty political poet, Deep South labor and civil rights activist (related to those Beechers), "a premature antifascist writing about black oppression since the 1920s when people didn't want to hear about it. Even a lot of black people didn't want to hear about it," he told the college paper. His Collected Poems (Macmillan) were in press.

I never heard of John Beecher even though he went to Harvard. Somehow Aurelia had. John Howard Griffin, his friend, had a doctor dye him black and wrote Black Like Me (1961), and Aurelia had read it and wrote Sylvia about it (6 December 1962). It took stunts like Griffin's and demonstrations and oral-tradition poets like Beecher declaiming race murders and maimed workers to stir middle-class America --  morally, and its young people first. Beecher was an old white radical field-agitator academic serious as hell with no sacred cows. He'd be chased off of campuses with pitchforks now.

Those with delicate ladylike sensibilities probably would not alter their schedules to see and hear him.

Currently we have only scraps of info about Aurelia Plath's politics, but with this discovery they are now consistent across six decades.

Beecher recorded these LPs for Folkways in 1968 and 1977, now on the Smithsonian website; see the two albums' liner notes (PDFs) to read the poems for free and in full.

Gender-Swapper Aurelia Plath

Researching Aurelia Plath's life means seeking unconventional sources, and more than once I've hit the jackpot on eBay whence came the above press photo from a dealer unaware that it pictures Sylvia Plath's mother. Then college sophomore Aurelia Schober is kneeling in a scene from the German-language play Das Ganschen von Buchenau ("The Little Goose of Buchenau").

College German Clubs liked to perform Ganschen, which in 1926 -- when Aurelia starred in her college's production -- was a two-act chestnut everybody loved. Harvard performed it in 1893.  Radcliffe's program [pictured] from 1904 includes the following synopsis:

"Fink has been sent by his uncle to woo Agnes, but having been told by Silberling that she is coarse and stupid, "ein Ganschen," he behaves in the rudest manner possible, hoping to have his suit rejected. Agnes's grandmother, disgusted by Fink's boorishness, urges her to accept Silberling, a dandy of the town. In spite of all this, Agnes falls in love with Fink. He soon learns how he has been deceived as to her, but not before her hand has been promised to Silberling, who wishes to marry her for her dowry. Agnes discovers how matters stand, and in order to make Silberling free her, pretends to be not only brainless and awkward, but poor as well. Her ruse succeeds. Silberling's true character is exposed; Agnes bestows her hand on Fink, with the full approval of her grandparents."

Aurelia played von Fink. You didn't need to know German to like what I hope was a broadly acted farce and big fun.

Aurelia was the leading "young man" in three annual Boston University College of Practical Arts and Letters German Club plays, Ganschen the first. In 1927 she was lovesick poet Strubel in Die Ferne Prinzessin ("The Faraway Princess"); then Prince Goldlande in Snow White and the Seven Dwarfs in 1928, years before the Disney movie. 

Tall and big-boned ("statuesque") Aurelia also had a resonant voice comparable to Sylvia's BBC-recorded voice; at least two people who know have said so. Publicity photos exist for Ganschen and Die Ferne with Aurelia and her leading lady in much the same pose. Notice how if Aurelia had stood up she would have towered over her Ganschen co-star, Selma Orlov.

Their college's German Club was no slouch about publicity and distributed press releases and professional photos to newspapers -- which published them, including a headshot of Aurelia Schober as herself, headlined "Star in B.U. Play," and a headshot of Aurelia as mustachioed von Fink. The von Fink headshot, identified as "Miss Aurelia Schober," appeared in Florida and Oklahoma small-town newspapers, evidently for the entertainment value cross-dressing could provide. Aurelia never again looked so rakish in any photo I have seen. 

Aurelia wanted to become a writer, but her artistic talent was for acting, or the stage. That was attested by her peers not only at her college but at Brookline High School, where Aurelia performed as a female with other teachers in the modern comedy The Show-Off in 1930. A very sedate cast photo ran in the Boston Globe. Aurelia wrote that an agent in the audience told her she had talent and mentioned Broadway. Like several anecdotes showing Aurelia as a person who had any talent or success, that anecdote was cut from her preface to her selection from daughter Sylvia's letters, Letters Home (1975).

One of my Shakespeare professors made a career of spinning Shakespeare's cross-dressing characters into transgressive gender-benders (a male actor playing a girl playing a guy!). There might be a Ph.D. in studying Sylvia Plath's mother -- a single mother -- whom Aurelia and Sylvia said had the burden of being, in real life, both a woman and a man.

[Notes: Das Ganschen von Buchenau by Wilhelm Friedrich Reise, c. 1830; "Harvard performed it," Crimson, 3 March 1893; "In 1927," "German Club to Present Play at B.U. Tomorrow," Boston Post, 3 February 1927; "Star in B.U. Play" with photo, Boston Transcript, 12 January 1926; "appeared in Florida," this blog 10 September 2020; "Boston Globe," 8 December 1930 p. 22.]

Did Sylvia Plath Look Like Her Mother? You Decide

Only once have I heard "She looks like Aurelia," and the speaker sounded horrified. Never have I read or heard any more about the mother-daughter resemblance.

Aurelia was 19 in the photo above, and Sylvia Plath was 20. Sylvia hated the above image of herself, which she scissored from its context, but 1) it is not as horrid as she said and 2) it was the only comparable photo, showing Sylvia close in age, facing the camera, and unsmiling. In Aurelia's time there was no cultural mandate to smile for every photo.

Both women were four or five inches taller than average, with sturdy frames. They wore each other's clothes.

Looking Austrian and Polish as all getout.

So what do you say, did Sylvia look like her mother? In photos taken later, Sylvia's face a bit lived-in, I think so, except Sylvia had that "lemony" look indicating Eastern European blood: her father's. Worshipful authors tend to cleanse Sylvia of any but her father's German heritage (they don't like to say "Prussian" because they aren't sure what it is) and favor photos of her doing very white-American ritual activities: bridesmaid; tanning; Yellowstone; aboard a luxury liner. Bitter Fame, of course, tried to show Sylvia as unappealing.

Yes, Plath fans play politics with images. I am doing it by showing young Aurelia and young Sylvia side by side. Have you ever seen them this way? Those with stock in Sylvia Plath have created or emphasized distance between them -- as if the apple fell so far from the tree that it was the tree's fault, or the apple created itself. Mother and daughter were close. Both women said they were.

Happy birthday, Aurelia (April 26). On this page you are reunited with your girl.

Business Class: Aurelia's Final Years at Boston University

Boston University yearbook, 1967

Aurelia Plath’s teaching job at Boston University’s College of Business Administration began dissolving in 1959 when a new dean dismissed all secretarial-program faculty except for five aging tenured females. Aurelia was 52.

With 13 years left before BU retired her, Aurelia prepared to teach in a different department, taking a night course in German and then courses in teaching remedial reading. [1] She could have quit BU for a medical-secretarial job, her field of expertise, but even in her teens Aurelia wanted a teaching career, ideally in languages and literature. Her daughter Sylvia wrote that Aurelia secretly hated teaching typing and shorthand, yet 1) Aurelia taught more advanced courses than those, and 2) regardless of subject, Aurelia liked educating and advising young people. It was Sylvia who had secretly hated teaching.

 

Shocked in September 1962 by the new College of Business course catalog with none of her courses in it, Aurelia was not sure she was still employed. Sylvia in England was “appalled to hear your department is closing.” Secretarial studies as a college major was everywhere dying on the vine. Yet however marginalized, BU’s secretarial major persisted and so did Aurelia’s job. She was lucky; she needed the money a tenured associate professor could make. During 1962 she bought Sylvia a Bendix and lent her 500 English pounds to pay off Sylvia's house in Devon and paid her own way there and back; and Aurelia then offered a very troubled Sylvia, deserted by her husband, $50 a month.

 

BU’s yearbook for 1967 pictures 232 College of Business Administration graduates, 53 of them female. Of these, ten had secretarial degrees: nine “executive secretarial,” and a lone “medical secretarial.” One would think Aurelia sat around with no students. Yet 22 more of the 53 graduating females were Business Education majors. Taught secretarial and business skills and communications, they were also educated to teach those subjects in high schools or vocational programs where typing and shorthand were flourishing.

 

Business Education graduates thus bypassed secretarial jobs for teaching careers better respected and paid. Essentially they studied to become new Aurelias. Freshmen from Aurelia’s 1963-64 shorthand courses were in 1967 taking her course, limited to Bus Ed seniors, in how to teach shorthand. BU’s 1967 yearbook lists seven College of Business fields of concentration. Secretarial and Business Education were not among them. The end had come: the last secretarial students enrolled in 1968, and Bus Ed moved to the School of Education. [2]

 

Entitled to a leave of absence, Aurelia took it in fall 1970, six months before she turned 65, when BU would retire her. During her leave Aurelia quietly worked at her new job: teaching medical-secretarial at a community college eager to have her teach until she was 70.

[1] ASP to Miriam Baggett, 6 February 1960; Sylvia Plath to ASP, 17 March 1960.

[2] Thus the College of Business Administration (later, School of Business; later, School of Management) was purged of female faculty, as the 1973-74 Bulletin shows, and of a large percentage of its female students. For a time.

Too Busy To Drink Sylvia's Blood

"Sylvia" the movie, 2003

Aurelia Plath taught five days a week during the academic year and usually summer school at Boston University. When her children Sylvia and Warren were in college Aurelia also tutored on weekends so they could buy clothing as good as their peers'. [1] When we realize that from 1942 Aurelia worked full time with a twice-daily 40-minute commute, plus evenings at home with two dependent parents and student papers and class planning to do, plus seeing friends and paying bills, and having (please note!) a son she cared for as much as she did her daughter, and personally liking to read and needing to sleep, Aurelia didn't have much time to suffocate Sylvia and drink her metaphorical blood.

Sylvia only imagined Aurelia was preoccupied with Sylvia. Like a much younger child, Sylvia seemed unaware that her mother's life was already full.

From her girlhood summer camp days until her death Sylvia wrote her mother weekly, often more. What if instead of saying Sylvia wrote so many letters because her mother needed reassurance, try taking the view that Sylvia was the insecure one, wanting to occupy the center of her mother's world and consume her time and resources despite the miles between them. 

(No working woman of forty-five needs an eighteen-year-old's reassurance.)

Aurelia told a reporter in 1979, "They say [Sylvia] wrote the letters to keep me happy, to hide the darker side. Sylvia? Putting herself out day after day? The reason she wrote those letters was to get a reply, and she always did. I wrote them on my lunch hours, with my sandwich beside me." [2] We learn from Sylvia's volumes of letters about Sylvia's dependence on Aurelia not only for letters but for favors and support: typing and mailing manuscripts, banking, giving feedback about her new poems, shopping and sending money and packages.

Sylvia wrote from college so often that Aurelia sometimes had little to report except that Grammy had baked a cake last night. Sylvia read her mother's letters aloud to her roommate Marcia Brown to make fun of such trivia [3]. Although only ten mailings from Aurelia to Sylvia survive, from those and from Sylvia's replies we can see Aurelia's letters typically described family news, or books Aurelia was reading, and gave advice that Sylvia read as infantilizing or manipulative. 

Sylvia didn't realize her mother's letters mirrored Sylvia's own infantile or manipulative letters.

If genuinely bothered by her mother's letters Sylvia could have replied to them less often or not at all--or with honesty. But she did not. Casually we say "Sylvia wrote only what her mother wanted to hear," but read the letters and see how often she wrote her mother about distressing happenings and fearful moods; and no one knows what Aurelia wanted to hear. Maybe Aurelia wanted her lunch hour for her lunch. Sylvia's was the almost physical dependence, calling her mother's letters a "sustaining life force," and, when asking Aurelia for a quick reply, "Well do send me an infusion of energy, it will do me more good than thyroid."

[1] ASP to Leonard Sanazaro, Lilly.

[2] Robertson, Nan; NYT Book Review, October 9, 1979.

[3] Harriet Rosenstein's interview with Marcia Brown Stern, Emory.

"I Love Her Work, I Hate Her Mom"

Looking for the root of the general contempt for Aurelia Plath, I thought some popular article or influential essay, some Ur-takedown, must have seeded it. Whether Aurelia deserves contempt is not the issue here. Contempt is in place before Sylvia's abridged Journals (1982) reveal Sylvia's now-canonical "hate her hate her" entry. It precedes the Letters Home backlash (1975). It precedes "Mrs. Greenwood's" appearance in The Bell Jar (U.S., 1971), "her face a perpetual accusation," the review in the New Yorker  said, although the novel does not say that.

Critical contempt was in place by 1970, when researcher Harriet Rosenstein, planning a Plath biography, interviewed Aurelia in Wellesley. Previous interviewees briefed Rosenstein on the whole tragic Plath story, and Rosenstein's interview notes show frustration at what Aurelia did not say (Aurelia never said "suicide") and judged what lay beneath what Aurelia did say: bitterness, resignation--nothing good. No other interviewee, of about sixty in all (and we are very grateful for these interviews), gets treated as if they failed a test of character. Rosenstein later reminded herself that her book's purpose was not to nail Aurelia to the wall but to explain the Ariel poems.

The Bell Jar in German, 1968

Rosenstein's biography was never published. In her early twenties, a feminist and up on the trends, she had read The Bell Jar in its U.K. edition and learned Esther hated her mother. Rosenstein located a short German review (1968) of the German translation of The Bell Jar. It said, "the mother smiles, suffering and forgiving and being a little too sweet." That scrap of a critique must have been reassuring, since U.K. reviews of The Bell Jar (1963) and subsequent essays, even one titled "An American Girlhood," do not mention a mother. At all! Instead they spotlight Buddy Willard, or Esther Greenwood's frequent references to babies. 

By 2003, Mrs. Greenwood looms very large:

In the novel The Bell Jar, Sylvia depicted her mother as a dominating, soul-destroying woman responsible for a good deal of the psychological pain that eventually led to Sylvia's suicide at the age of 30. [1]

The novel's text does not support such a reading. Re-reading shows Mrs. Greenwood's role in the novel is quite small.

Reviews and essays about Ariel's debut (1965, 1966) focus mostly on suicide and the poem "Daddy." Mom was such a bit player in this father-daughter drama that she is absent from the decade's Anglophone lit-crit except as a nameless factor in Sylvia's Electra complex. Critics didn't even know her name. M.L. Rosenthal in 1967 read The Colossus and wrote about the poem "The Disquieting Muses" as if it were about Sylvia's muses! In 2016 even the best of us firmly believed the same poem is "a fateful family romance" making it "easy to see what is wrong with Aurelia." [2]

My best efforts did not locate any "root." I saw instead faddish pop psychology expanding precisely alongside of Sylvia Plath's rise to fame. Sylvia in the 1950s knew Freudian theory was insubstantial but when troubled she returned to it, as to a faith, and in the 1960s put it in her novel. That fellow poets of the era wrote about their mental health problems and treatments made Sylvia Plath an ideal case study. Armchair analysis boils down to blaming mothers for whatever on the globe is wrong. Plath scholar Jacqueline Rose protested exactly this in her 2018 book Mothers (for example, governments blame mothers for having "too many children" or "not enough"). Yet Rose still manages to blame Aurelia Plath for quoting from Plath's "Three Women" lines other than the ones Rose thinks she should have.

The difference pop psychology has made between the 1960s and today is the difference between early Plath critics' dismay at the poem "Daddy"'s appropriation of the Holocaust and today's readers saying, "Sylvia's husband cheated on her and left her, and that was her personal holocaust. And her mother actually being there only made the breakup worse. Probably even caused it."

[1] Anita Gales, "What's My Motivation, Mom? Oh, It Must Be My Anger at You." New York Times, 7 September 2003, p. AR69.

[2] Pollack,Vivian. Our Emily Dickinsons. University of Pennsylvania Press, 2016.

Aurelia Plath Vowed Not to Make Her Kids Do This

Aurelia at 18 worked "the summer after high school [1924] in an insurance company, typing dull form letters eight hours a day five and a half days a week from wax dictation cylinders--a grim experience I vowed no child of mine would ever have to endure." [Letters Home, 3]. The woman in this 1920s photo is not Aurelia; she would not have been smiling. Aurelia Plath long remembered the sweltering office and cane-bottomed chair. [1]

In 1924, office air conditioning was decades in the future for most. The cylinders, in the photo conveniently racked, are cardboard coated with wax, and thus reusable. For those who don't remember, wax cylinders were first marketed for sound recording in 1889. While recorded music moved to discs, wax cylinders persisted in offices until after World War II. View a demonstration of a restored wax-cylinder dictation machine here. Basically, the boss spoke into a horn that scratched the sound of his voice onto a rotating cylinder, and the "Ediphone" operator, when ready to type out what he said, put that horn to her ear or maybe had a headset, like the lady in the photo, and controlled the playback with a foot pedal.

When working her part-time job at Massachusetts General Hospital (much easier than grimly writing or not writing), Sylvia Plath transcribed medical reports from a similar but updated dictation machine called an audiograph, commonly trademarked Audograph, that etched the boss's voice permanently onto vinyl discs. That job inspired Sylvia's stories "Johnny Panic and the Bible of Dreams" and "The Daughters of Blossom Street." In both, the business office is where fearful things happen.

[1] Aurelia to Max Gaebler, 7 June 1939. (Smith)