The Lost Lines of "Eavesdropper"

On October 15, 1962, in the middle of composing her Ariel poems, Sylvia Plath wrote the poem “Eavesdropper,” a lengthy, hateful vent about a nosy neighbor caught eyeing and judging the speaker’s property, spying through curtains after midnight, and crouching in the bushes to get an earful. And the eavesdropper was ugly, too! The poem’s final line: “Toad-stone! Sister bitch! Sweet neighbor!”

 

The “eavesdropper” was a real-life married woman in her fifties, Irene Sampson. Sampson and her husband bought the stone cottage vacated by Plath’s neighbors Rose and Percy Key, making Sampson Plath’s next-door neighbor during the turbulent autumn of 1962. In 2013 Irene’s niece wrote a blog post identifying Irene—who never read the poem “Eavesdropper”—as a much nicer person than the poem says.

 

Both the Hughes edit and the Plath edit of the book Ariel exclude “Eavesdropper.” Sylvia had submitted the poem in its original form to Poetry magazine, which accepted it and published it in August 1963 with more lines than appear in either Winter Trees (1971) or Plath’s Collected Poems (1982). Plath at the end of 1962 looked it over, deleted some lines and skillfully revised and rebroke others to form the version most of us know. Hughes noted that she made no final copy of the poem.

 

Poetry magazine’s online archive revealed the vivid line I had long searched for: “Sweater sets and treachery!” Will the forthcoming Complete Poems of Sylvia Plath print both versions of “Eavesdropper”? Even with the ethnic slur? Below, in italics, are the words that were cut. What is below is what followed the original’s stanza 5:

 

O yellow

Weasel unable

To rearrange the bitchy starvation,

  the dust lust!

I had you hooked.

I called, you crawled out,

A weather figure, boggling,

Chink-yellow, Belge troll, the low

Church smile

Spreading itself, bad butter.

 

This is what I am in for!

Your bone plates,

Your creaky biscuits,

Sweater sets and treachery!

Come to tea! Come to tea!

I shall stuff you with pillows!

Pillows and pillows of pure silence.

Flea body!

Eyes like mice

 

Flicking over my property . . .

 

“Belge troll” refers to Scandinavian legends about trolls crouched in the woods, ready to do mischief or evil.

Top Research Posts of 2022

August 16, 2022: First Known Photo of Otto Plath's parents

July 12: Four Generations of Pop-Up Weddings

June 7: Digitized video footage of Aurelia Plath, permission of Dr. Richard Larschan

April 12: Photo of Otto Plath's first wife and his in-laws

MOST POPULAR POST: January 25, "Otto Plath Was a Pacifist, Not"

PERSONAL FAVES: April 26, Aurelia Schober's college days reconstructed from day planners purchased from eBay; April 19, reviewed the 1986 French-language film of Letters Home, directed by Chantal Akerman

In 2022 this blog had 35 posts. Coming in 2023: "The Lost Lines of 'Eavesdropper,'" and much more.

In March 2022 I chaired a session for "Sylvia Plath Across the Century" and over the conference's two-day span heard many inspiring presentations. In April, I researched recordings and Linda Wagner-Martin's files at the Lilly Library; in July translated Sylvia's German essay into English. In late April, a first and a landmark: The Bloomsbury Handbook to Sylvia Plath was published, with my essay introducing Aurelia's shorthand annotations. In June, transcribed for Dr. Gary Leisig Aurelia's shorthand marginalia on Sylvia's published poems. In October, attended via Zoom definitive sessions of the Sylvia Plath Literary Festival in Hebden Bridge, U.K. In November, consulted with a British author on her draft of Mothers of the Mind, a forthcoming study of the mothers of Sylvia Plath, Virginia Woolf, and Agatha Christie. A personal fave: Dr. Amanda Golden at the Woodberry Poetry Room discussing Sylvia Plath's use of pink paper (March 8, 2022; on YouTube here).

A thrilling year in Plath World! As always, English transcriptions of the shorthand on Sylvia Plath's papers can be downloaded from this site at Marquette.edu and viewed.

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.

Otto Plath Was Born In a Violent Year

"Prussian Expulsion" ("Rugi pruskie") by Wojciech Kossak

Otto Plath was born in a violent year in Prussia: 1885. If all of Otto's life he objected to military service and so much hated the sight of uniforms he forbade his daughter Sylvia to join the Girl Scouts, maybe it’s because he saw Prussian soldiers forcing out ethnic Poles, mostly small farmers and migrant laborers. From 1885 to 1890 Prussia with threats and violence herded 30,000 Poles across the border into Russia and stationed guards there to keep them out. 

Otto grew up in the province of Posen, on land Prussia had taken from Poland and largely Polish-speaking. So although his parents were German he learned Polish and was part Polish through his paternal grandmother. Otto's parents were not farmers or migrants but town people, so Otto’s immediate family was safe, although the world around them rocked. Without its migrant farm laborers, Prussia was left short of food. Prussian garrisons by the dozen had town residents seeing soldiers every day and hating them. You can imagine how the hostilities affected the kids.

Otto’s Polish grandmother and German grandfather left Prussia for America in 1885. Persecution and demonization of Poles and Jews, a culture war Prime Minister Otto von Bismarck began in 1872, is where "Polack" jokes and slurs came from. Purges such as the Expulsion followed, practice for later expulsions that were photographed. The painting above (1909) is one of an Expulsion series.

Otto had been born in Grabowo, but grew up in Budsin. His papers say this, and all his siblings were born in Budsin. An 1880s map, showing the town where Otto searched hayfields for bees he could take home and keep in cigar boxes, shows a nearby Forest Durowo. The forest is still there. I wondered if Otto watched birds and insects there and learned to respect them as he could never respect things military.

Otto Plath emigrated to the U.S. in 1900.

"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.

Sylvia Plath's Harvard Summer School Rejection: The Teacher's Reason

Here is how and why author Frank O'Connor rejected Sylvia's application to his summer 1953 short-story writing course. O'Connor had first taught the course in summer 1952. He viewed Richard T. Gill as his top student that summer, and chose Gill as his assistant in summer 1953. I quote from the biography Voices: A Life of Frank O'Connor, by James Matthews (Atheneum, 1983):

"At the time O'Connor arrived [at Harvard], Gill had already narrowed down the applicants, among whom was a young woman named Sylvia Plath. O'Connor read her story and rejected her application at once. Gill was curious about the abrupt finality of this judgement and pressed the matter until O'Connor reminded him of the fellow whose madness had nearly fractured the class the year before. To his mind, Sylvia Plath's story suggested a similarly deranged mind. Later that summer his intuitions were confirmed by her breakdown [which was a local and national news story], in which, ironically, he had played some part." [289] . . . .

"Toward the end of the summer [O'Connor] was talking one evening with Dick and Betty [Gill and his wife] about Sylvia Plath's breakdown. Speculating that O'Connor might be harboring some guilt about the incident, Dick broached the subject of neurosis. O'Connor said that he avoided disturbed people because he could not deal with madness. Art to him was discipline . . . "[290]

Sylvia had submitted as her writing sample a typescript of "Sunday at the Mintons,'" published in Mademoiselle in August 1952.

Richard T. Gill (1927-2010) published some short stories, and became a Harvard professor of economics and an opera singer. See Gill's New York Times obituary here. Gill also gave biographer Matthews a detailed account of O'Connor's summer 1952 class (pp. 281-282). [1] Sylvia had met Richard Gill at a party (Journals, Dec. 16, 1958), and didn't like him.

Harvard's rejection letter, never located in any archives, might have told Sylvia she was "too advanced for the class." But schools and writing workshops even today use "you are too advanced" to deny admission to applicants egotistical enough to believe that. In a previous post I addressed the allegation, published in 2013, that Sylvia's mother Aurelia Plath secretly destroyed or hid Harvard's "acceptance letter" to keep Sylvia home that awful summer. Richard Gill's is a first-hand witness's account that has been ignored.

[1] Gill published a very detailed essay about O'Connor's Harvard Summer School courses in Michael/Frank: Studies on Frank O'Connor, ed. Maurice Sheehy (Knopf, 1969). That essay does not mention Plath.

This Famous Plath Happy-Family Photo

I finally read Otto Plath’s book Bumblebees and Their Ways (1934), by a bee geek who spent the 1920s digging up and micromanaging 225 colonies of bees, observing their eating, breeding, and warring and compiling his discoveries. The first 131 pages are prose; the other 70, taxonomy. Otto got stung enough to put him into bed. His introduction says, “It is my ambition and hope to continue the investigations of the past thirteen summers by devoting at least three months each year to the study of bumblebees in various parts of the world.”

Three months per year? One wonders: with or minus the new wife and baby acquired in 1932? Finishing the manuscript – a dissertation he and Aurelia rewrote for lay readers -- got Otto promoted to full professor of biology. Aurelia Plath later wrote about the book: “Won my husband recognition and lost him money.” But before the book was published they hoped it might make them rich.

So the family celebrated in July 1933, taking the only known photo of Sylvia Plath with both her parents and the only one of Aurelia with Otto. They’re on a hillside in the Arnold Arboretum, the park where Otto spent the Jazz Age observing bees and was still not over it. (His book says observations continued until October 1933.) I wonder if Otto’s research dream, deferred for lack of funds or excess of human baggage, ultimately made his life seem not worth living.

On this clearly sunny and hot day in Boston, Aurelia is wearing a fur piece over her shoulder. A wintertime photo shows her with a fur scarf – fur was fashionable – but this more substantial piece resembles a wrap or collar. Puzzling over fur in July I have imagined it was Otto’s thank-you for the year and a half he browbeat Aurelia and yelled while they edited the book that ate their marriage (“My, how he lit into me” when she used too many adjectives, she said). Aurelia called this “too academic an atmosphere” for infant Sylvia and brought in her own parents to supply love and laughter [Letters Home, 13]. The other photo from that day shows Aurelia looking much happier posed with her mother and Sylvia, with no fur unless it’s beneath Aurelia’s hat. I don’t want to read too much into Sylvia’s expressions.

Aurelia Schober, Sylvia Plath, Aurelia Plath