OPERE DI SYLVIA PLATH

· The Colossus and Other Poems, Heinemann, London, 1960; Alfred A. Knopf, New York, 1962;
· The Bell Jar, Heinemann, London, 1963; Harper & Row, New York, 1971.

OPERE DI SYLVIA PLATH PUBBLICATE POSTUME
· Ariel, Faber and Faber, London, 1965; Harper & Row, New York 1966;
· Crossing the Water, Faber and Faber, London, 1971; con il sottotitolo Transitional Poems, Harper & Row, New York, 1972;
· Winter Trees, Faber and Faber, London, 1971; Harper & Row, New York, 1972;
· Letters Home: Correspondence 1950-1963, ed. Aurelia Schober Plath, Harper & Row, New York, 1975; Faber and Faber, London, 1976;
· Johnny Panic and the Bible of Dreams and Other Prose Writings, Faber and Faber, London, 1977; edizione riveduta e accresciuta, 1979;
· Johnny Panic and the Bible of Dreams: Short Stories, Prose and Diary Excerpts, Harper & Row, New York, 1979;
· Collected Poems, ed. Ted Hughes, Faber and Faber, London, 1981; Harper & Row, New York, 1981;
· The Journals of Sylvia Plath, ed. Ted Hughes e Frances McCullough, The Dial Press, New York, 1982;
· The Journals of Sylvia Plath 1950-1962, ed. Karen V. Kukil, Faber and Faber, London, 2000; Anchor Book, New York, 2000.

PRINCIPALI TRADUZIONI ITALIANE
· La campana di vetro, trad. di Daria Menicanti, Mondadori, Milano, 1968;
· Lady Lazarus e altre poesie, a cura di Giovanni Giudici, Mondadori, «Lo Specchio», Milano, 1976; rist. in «Oscar Poesia del ‘900», 1998;
· Quanto lontano siamo giunti. Lettere alla madre, a cura di Marta Fabiani, Guanda, Parma, 1979;
· Johnny Panic e la bibbia dei sogni, trad. di Maria Luisa Cesa Bianchi, introduzione di Claudio Gorlier, Mondadori, Milano, 1990;
· Diari, a cura di Frances McCullough e Ted Hughes, trad. di Simona Fefé, Adelphi, Milano, 1998;
· Sylvia Plath. Opere, a cura di Anna Ravano, Mondadori, Milano, 2002.
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Sylvia Plath
Source: Modern American Lyric: Lowell, Berryman, Creeley, and Plath, Rutgers University Press, 1978, pp. 127-73. Reproduced by permission.
Criticism about: Sylvia Plath (1932-1963), also known as: Mrs. Sylvia Plath: ‘Love, Love, My Season’.

[No] poet more than Sylvia Plath keeps reminding us of the terms and the ground of her writing. To say that she writes in extremis is not only an accurate statement of fact but a suggestion that more than aesthetic matters may be involved. (p. 127)

Ariel, Sylvia Plath’s major posthumously published book of poems, begins and ends in extremis. Morning Song, the opening poem, begins with the word “love.”Words, the concluding poem, ends on the word “life.” The title of the last poem Words, and the pun in the title of the opening poem Morning Song suggest the two other prominent centers here, art and death. Love and death, life and art - these are the extremities out of which the Ariel poems proceed. And Plath insisted upon them and returned to them for alignments of the most dangerous kind.
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