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| Eye Rhymes: Sylvia Plath's Art of the Visual | 
 enlarge | Creators: Kathleen Connors, Sally Bayley
Publisher: OUP Oxford
Category: Book
List Price: £25.00
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Avg. Customer Rating:  1 reviews
Sales Rank: 243811
Media: Hardcover
Number Of Items: 1
Pages: 320
Shipping Weight (lbs): 2.5
Dimensions (in): 9.7 x 7.6 x 1.1
ISBN: 019923387X
Dewey Decimal Number: 811.54
EAN: 9780199233878
ASIN: 019923387X
Publication Date: October 18, 2007
Availability: Usually dispatched within 1-2 business days
Condition: Published by Oxford University Press in 2007. Hardcover. Number of pages: 320. Condition: Very Good. May show some slight signs of wear. #8270780 (H35-19)
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| Customer Reviews:
Reconecting Plath With Her Gift: Poetry As Conceptual Art... November 16, 2007
2 out of 4 found this review helpful
Kathleen Connors and Sally Bayley have edited a book of Sylvia Plath's Art Work: `Eye Rhymes: Sylvia Plath's Art of The Visual' OUP ISBN 978-0-19-923387-8. The Book is out now.
Significant, challenging, interesting, yet in some way you know you don't quite see her properly. Sylvia Plath has been written as a poet who died for her art, like a soldier fallen in battle or some limbless Venus, always perfectly and partially formed in our imagination. This book reconnects Plath with her gift, but what is fascinating, is the connection with how the drawing and painting informed a poetry that in itself, can now be seen as conceptual art.
Because she was unidentified as an artist means that much has been written blindly about the art of her poetry, the obsessive way she charted and detailed each domestic life event. That each poem was itself a conscious substitute, a smoothing over, a calming, of her inability to sufficiently defamiliarise yet familiarise the space she inhabited to produce deeper, satisfying work where she could find a sense of authority and autonomy.
Art is work.
Poetry was a substitution for art. She tried to make the poems more than poetry, playing with words and images, but you get the feeling that there was little space for the kind of acknowledgement of the importance of the work and the working space local to artists that we take for granted in most cities today, for example.
Today artists and writers still complain about the pressures on them to relocate to London, yet they really do have rich, portable, `localising' networks wherever they are, now, where they can have an identity as an artist yet be part of what's happening in their neighbourhood, without having to cross the world to collect experience and credibility. Not so in the fifties and sixties.
Plath tried on the guises of woman, playing out and confronting the limitations of being clever, funny, wise, beautiful, ugly, undesirable, but against a background of incomprehension. When you consider the whimsicality of french artist Sophie Calle, for example, who dramatises and theatricalises the mundane, the random, the obvious, it's clear that poetry can be conceptual art.
There just wasn't the space then. The kind of serious playfulness, the disinterested affection, of an artist like Calle, becomes the tragic metonymy, the sick nightmare of the Captive Wife in Plath. And it is a tragic misreading which underlines its truth as art.
The process described by her poetry was subtle and self destructive: in domesticating her drive to draw and paint she distorted and undermined a natural ability to find the new, renewal and pleasure through working with words and images ambidextrously. Her perception, like that of Alice, would be endlessly written and rewritten, stuck, documented without wider context, in the weird and wonderful world of poetic possibility.
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