Crossing the Water and Winter Trees contain the poems written during the exceptionally creative period of the last years of Sylvia Plaths life. Published posthumously in 1971, they add a startling counterpoint to Ariel, the volume that made her reputation. Readers will recognise some of her most celebrated poems - Childless Woman, Mirror, Insomniac - while discovering those still overlooked, including her radio play Three Women. These two extraordinary volumes find their place alongside The Colossus and Ariel in the oeuvre of a singular talent. Nearly all the poems here have the familiar Plath daring, the same feel of bits of frightened, vibrant, indignant consciousness translated instantly into words and images that blend close, experienced horror and icy, sardonic control. Alan Brownjohn, New Statesman

Crossing the Water and Winter Trees contain the poems written during the exceptionally creative period of the last years of Sylvia Plaths life. Published posthumously in 1971, they add a startling counterpoint to Ariel, the volume that made her reputation. Readers will recognise some of her most celebrated poems - Childless Woman, Mirror, Insomniac - while discovering those still overlooked, including her radio play Three Women. These two extraordinary volumes find their place alongside The Colossus and Ariel in the oeuvre of a singular talent. Nearly all the poems here have the familiar Plath daring, the same feel of bits of frightened, vibrant, indignant consciousness translated instantly into words and images that blend close, experienced horror and icy, sardonic control. Alan Brownjohn, New Statesman

Sylvia Plath (1932-1963) was one of the writers who defined the course of twentieth-century poetry. In the Letters, we discover the art of Plath's correspondence. Most has never before been published, and it is here presented unabridged, without revision, so that she speaks directly in her own words. The letters document Plath's extraordinary literary development: the genesis of many poems, short and long fiction, and journalism. Leading Plath scholars Peter K. Steinberg and Karen V. Kukil, editor of The Journals of Sylvia Plath 1950-1962, provide comprehensive footnotes and an extensive index informed by their meticulous research. Alongside a selection of photographs and Plath's own drawings, they masterfully contextualise what the pages disclose. This later correspondence witnesses Plath and Hughes becoming major, influential contemporary writers, as it happened. Experiences recorded include first books and other publications; teaching; committing to writing full-time; travels; making professional acquaintances; settling in England; starting a family; and buying a house. Throughout, Plath's voice is completely, uniquely her own.

When Esther Greenwood wins an internship on a New York fashion magazine in 1953, she is elated, believing she will finally realise her dream to become a writer. But in between the cocktail parties and piles of manuscripts, Esther's life begins to slide out of control. She finds herself spiralling into depression and eventually a suicide attempt, as she grapples with difficult relationships and a society which refuses to take women's aspirations seriously. The Bell Jar, Sylvia Plath's only novel, was originally published in 1963 under the pseudonym Victoria Lucas. The novel is partially based on Plath's own life and descent into mental illness, and has become a modern classic. The Bell Jar has been celebrated for its darkly funny and razor sharp portrait of 1950s society and has sold millions of copies worldwide.

I was supposed to be having the time of my life. When Esther Greenwood wins an internship on a New York fashion magazine in 1953, she is elated, believing she will finally realise her dream to become a writer. But in between the cocktail parties and piles of manuscripts, Esthers life begins to slide out of control. She finds herself spiralling into depression and eventually a suicide attempt, as she grapples with difficult relationships and a society which refuses to take womens aspirations seriously. The Bell Jar, Sylvia Plaths only novel, was originally published in 1963 under the pseudonym Victoria Lucas. The novel is partially based on Plaths own life and descent into mental illness, and has become a modern classic. The Bell Jar has been celebrated for its darkly funny and razor sharp portrait of 1950s society and has sold millions of copies worldwide.

When Esther Greenwood wins an internship on a New York fashion magazine in 1953, she is elated, believing she will finally realise her dream to become a writer. But in between the cocktail parties and piles of manuscripts, Esther's life begins to slide out of control. She finds herself spiralling into serious depression as she grapples with dif... When Esther Greenwood wins an internship on a New York fashion magazine in 1953, she is elated, believing she will finally realise her dream to become a writer. But in between the cocktail parties and piles of manuscripts, Esther's life begins to slide out of control. She finds herself spiralling into serious depression as she grapples with difficult relationships and a society which refuses to take her aspirations seriously. The Bell Jar, Sylvia Plath's only novel, was originally published in 1963 under the pseudonym Victoria Lucas. The novel is partially based on Plath's own life and descent into mental illness, and has become a modern classic.

I was supposed to be having the time of my life. When Esther Greenwood wins an internship on a New York fashion magazine in 1953, she is elated, believing she will finally realise her dream to become a writer. But in between the cocktail parties and piles of manuscripts, Esthers life begins to slide out of control. She finds herself spiralling into depression and eventually a suicide attempt, as she grapples with difficult relationships and a society which refuses to take womens aspirations seriously. The Bell Jar, Sylvia Plaths only novel, was originally published in 1963 under the pseudonym Victoria Lucas. The novel is partially based on Plaths own life and descent into mental illness, and has become a modern classic. The Bell Jar has been celebrated for its darkly funny and razor sharp portrait of 1950s society and has sold millions of copies worldwide.

Sylvia Plath (1932–1963) was one of the writers who defined the course of twentieth-century poetry. Her vivid, daring and complex poetry continues to captivate new generations of readers and writers. In the Letters, we discover the art of Plath’s correspondence, most of which has never before been published and is here presented unabridged, without revision, so that she speaks directly in her own words. Refreshingly candid and offering intimate details of her personal life, Plath is playful, too, entertaining a wide range of addressees, including family, friends and professional contacts, with inimitable wit and verve. The letters document Plath’s extraordinary literary development: the genesis of many poems, short and long fiction, and journalism. Her endeavour to publish in a variety of genres had mixed receptions, but she was never dissuaded. Through acceptance of her work, and rejection, Plath strove to stay true to her creative vision. Well-read and curious, she offers a fascinating commentary on contemporary culture. Leading Plath scholars Peter K. Steinberg and Karen V. Kukil, editor of The Journals of Sylvia Plath 1950–1962, provide comprehensive footnotes and an extensive index informed by their meticulous research. Alongside a selection of photographs and Plath’s own line-drawings, the editors masterfully contextualise what the pages disclose. This selection of early correspondence marks the key moments of Plath’s adolescence, including childhood hobbies and high school boyfriends; her successful but turbulent undergraduate years at Smith College; the move to England and Cambridge University; and her meeting and marrying Ted Hughes, including a trove of unseen letters post-honeymoon, revealing their extraordinary creative partnership.

Ariel, first published in 1965, contains many of Sylvia Plaths best-known poems, written in an extraordinary burst of creativity just before her death in 1963. Including poems such as Lady Lazarus, Edge, Daddy and Paralytic, it was the first of four collections to be published by Faber & Faber. Ariel is the volume on which Sylvia Plaths reputation as one of the most original, daring and gifted poets of the twentieth century rests.

Ariel, first published in 1965, contains many of Sylvia Plaths best-known poems, written in an extraordinary burst of creativity just before her death in 1963. Including poems such as Lady Lazarus, Edge, Daddy and Paralytic, it was the first of four collections to be published by Faber & Faber. Ariel is the volume on which Sylvia Plaths reputation as one of the most original, daring and gifted poets of the twentieth century rests.

A woman’s life, erupting with brilliance and promise, is fissured by betrayal and the pressures of duty. What had once seemed a pastoral family idyll has become a trap, and she struggles between being the wife and mother she is bound to be and yearning for so much more. The woman in question is Sylvia Plath in the final year of her life. As Plath’s marriage to Ted Hughes unravels, Sylvia turns increasingly to writing to express her pain and loss, yet also her resilience and power. She has decided to die, but the art she creates in her final weeks will set her name, and the world, ablaze.

Faber Stories, a landmark series of individual volumes, presents masters of the short story form at work in a range of genres and styles. Lips the colour of blood, the sun an unprecedented orange, train wheels that sound like ‘guilt, and guilt, and guilt’: these are just some of the things Mary Ventura begins to notice on her journey to the ninth kingdom. ‘But what is the ninth kingdom?’ she asks a kind-seeming lady in her carriage. ‘It is the kingdom of the frozen will,’ comes the reply. ‘There is no going back.’ Sylvia Plath’s strange, dark tale of independence over infanticide, written not long after she herself left home, grapples with mortality in motion. Bringing together past, present and future in our ninetieth year, Faber Stories is a celebratory compendium of collectable work.

Carol Ann Duffy, appointed Poet Laureate in 2009, has chosen her favourite poems for children for this stunning collection of classic and modern verse, exquisitely illustrated by multi-award-winning illustrator Emily Gravett. Featuring such classic poems as 'The Owl and the Pussycat' by Edward Lear and Lewis Carroll's 'Jabberwocky' alongside Edwin Morgan's 'The Loch Ness Monster's Song' and 'Balloons' by Sylvia Plath, 101 Poems for Children Chosen by Carol Ann Duffy: A Laureate's Choice is a delight for children of all ages and a pleasure to read aloud.

Каталожный номер OLE 10561, Формат 2LP, Лейбл MATADORA1 Nobody's EmpireA2 AllieA3 The Party LineB1 The Power Of ThreeB2 The Cat With The CreamB3 Enter Sylvia PlathC1 The Everlasting MuseC2 Perfect CouplesC3 Ever Had A Little Faith?D1 Play For TodayD2 The Book Of YouD3 Today (This Army's For Peace)Band - Belle & SebastianBass - Dave McGowanCello - Dan LawonnIllustration - Katharine HeathProducer - Ben H. AllenStrings - The Laurels String QuartetViola - Erica BurtonViolin - Jesse Peterson, Josh Misner

A clear-sighted, unflinching work that provokes questions about our definitions of sane and insane, Kaysen's extraordinary memoir encompasses horror and razor-edged perception while providing vivid portraits of her fellow patients and their keepers. In 1967, after a session with a psychiatrist she'd never seen before, eighteen-year-old Susanna Kaysen was put in a taxi and sent to McLean Hospital to be treated for depression. She spent most of the next two years on the ward for teenage girls in a psychiatric hospital renowned for its famous clientele - Sylvia Plath, Robert Lowell, James Taylor and Ray Charles. The bestselling memoir that inspired the cult classic film, starring Winona Ryder and Angelina Jolie.

I took off my wedding ring - a gold band with half a line of 'Morning Song' by Sylvia Plath etched inside - and for weeks afterwards, my thumb would involuntarily reach across my palm for the warm bright circle that had gone. I didn't throw the ring into the long grass, like women do in the movies, but a feeling began bubbling up nevertheless, from my stomach to my throat: it could fling my arms out. I was free. A few years into her marriage and feeling societal pressure to surrender to domesticity, Joanna Biggs found herself longing for a different kind of existence. Was this all there was? She divorced without knowing what would come next. Newly untethered, Joanna returned to the free-spirited writers of her youth and was soon reading in a fever - desperately searching for evidence of lives that looked more like her own, for the messiness and freedom, for a possible blueprint for intellectual fulfillment. In A Life of One's Own, Mary Wollstonecraft, George Eliot, Zora Neale Hurston, Virginia Woolf, Simone de Beauvoir, Sylvia Plath, Toni Morrison, and Elena Ferrante are all taken down from their pedestals, their work and lives seen in a new light. Joanna wanted to learn more about the conditions these women needed to write their best work, and how they addressed the questions she herself was struggling with: Is domesticity a trap? Is life worth living if you have lost faith in the traditional goals of a woman? Why is it so important for women to read one another? This is a radical and intimate examination of the unconventional paths these women took - their pursuits and achievements but also their disappointments and hardships. And in exploring the things that gave their lives the most meaning, we find fuel for our own singular intellectual paths.