Sylvia Plath

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Aftermath - Sylvia Plath

Compelled by calamity's magnet They loiter and stare as if the house Burnt-out were theirs, or as if they thought Some scandal might any minute ooze From a smoke-choked closet into light; No deaths, no prodigious injuries Glut these hunters after an old meat, Blood-spoor of the austere tragedies.

Mother Medea in a green smock Moves humbly as any housewife through Her ruined apartments, taking stock Of charred shoes, the sodden upholstery: Cheated of the pyre and the rack, The crowd sucks her last tear and turns away.

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Aftermath von Sylvia Plath

Gezwungen durch Magnet Unglück's Sie bummeln und schauen, als ob das Haus Burnt-out die ihrigen waren, oder als ob sie glaubten, Einige Skandal könnte jede Minute Schlamm Aus Rauch erstickten Schrank ins Licht; Kein Mann, keine gewaltige Verletzungen Glut die Jäger nach einem alten Fleisch, Blut-Spur des strengen Tragödien.

Mutter Medea in einem grünen Kittel Verschiebt demütig wie eine Hausfrau durch Ihrem zerstörten Wohnungen, eine Bestandsaufnahme Verkohlten Schuhe, die nassen Polster: Betrogen und um den Scheiterhaufen und die Folter, Die Menge saugt ihre letzte Träne und wendet sich ab.

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Am 11. Februar 1963 nahm sich Sylvia Plath das Leben.

Bereits zehn Jahre zuvor hatte sie einen Suizidversuch unternommen - eine Folge der Depression, gegen die sie - letzten Endes - vergeblich ankämpfte.

Die Behandlung in der Psychiatrie, ihre Gefühle - wie unter eine Glasglocke - verarbeitete sie in ihrem berühmten Roman.

https://saetzeundschaetze.com



Sylvia Plath: Lady Lazarus

I have done it again. One year in every ten I manage it——

A sort of walking miracle, my skin Bright as a Nazi lampshade, My right foot

A paperweight, My face a featureless, fine Jew linen.

Peel off the napkin O my enemy. Do I terrify?——

The nose, the eye pits, the full set of teeth? The sour breath Will vanish in a day.

Soon, soon the flesh The grave cave ate will be At home on me

And I a smiling woman. I am only thirty. And like the cat I have nine times to die.

This is Number Three. What a trash To annihilate each decade.

What a million filaments. The peanut-crunching crowd Shoves in to see

Them unwrap me hand and foot—— The big strip tease. Gentlemen, ladies

These are my hands My knees. I may be skin and bone,

Nevertheless, I am the same, identical woman. The first time it happened I was ten. It was an accident.

The second time I meant To last it out and not come back at all. I rocked shut

As a seashell. They had to call and call And pick the worms off me like sticky pearls.

Dying Is an art, like everything else. I do it exceptionally well.

I do it so it feels like hell. I do it so it feels real. I guess you could say I’ve a call.

It’s easy enough to do it in a cell. It’s easy enough to do it and stay put. It’s the theatrical

Comeback in broad day To the same place, the same face, the same brute Amused shout:

‘A miracle!’ That knocks me out. There is a charge

For the eyeing of my scars, there is a charge For the hearing of my heart—— It really goes.

And there is a charge, a very large charge For a word or a touch Or a bit of blood

Or a piece of my hair or my clothes. So, so, Herr Doktor. So, Herr Enemy.

I am your opus, I am your valuable, The pure gold baby

That melts to a shriek. I turn and burn. Do not think I underestimate your great concern.

Ash, ash— You poke and stir. Flesh, bone, there is nothing there——

A cake of soap, A wedding ring, A gold filling.

Herr God, Herr Lucifer Beware Beware.

Out of the ash I rise with my red hair And I eat men like air.


A representative selection of verse by the Pulitzer Prize-winning writer who left in the wake of her personal tragedy a legacy of poems that combine terrifying intensity and dazzling artistry. With their brutally frank self-exposure and emotional immediacy, Plath’s poems, from "Lady Lazarus" to "Daddy," have had an enduring influence on contemporary poetry. READ more here: https://www.penguinrandomhouse.com

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