07 December 2017

The Education of Sylvia Plath, Smith College, 1954-1955

Sylvia Plath's final year at Smith College was tremendously successful. She lived in Lawrence House "with" Nancy Hunter (later Steiner) in what was then room 4 on the second floor (present day room number 217). Walking into the room from the main door, one is presented with a vestibule like area. On each end is a closet and there are two separate, small rooms for the residents. The windows overlooked a small tree-filled, green lawn and visit is Green Street.

The main door to Plath's room
The closet door
The room
Plath's door
View to the right
View to the left
You can read more about this room in These Ghostly Archives: The Unearthing of Sylvia Plath by Gail Crowther and myself. And you can read more about Plath's time at Harvard Summer School and her relationship with Nancy Hunter Steiner in Steiner's A Closer Look at Ariel: A Memory of Sylvia Plath (Harper's Magazine Press, 1973; Faber and Faber 1974).

Plath strung Gordon Lameyer along as her main boyfriend, but by the end of the semester she was fully involved with Richard Sassoon, who remained her most significant other for the rest of her undergraduate months. Plath applied for a Fulbright scholarship and other advanced degree programs, and completed her thesis, "The Magic Mirror; A Study of the Double in Two of Dostoevsky's Novels". Plath's two creative writing courses (Short Story Writing and a special studies in poetics) saw her create remarkable number of works.

Plath's working papers for her thesis are held in Plath mss II by the Lilly Library. Her notebooks for Shakespeare and 20th Century American Novel (Modern American Literature) are also held by the Lilly Library. Many more details about aspects of Plath's final year are, of course, now available in The Letters of Sylvia Plath, Volume 1: 1940-1956.

English 36, Shakespeare: A study of Shakespeare's dramatic development against the background of Elizabethan ideas, social, critical, and theatrical. Not open to students who have taken 37 with which this course alternates. Th F S 12. Esther Cloudman Dunn.

English 347a, Short Story Writing: Though the emphasis in this course will be on fiction, opportunity will be given for other kinds of writing. By permission of the instructor. W Th F 2. Alfred Kazin, first semester.

Some of these stories were created during the term of Kazin's course but may not be a direct result of it:
"Among the Bumblebees";
"Broken Glass";
"Christmas Encounter";
"Coincidentally Yours";
"The Day Mr. Prescott Died";
"Home is Where the Heart Is";
"In the Mountains";
"Marcia Ventura and the Ninth Kingdom";
"The Smoky Blue Piano";
"Superman and Paula Brown's New Snowsuit";
"Tomorrow Begins Today";
"Tongues of Stone"; and
"Two Gods of Alice Denway"(?)

English 417b, 20th Century American Novel: The Twentieth Century American Novel. Th F S 10. Alfred Kazin.
The Spectrum of F. Scott Fitzgerald; A Study of Color Imagery in Tender Is the Night,

English 41b, Poetry, Special Studies: By permission of the Department for senior majors who have had twelve semester hours in English above Grade I. Two or three hours. Alfred Young Fisher

"Ballad Banale", 8 January 1955;
"Item: Stolen, One Suitcase", 8 January 1955;
"Morning in the Hospital Solarium", 8 January 1955;
"New England Winter without Snow", 8 January 1955;
"Harlequin Love Song", 9 January-3 February 1955;
"Danse Macabre", 30 January 1955;
"Rondeau Redouble", 30 January 1955;
"Temper of Time", 1 February 1955;
"Winter Words", 1 February 1955;
"Apparel for April", 2 February 1955;
"Lament", 5 February 1955;
"Complaint", 6 February 1955;
"Elegy", 6 February 1955;
"Notes on Zarathustra's Prologue", 6 February 1955;
"Dream of the Hearse-Driver", 7 February 1955;
"Prologue to Spring", 9 February 1955;
"Epitaph in Three Parts", 11 February 1955;
"April Aubade", 14 February 1955;
"The Princess and the Goblins", 19 February 1955;
"How shall winter" [first line], 27 February 1955;
"Wayfaring at the Whitney", 28 February 1955;
"Ice Age (II), 2 March 1955;
"Moonsong at Morning", 6 March 1955;
"On Looking into the Eyes of a Demon Lover", 6 March 1955;
"Black Pine Tree in an Orange Light", 8 March 1955;
"Apotheosis", 9 March 1955;
"Second Winter", 9 March 1955;
"Song of Eve", 9 March 1955;
"Song for a Thaw", 10 March 1955;
"Million Dollar Month", 12 March 1955;
"Notes to a Neophyte", 12 March 1955;
"On the Futility of a Lexicon", 12 March 1955;
"Two Lovers and a Beachcomber by the Real Sea", 22 March 1955;
"Advice for an Artificer", 12 April 1955;
"Sonnet for a Green-Eyed Sailor", 12 April 1955;
"A Sorcerer Bids Farewell to Seem", 12 April 1955;
"Sonnet to Satan", 17 April 1955;
"Apology to Pan", 18 April 1955;
"Desert Song", 19 April 1955;
"Circus in Three Rings", revised 23 April 1955;

English Unit, Long Paper (thesis) Supervised by George Gibian
"The Magic Mirror: A Study of the Double in Two of Dostoevsky's Novels; submitted 15 January 1955"

English Unit, Review
Taught by Evelyn Page

German 12 Intermediate
Intermediate Course. Prerequisite, two units in German or 11. M T W 11, Th F S 11, two additional hours to be arranged for conversation in place of some preparation. Anita Luria Ascher, Helene Sommerfeld.

In 1989, Plath's thesis was printed in a limited edition (Rhiwargor, Llanwddyn, Powys [Wales]: Embers Handpress). WorldCat lists 28 copies that are available to read in libraries and archives.

See the other posts in the Education of Sylvia Plath series: 1950-1951; 1951-1952; 1952-1953; and 1954.

All links accessed 1 and 6 December 2017.

01 December 2017

The Education of Sylvia Plath, Smith College and Harvard, 1954

This post looks at the Education of Sylvia Plath for the spring semester, 1954, and at the courses she took at Harvard Summer School, 1954. Sylvia Plath returned to Smith College for the second semester of the 1953-1954 academic year. She resumed living in Lawrence House and during the spring had her own room (it was the same room she lived in the previous year, 1952-1953, but she had no roommate). It is unknown what courses Plath had signed up to take when decisions were made in the spring of 1953. It might be that the courses she took in the Spring of 1954 were among them; but it might also be that she was experimental.

Plath officially took three courses:

English 321b, American Fiction 1830-1900: Hawthorne, Poe, Melville, and James. M T W 9. Newton Arvin.

Russian 35b,Tolstoy and Dostoevsky: M T W 12. George Gibian.

History 38b, Intellectual History of Europe in the Nineteenth Century: Main trends of thought in their relation to the political, social, and economic background. M T W 11. Elisabeth Koffka.

In addition to the above, Plath audited:

English 417b, The Twentieth Century American Novel: Th F S 10. Robert Gorham Davis.

Plath attended Harvard Summer School in July and August 1954 and sublet an apartment at 1572 Massachusetts Avenue, Cambridge, Mass., with three other girls. I do not believe there are notebooks for these courses, or papers. There are no known journals for this time period, either. However, the summer was recorded meticulously by Plath in a pocket calendar and in review in her Smith College scrapbook, both held in Plath mss II by the Lilly Library at Indiana University.

Bay State Apartments, 1572 Massachusetts Avenue, Cambridge
The only course Plath officially took at Harvard Summer School was German S-Bab (=11).

German S-Bab. Elementary German: Aural-Oral Approach.
Full course (8 units). 8-9 and 11-12 a.m.

For students who have had no German. Although attention is devoted to speaking and understanding the spoken language, the emphasis is on developing skill in reading. All students planning to enroll in this course who have studied the language previously are required to take the Placement Test given before the beginning of the course.

Dr. James M. Hawkes, Groton School; and others.

Harvard and Radcliffe degree candidates cannot count German S-Bab in addition to German A, B, or the first half of BC.

Information above taken from Summer School Catalogue course description (HU 75.25, 1954-55, p. 78). The Harvard University Archives also holds the Final Exam (HUE 554.4) for this course.

However, she also sat in on classes for a course in the Nineteenth Century Novel.

English S-151. The Nineteenth-Century Novel

Half-course (4 units). 12-1 p.m.

The nineteenth-century novel considered as the characteristic art of the European middle classes. Among the writers to be studied are Jane Austen, Stendhal, Balzac, Dickens, Flaubert, Turgenev, Tolstoy, and Trollope.

Mr. Frank O'Connor, writer.

Harvard and Radcliffe candidates cannot count English S-151 in addition to English 151.

Information above taken from Summer School Catalogue course description (HU 75.25, 1954-55, p. 68). The Harvard University Archives also holds the Reading List (Call number HUE 83.554.6) and Final Exam (HUE 554.4) for this course.

The reading list is wonderful:

Background: Lord David Cecil, Early Victorian Novelists

Novels: Jane Austen: Emma, Pride and Prejudice
Stendhal: The Charterhouse of Parma
Balzac: Eugenie Grandet
Dickens: Bleak House
Trollope: The Last Chronicle of Barset, Phineas Finn
Flaubert: Madame Bovary
Tolstoy: The Cossacks
Turgenev: On the Eve
Mark Twain: Huckleberry Finn

Plath took advantage of her situation in Cambridge with easy access to all of Harvard, Boston, and made frequent visits home to Wellesley. Plath also visited north shore Massachusetts beaches, Cape Cod, Newport, Rhode Island, and New Hampshire.

On 24 July 1954, Plath went to Chatham with Gordon Lameyer who took the now very famous color photographs of Plath in her "a neat two-piece white Jantzen bathing suit" (Letters of Sylvia Plath, p. 314). One such photo resplendently graces the recently published Faber edition of volume 1 of Plath's letters. Sylvia Plath in full color, both inside and out.

Two days later, on Monday 26 July 1954, Plath was photographed in Widener Library by the Boston Globe. The photograph appeared the following day under the article titled "More Girls Than Ever At Harvard Summer School". You can read a little more about some of Plath's experiences at Harvard School School in this post.

See the other posts in the Education of Sylvia Plath series: 1950-1951; 1951-1952; 1952-1953; and 1954-1955.

All links accessed 1 October and 1, 7 December 2017.

27 November 2017

Paraliterary by Merve Emre

Dr. Merve Emre, an assistant professor in the Department of English at McGill University, recently published her book Paraliterary: The Making of Bad Readers in Postwar America (University of Chicago Press, November 2017).

The description of the book reads:
Literature departments are staffed by, and tend to be focused on turning out, "good" readers—attentive to nuance, aware of history, interested in literary texts as self-contained works. But the vast majority of readers are, to use Merve Emre's tongue-in-cheek term, "bad" readers. They read fiction and poetry to be moved, distracted, instructed, improved, engaged as citizens. How should we think about those readers, and what should we make of the structures, well outside the academy, that generate them? We should, Emre argues, think of such readers not as non-literary but as paraliterary—thriving outside the institutions we take as central to the literary world. She traces this phenomenon to the postwar period, when literature played a key role in the rise of American power. At the same time as American universities were producing good readers by the hundreds, many more thousands of bad readers were learning elsewhere to be disciplined public communicators, whether in diplomatic and ambassadorial missions, private and public cultural exchange programs, multinational corporations, or global activist groups. As we grapple with literature's diminished role in the public sphere, Paraliterary suggests a new way to think about literature, its audience, and its potential, one that looks at the civic institutions that have long engaged readers ignored by the academy.
For although I am confident I am a bad reader, I am very excited to read this book which was recently sent to me, in a fit of outrageous kindness, by Amanda Golden. Sylvia Plath is a focus of chapter two ("Reading as Feeling"), and as such it is right in my wheelhouse.

Paraliterary is $85 (cloth), $27.50 (paperback and e-book) and can be purchased from the University of Chicago Press's website linked above (preferred), as well as from bookstores, physical and online.

All links accessed 20 November 2017.

21 November 2017

Art at Sylvia Plath Conference in Belfast

In each of the four Sylvia Plath conferences, art has been a major component of the events. Art, as in art inspired by Sylvia Plath. Several musical compositions have been featured as well. The Sylvia Plath Conference in Belfast, from 10-11 November, continued this tradition. Bella Biddle wowed us with her a choral composition of "Nick and the Candlestick" which I mentioned in my day one review of the conference.

But unintentionally omitted from the previous recap-posts were a more detailed exploration of Christine Walde's exhibit, and, as well, artwork sent to the conference from Macedonia by Kristina Zimbakova.

One the first day, in the first panel, speaker Christine Walde spoke on "<maniacs.>: Exploring marginalia and materiality in library copies of Sylvia Plath's catalogue" which was a fascinating discussion on how we are readers interact with Plath's texts.

From Christine's abstract:
For many years, I have been fascinated by the vivid and abundant marginalia found in library copies of Sylvia Plath's poetry: page after page marked with lines, dashes, arrows and brackets; scribbled with pen, ink and pencil in all colors; awash with correction fluid, coffee rings, blood and tears; their pages torn and cut out, excised from their spines like sore teeth pulled from a throbbing jaw; ebullient, angry, and impassioned comments pleading from the margins, crying out for understanding, justice, salvation, or hope, crowding the white space on the page.
As part of her talk, Christine hung an exhibit of full color reproductions of selections from her research which offers an interesting look at how these anonymous souls responded to Plath. Christine also produced a book of these called <maniacs.> Limited to 20 numbered copies, <maniacs.> is a gorgeously produced volume and reminds me that I need to mark up my own reading copies of Plath! Or, at the least, scan some of the annotations I have made in case she would find it useful. If you are interested, a small number of copies of <maniacs.> is still available, please contact Christine (derwalde@gmail.com) if you are interested in acquiring one. Also, if you have annotated poems by Plath in your own books, she may well want to see those as well.

Kristina Zimbakova was unable to attend, in person, the conference but her artwork was on full display on the Saturday, the second day of the conference. Her creation, 'Poems, Suitcases' was something else altogether to see in person as I have known about it for several years. And it was so appropriate too since we had all traveled there with our own suitcases, with Plath's poems (and letters) in tow.

From the program:
The art installation 'Poems, Suitcases' is inspired by Plath's poetry, and in particular her essay 'A Comparison'. It consists of a sculptural painting (suitcase) and 19 mixed-media drawings. Each piece includes inscriptions of signature Plath poems' titles or central notions in her poetry, and the order arrangement of the pieces creates a story. In line with the poem 'Mushrooms' written on the suitcase, the wording is made of lichens, which are a symbiotic association between two fungal species and an alga or cyanobacterium. The closing lines of this poem, 'We shall by morning / Inherit the earth./ Our foot's in the door.' encompass the message of the current installation: the enthralling power of poetry via fungi as symbols of poems.

(Please pardon the exceedingly dodgy mobile phone photographs above. I had my real camera with me but never bloody used it! Click to see better images.)

Part of the reason I was so excited to see this is that after the last Plath conference, in 2012 at Indiana University, I sent Kristina some posters from the event as her artwork was featured. On the poster tube, I hand-wrote the poem "Mushrooms" as I knew it to be a favorite of hers, not just as a poem but as a medium with which to work. Little did I know it would be re-purposed into her art. To see it was other-worldly as it was done almost with a sense of the ephemeral.

I still have not come down from the high that this conference was and am sure many of you feel much the same.

All links accessed: 21 November 2017.

PS: I suppose I should make mention the slideshow that ran on Saturday in the foyer of the Ulster University building. The original idea behind this was actually to be in a panel on archives to show some photographs of Plath and discuss with the audience. The panel was not needed which was fine but it actually developed into this idea for a slideshow. I cannot thank enough both Maeve O'Brien and Jonathan Stephenson for their help in bringing this together.  When I started assembling photographs of Plath---from my own files, from books, and as contributions of friends---I thought I might gather 100 as it did not see like there were than many. What became "Sylvia Plath's Life in Photographs" ended up having 305 slides of photographs, with some slides having two or more for comparison purposes. In the end, 325 photographs were found and I am confident there are many "we" do not have access to and thus have not yet seen. Each slide displayed for 5 seconds and the entire thing lasted just over 30 minutes. It was on a loop so it would just start over. I do not know if anyone observed the entire thing or what people thought of it, but it was there!

That slide image there got the slide in transition...

14 November 2017

Letter in November: A London Postscript to the Sylvia Plath Conference

[This blog post was mostly written after/during too much to drink, at nearly "Midnight in the mid-Atlantic" on my flight back, back, back to Boston (not "On Deck", but far, far, back in coach...) ~pks]

I am so stupidly happy. After leaving Belfast, after such wonderful days at the Conference, after too many night of getting too little sleep, after meeting so many wonderful people and after having so many wonderful conversations, I had a long, six-hour layover in Heathrow airport before my connecting flight from Belfast to Boston. The idea of spending just about as much time in the airport as I would in the plane was unpalatable; so I decided it was worth the effort to zip into London for at least two hours; to make my way of course to Primrose Hill; to walk around and be beaten by wind, rain, air, sun: whatever the elements were offering that unknown day in the future when plans were made.

After learning that someone whom I have wanted to meet for years was unable to make the Sylvia Plath Conference in Belfast, Nick Smart and I coordinated to meet for a little walk about and lunch. Nick was at the Plymouth Uni talk back in March 2013 that Gail Crowther and I gave but had to bolt immediately after as he had traveled a long way to attend and have a long evening's, a long night's drive back home. To my delight Nick brought his wife (and most definitely his better half, sorry, Nick), Kathrine, and we three met at 3 Chalcot Square. A more perfect postscript to Maeve O'Brien's conference could not have been planned.

Plath's plaque is still very English Heritage blue; but the house is now pink. Previously yellow, lavendar (sic., to spell it like Plath did), and ages ago white, this soft color is the most, perhaps, befitting Plath's memory in the memory of the house. Having been previously in the flat I pointed out the bedroom window as well as the two living room windows. We walked the very short walk to 23 Fitzroy Road; now free of the scaffolding that enfolded it on my last couple of visits. The brick work is clearly clean; and the mid-autumn weather and sun could haven't been better than it was on this Remembrance Sunday to remember Sylvia Plath. The golden hue of the trees at Primrose Hill in at the end of the street were like a shock of daffodils, in a way.

We lunched at the Princess of Wales on the northeastern corner of the intersection of Chalcot Road and Fitzroy Road. A superb meal with excellent gossip and conversation about the conference --- oh! wouldn't you like to know! (like Plath's "Mirror"; I was "not cruel, only truthful")--- (As an aside, the Camden Pale Ale is brilliant).

After lunch we were going to re-stalk both Plath houses when I decided to slightly trespass at 3 Chalcot Square. I had remembered from my previous visit with Gail on 8 February 2014, that "Morton" was still listed as the occupant on the door buzzer for the attic flat. Morton being the surname of Mary, who is memorialized in several of Plath's letters but also perhaps more poignantly in Plath's "Leaving Early". I scooched up the walkway to the door and then exclaimed, "She's still listed"... though long deceased... and Nick and Kathrine came to look...

It was then the front door opened and the owner of the house appeared before us. Dr. Glover was as I remembered him from my first two meetings: jovial, friendly, welcoming. As it turned out, the flat on the second floor (third, American) was vacant and he invited us actually to tour the flat! He disappeared to find the keys and left us on our own. This feels like one of those strange Plath convergence-coincidences that I suspect we have all encountered at one time or another? And so, like the panther of "Pursuit", we three started "Coming up and up the stairs."

We unlocked the door and were faced with a nearly empty flat; barren of evidence of the lives I last encountered. It looked, as such, both bigger and smaller. We toured each room, looking at walls, ceilings, floors, windows, the pink flamingo shower curtain. The dust show where the tenants never cleaned; the floorboards creaked, the sun dazzled in the south facing kitchen windows and the Square burst with color of trees and grass and the painted faces of houses. It was a most unreal, but a very real experience to be back in these rooms in a situation that could never, ever, have been imagined after the last memorable time.

Stairs from ground floor

Stair landing

Bedroom doorway into hall,
where TH set up a card table to write


Bedroom (living through door on right)

The living room

Living room from Kitchen
Kitchen from hallway, ©Nick Smart

Kitchen, ©Nick Smart

Nick and me
Dr. Glover came to check on us as only was right to do as we had been in the flat, flabberghasted with confused surreal delight, for 15 or so minutes. In the back of my mind was "I have to get back to Heathrow", but it was the last thing I could for myself to do, to willingly leave this space. He told us a few anecdotes and then we descended the carpeted stairs, in shock, in awe, in the aura of Plath. I was kindly driven to Paddington (after too kindly being treated to lunch) where we said our too-soon goodbyes. But it was perhaps the best possible, most purely lucky postscript one might get to what was a impossible to believe dream of a conference in Belfast.

Left view from living room window

View looking straight down from living room window

Right view (towards Fitzroy Road) from living room window

Work, the next day, within twelve hours of touching down at Boston Logan, was an insult.

What I hope though, is that these photographs and this exceedingly dodgy video, conveys some of the space of this house, of this ghostly, living archive...

Here is a two or so minute video from inside the flat. I apologize if the quality is awful:

All links accessed: 14 November 2017.
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Publications & Acknowledgements

  • BBC Four.A Poet's Guide to Britain: Sylvia Plath. London: BBC Four, 2009. (Acknowledged in)
  • Biography: Sylvia Plath. New York: A & E Television Networks, 2005. (Photographs used)
  • Connell, Elaine. Sylvia Plath: Killing the angel in the house. 2d ed. Hebden Bridge: Pennine Pens, 1998. (Acknowledged in)
  • Crowther, Gail and Peter K. Steinberg. "These Ghostly Archives 3." Plath Profiles 4. Summer 2011: 119-138.
  • Crowther, Gail and Peter K. Steinberg. "These Ghostly Archives 4: Looking for New England." Plath Profiles 5. Summer 2012: 11-56.
  • Crowther, Gail and Peter K. Steinberg. "These Ghostly Archives 5: Reanimating the Past." Plath Profiles 6. Summer 2013: 27-62.
  • Crowther, Gail and Peter K. Steinberg. "These Ghostly Archives, Redux." Plath Profiles 3. Summer 2010: 232-246.
  • Crowther, Gail and Peter K. Steinberg. "These Ghostly Archives." Plath Profiles 2. Summer 2009: 183-208.
  • Crowther, Gail and Peter K. Steinberg. These Ghostly Archives: The Unearthing of Sylvia Plath. Oxford: Fonthill, 2017.
  • Death Be Not Proud: The Graves of Poets. New York: Poets.org. (Photographs used)
  • Doel, Irralie, Lena Friesen and Peter K. Steinberg. "An Unacknowledged Publication by Sylvia Plath." Notes & Queries 56:3. September 2009: 428-430.
  • Elements of Literature, Third Course. Austin, Tex. : Holt, Rinehart and Winston, 2009. (Photograph used)
  • Gill, Jo. "Sylvia Plath in the South West." University of Exeter Centre for South West Writing, 2008. (Photograph used)
  • Helle, Anita Plath. The Unraveling Archive: Essays on Sylvia Plath. Ann Arbor: University of Michigan Press, 2007. (Photographs used, acknowledged in)
  • Helle, Anita. "Lessons from the Archive: Sylvia Plath and the Politics of Memory". Feminist Studies 31:3. Fall 2005: 631-652.. (Acknowledged in)
  • Holden, Constance. "Sad Poets' Society." Science Magazine. 27 July 2008. (Photograph used)
  • Making Trouble: Three Generations of Funny Jewish Women, Motion Picture. Directed by Rachel Talbot. Brookline (Mass.): Jewish Women's Archive, 2007. (Photograph used)
  • Plath, Sylvia, and Karen V. Kukil. The Unabridged Journals of Sylvia Plath, 1950-1962. New York: Anchor Books, 2000. (Acknowledged in)
  • Plath, Sylvia, and Peter K. Steinberg and Karen V. Kukil (eds.). The Letters of Sylvia Plath, Volume 1, 1940-1956. London: Faber, 2017. Forthcoming.
  • Plath, Sylvia. Glassklokken. Oslo: De norske Bokklubbene, 2004. (Photograph used on cover)
  • Reiff, Raychel Haugrud. Sylvia Plath: The Bell Jar and Poems (Writers and Their Works). Marshall Cavendish Children's Books, 2008.. (Images provided)
  • Steinberg, Peter K. "'A Fetish: Somehow': A Sylvia Plath Bookmark." Court Green 13. 2017.
  • Steinberg, Peter K. "'I Should Be Loving This': Sylvia Plath's 'The Perfect Place' and The Bell Jar." Plath Profiles 1. Summer 2008: 253-262.
  • Steinberg, Peter K. "'They Had to Call and Call': The Search for Sylvia Plath." Plath Profiles 3. Summer 2010: 106-132.
  • Steinberg, Peter K. "A Perfectly Beautiful Time: Sylvia Plath at Camp Helen Storrow." Plath Profiles 4. Summer 2011: 149-166.
  • Steinberg, Peter K. "Proof of Plath." Fine Books & Collections 9:2. Spring 2011: 11-12.
  • Steinberg, Peter K. "Sylvia Plath." The Spoken Word: Sylvia Plath. London: British Library, 2010.
  • Steinberg, Peter K. "Textual Variations in The Bell Jar Publications." Plath Profiles 5. Summer 2012.
  • Steinberg, Peter K. "The Persistence of Plath." Fine Books & Collections. Autumn 2017: 24-29
  • Steinberg, Peter K. "This is a Celebration: A Festschrift for The Unabridged Journals of Sylvia Plath." Plath Profiles 3 Supplement. Fall 2010: 3-14.
  • Steinberg, Peter K. "Writing Life" [Introduction]. Sylvia Plath in Devon: A Year's Turning. Stroud, Eng.: Fonthill Media, 2014.
  • Steinberg, Peter K. Sylvia Plath (Great Writers). Philadelphia: Chelsea House Publishers, 2004.