... ilton, Mythology: Timeless Tales of Gods and Heroes (New York: M entor, 1969) 160. 4Ovid, The Metamorphoses, trans. Mary M. Innes (New York: P enguin, 1955) 209. COLOSSAL INFLUENCES ON SYLVIA PLATH A recurring image in Sylvia P lath s poetry, the statue first attains colossal proportions in h e r 1959...

...Ellen Stenstrom Abstract This article brings together two literary icons of personal “confessional” writing, Sylvia Plath and Margery Kempe, to examine—among their other uncanny transhistorical similarities—the way in which both women consciously self-fashioned their personhoods...

... ON SYLVIA PLATH A recurring image in Sylvia P lath s poetry, the statue first attains colossal proportions in h e r 1959 poem Colossus, where it symbolizes her father. A similar gigantic statue appears in her most famous poem , Daddy (1962), in which h er father is a toppled: Ghastly statue with one...

... a l pain in physical te rm s a llo w s us to c o m m u n ica te the s in g u la rity o f th o se states m ore effectively. Sylvia Plath perform s in this m ode, w illin g to cause pain and a lie n ­ ation in the service o f d isrup tio n s that alter the w ay w e read the m in d/b o d y split, w om en...

... Stenstrom notes in her essay, “The Self-Fashioned Writer’s ‘Confession’: Margery Kempe, Sylvia Plath, and Me,” is an archival exercise of identity making, of individuation, voice, and being not unlike what we see in Plath and other women writers of her generation for whom language and archive mark...

... but no attribution to author. In the event, 239 quotations from Woolf were included in 0ED2, illustrating 209 headwords. (This compares with 1,838 quotations from Joyce, 1,598 from Lawrence, 555 from Eliot, 455 from Agatha Christie, 355 from Elizabeth Bowen, 79 from Sylvia Plath, and 39 from V. SackvilleWest.) Ju st...