Following Veronica Forrest-Thomson’s lead, Gareth Farmer repositions Plath’s work in experimental British, European and American lineages, testing the complexity of her ‘poetic artifice’ against Forrest-Thomson’s theory and offering ‘other’ intellectual and literary contexts of her work. Such contexts activate alternative questions for the poetry, such as the role and function of form in carrying epistemological and cognitive information, or the ways in which poetry offers a critique of lyric singularity, address and subjectivity. A more sustained concentration on Plath’s poetic artifice offers new intellectual contexts as well as alternative horizons for understanding the afterlife of her work.