Lucy Tunstall provides readers with a crucial understanding of Plath’s conception of the lyric. Tunstall brings alive Plath’s continuous, deliberate interventions in the lyric mode’s possibilities and limits. She situates Plath’s development of the lyric in the poet’s childhood and College influences and traces it through to the Ariel poems and their seemingly incompatible registers. Tunstall shows us not just the unsurprising engagement with sound and voice, but with the visual, too, in Plath’s unique conceptions of the lyric. Finally, Tunstall confronts the difficult questions raised by Plath’s treatment of race in the context of her obsessive exploration of ideas of purity.

The poet and academic Sarah Corbett reveals Plath’s profound response to Yorkshire’s powerful and often threatening natural and human landscape, as well as to the writings of Emily Brontë and Ted Hughes. In a handful of poems, Plath can be heard sounding out a Hughesian strain of voice against the ghosts and rumoured angels of her own emergent poetic imagination. These West Yorkshire interludes show Plath making use of an ambivalent energy in the landscape to mirror her self/psyche, a technique that can be seen in many of the Ariel poems, and the beginnings of a working out of the struggle between masculine and feminine voices that was to underpin much of her mature work.