20 May 2018

Sylvia Plath Anthologized

I recently learned (or rather was reminded) that two of Sylvia Plath's poems and a photograph of her were printed in an anthology in 1963, just a few months after her death. Two poems and a photo of Ted Hughes were included, too. This book and the poems are not listed in Stephen Tabor's Analytical Bibliography.

The book is The Modern Poets: An American-British Anthology (New York: McGraw-Hill, 1963). It was edited by John Malcolm Brinnin and Bill Read and includes photographs by Rollie McKenna. Brinnin would have known McKenna for years as she famously photographed his Welsh buddy, the poet Dylan Thomas. And McKenna photographed Plath and Hughes in Boston sometime during the Boston year in 1958-1959. A review of the book, "Handsomest of Poetry Anthologies", appeared in the Boston Globe on 19 May 1963, next to the article "Anne Sexton Plans Tour of Europe: Commitment Necessary To Be Poet".

The two Hughes poems are "Hawk Roosting" and "View of a Pig".

The two Plath poems are "Black Rook in Rainy Weather" and "The Colossus".

I think it is great Plath was included. (And it possibly might have given her the smile of accomplishment that Adrienne Rich was not!) But I cannot help but wonder when the poems were selected for inclusion? Perhaps it was when Brinnin and Read visited Plath & Hughes at Court Green on 25 August 1962 (reported in Stevenson, see also Trinidad; during this visit offered Hughes a teaching position at the University of Connecticut. Plath refers to this visit and these men in some of the worksheets for "Death & Co.)". The thing that really floors me was that Plath's mini-biography includes the detail that she died by suicide.

It is always, always strange for me to recall that as poems like "Black Rook in Rainy Weather" and "The Colossus" were appearing in anthologies such as this, Plath has already moved so far beyond them. Remember, "Black Rook" was written in November 1956 and "The Colossus" in October 1959. By May 1963, Plath had died, obviously, but she was a full year removed from some of her most powerful verses such as "Three Women", "Elm" and "The Rabbit Catcher". This is not the only example. "Leaving Early" was published by London Magazine in August 1961 and then in Harper's in December 1962, just a few months before "The Arrival of the Bee Box" and "Wintering" in The Atlantic Monthly.

Because it is contemporary, here is the photo of the American poet W.S. Merwin that is in the book.

I like looking at the photographs of the poets (and reading their poems). Especially their photographs as many look just as Plath would have known them. Such as, for example, Merwin, Robert Bagg, Philip Booth, John Lehmann, Marianne Moore, Howard Moss (pretty sure they never met in person, but he was an important figure), Anne Sexton, and George Starbuck, among many others. E.E. Cummings and Ezra Pound were not photographed; Cummings because he passed away in September 1962 when the book was still being compiled and Pound was in Italy doing what Ezra Pound did.

Ted Hughes' copy, which he received in May 1963, is held by Emory University. A copy is available to view via Archive.org. There was a second edition of the book published in 1970.

All links accessed 17-18 May 2018.

16 May 2018

Sylvia Plath in the Grecourt Review

Sylvia Plath's colleague at Smith College, Marlies Kallmann Danziger, passed away in March 2018. She taught at Smith when Plath was a student and a colleague in the department of English at Smith College in the 1957-1958 academic year.

This copy of the Grecourt Review 1 from November 1957, which prints Plath's poem "All the Dead Dears", may have been her's as it bears the ownership inscription "Miss Kallman" on the cover (bottom left). I acquired this copy back in 2012 and never did anything with it (I had always meant to present it on the blog but just never did; got distracted by a little project on her Letters). But, having just learned of her passing, I felt it was worth writing about now.

Danziger appears in Plath's journals in several entries (12 January 1958, 22 January 1958, 8 February 1958, 27 February 1958, 5 May 1958 (twice), and 19 May 1958).

Kallman apparently lived in Albright House and had her office in Library 52, according to a staff directory for Smith (pictured below). Smith College archivist Nanci Young informed me that back then, each house had a house mother and a faculty adviser living in residence with the students. However, according to Plath' journals, Marlies lived with her husband, Erwin, at the weekends... which makes sense as after seeing a performance of Denis Johnston's adaptation of Finnegans Wake in Holyoke, Plath and Hughes went to Marlies' house for whiskey and it is not likely that this was in Albright House!

I have not yet tracked down where Erwin Danzinger lived at the time but if I do I will add it to the post.

All links accessed 7 May 2018.

10 May 2018

These Ghostly Archives Turns 1

Happy Birthday to us.
Happy Anniversary to us.
Happy Birthiversary to These Ghostly Archives: The Unearthing of Sylvia Plath.
Happy Anniverthday to us.

Just a small blog post today to say that These Ghostly Archives: The Unearthing of Sylvia Plath by Gail Crowther and some other person was published one year ago tomorrow, 11 May 2017!

After it was published, the bombshell that we had located lost Plath poems made international news, which is still hard to believe.

You can still buy it on Amazon US, Amazon UK, and via other retailers. Some Waterstones stores even stock it, which tickles us!

A big heartfelt and sincere thank you to anyone and everyone who has purchase the book, the ebook, or even borrowed it from your library. And of course, my deepest, most sincere gratitude to Gail Crowther for letting me write with and to her.

All links accessed 10 May 2018.

01 May 2018

Update: The Letters of Sylvia Plath, Volume 2

Hello! It is with great pleasure to let  you know that Sunday night, 29 April 2018, I sent in the files to Faber & Faber for The Letters of Sylvia Plath, Volume 2: 1956-1963.

[twiddling thumbs]

        [still twiddling thumbs]

                       [now what to do?]

The HarperCollins edition,
to be published on 30 October 2018.

The files included the final, final, final, final, final, final (etc.) proof of book itself, the front matter, the image plates & captions, and the index. Having read the volume four times since last August already, I feel it a good book and certainly, obviously, picks up from where Volume 1 concludes. I am sure you have questions. However, as in the aftermath of finishing Volume 1, I am not able at the moment to discuss anything about the volume, so I do appreciate that each of you will not ask questions!  The UK cover is under review; so as soon as it is finalized and I have permission I will post in here and on Twitter, etc. 

Within the turning of one calendar year---the volumes are Irish twins, essentially---we have produced out two massive volumes of Plath's letters! All for you! And my head is spinning at how we did it. Of course the project started years ago and it is hard to remember a time when I was not working on the letters! The two volumes have more than 960,000 words! (The front matter and index easily bumps the word count to more than one million!) I nearly single-handedly transcribed and proofed Plath's letters (more than 1300 of them) and created the vast majority of the more than 3,600 footnotes. In addition, I selected the images, wrote all the captions, secured permissions, etc. My mantra throughout the project was a line from Plath's poem "The Rabbit Catcher": "There was only one place to get to." Well, we are just about there and to know that the second volume is 128 days (or just over 4 months) from publication, and thus into your hands, fills me with an enormous sense of happiness.  

It has been the privilege of my life to work on these books for you. I did my best and gave everything that I could to try to ensure that the text you read is as close as possible to the text of Plath's original letters (look for my tell-all book later in the year to be published by Career Enders, Inc.). Early mornings, sleepless nights: day in and day out, in sickness and in health, with probably fewer than a week of days off in the course of the project. My deepest thanks for the trust placed in my by Frieda Hughes. 

Look for The Letters of Sylvia Plath, Volume 2, to be published by Faber and Faber on 6 September 2018; and by HarperCollins on 30 October 2018

All links accessed 29 April 2018.

18 April 2018

Guest Blog Post: A Blue Wool Hooded Coat

The below is a generous guest blog post by Tammy MacNeil on her recent Sylvia Plath and Ted Hughes: The Property of Frieda Hughes Bonhams auction victory. Congratulations on the win, but more importantly on your pregnancy. ~pks

A Blue Wool Hooded Coat
by Tammy MacNeil, 17 April 2018

The announcement in late January 2018 that Frieda Hughes would be selling a large lot of her famous parents' personal possessions garnered attention in the press on both sides of the Atlantic. More than one Plath devotee wondered if this would be their opportunity to own something that had once belonged to Sylvia Plath herself. I have been a follower of Plath's for about twenty years, having written my Master's thesis on her work's influence on Ted Hughes's Birthday Letters. I believed that this auction was my chance to own a small piece of Plath history.

But what piece? Much as Peter K. Steinberg describes in his telling of winning Plath's fishing rod, narrowing my focus to one or two lots was a challenge. I decided to focus my attention on something tangible, such as an article of clothing or a piece of jewellery, rather than one of the auction's archival offerings. My long list included the copper hairband with earrings (lot 318), the dragon pendant (lot 319), blue ceramic necklace (lot 320), Court Green carpet (lot 347), Plath's fishing pole (lot 351), and Frieda's little blue jacket (lot 353). After considering the additional cost of shipping one of these items to Canada, I eliminated the carpet and the fishing pole. I placed a bid on the iconic dragon pendant (how could I not?), and the blue jacket, hoping against hope that I wouldn't win the pendant for financial reasons. Which left all of my hopes pinned on the blue jacket.

In truth, the reason why I wanted to win Frieda's blue jacket is because I am pregnant with my first child, at 40 years of age, and I wanted something that I could share with him or her in the future. Blue has always been my lucky colour, and I felt very strongly that this treasure should be mine as an item that once belonged to Sylvia Plath, but ultimately it belonged to her daughter. Like Plath herself, I have struggled with fertility issues for the last number of years and her writings about loss and doubt have been a comfort to me. I had all but given up hope on the idea but discovered I was pregnant shortly before the Bonham's auction was announced, so when it came time to consider the lots for offer, I was drawn to lot 353.

I must commend the staff at Bonham's as polite, informative, and genuinely helpful. I told the agents that I would not be placing a high bid (no £60,000 typewriters for me), but that didn't seem to affect the way they treated me. For anyone who did not register to bid, I was required to provide a copy of a valid passport, proof of financial means (I submitted a recent credit card statement), and a letter from my financial institution in order to register to bid. The Bonham's agent granted me bidding rights without the letter, likely because I stated that I would not be placing any large bids.

I wanted to be as informed as possible about my two most coveted items, so I requested a condition report on the dragon pendant and Frieda's jacket. The same senior valuer responded to both of my requests. The pendant's condition report describes it as having "some wear to surface. Small balls at tips of crowns in upper half but not lower half. Reverse with slight cracking to surface at tips." In his message to me, the senior valuer states "…of course it is the history of it that mainly counts." How true, Mr. Roberts!

I was surprised to read Gail Crowther's description of the necklace as being "light" and "flimsy." It certainly looks like it weighs a lot, especially with that chain.

Once live bidding started online, I was surprised to see how quickly the auctioneer moved through the lots. The winner of Plath's brown dress got the deal of the day in my opinion. I was less surprised to see that the majority of lots were selling for much higher than the auction house had estimated. When lot 319 appeared on the docket, there was a pleasant ringing sound to alert me to pay attention. The price quickly surpassed my bid and soared to more than three times the estimated high bid. I had never participated in a live bid quite like this one before. Sure I buy the occasional item on eBay, but with "Buy It Now" for most items the thrill -- and stress!-- of a live auction are now a rare occurrence.

As luck would have it, I miscalculated the time difference between London and Nova Scotia so I had to return to work before the appearance of lot 353. My sister sat with me through the auction at her home, and I told her I was willing to double my £550 bid for Frieda's blue jacket but she would have to bid on my behalf. There was a challenger, who must have set their maximum at £1000. If you are reading this, dear Bidder, please know that this was the one item I truly wanted, and I hope that you were able to buy something else at the auction.

I couldn't believe that I had won! I kept checking my email for confirmation from Bonham's that I was indeed the winner and could I please send them a large sum of money. My winning bid of £1100 quickly ballooned once the hammer price of 25% was added, the exchange rate to British pounds was calculated, and the insane amount of shipping and Canadian import fees were settled. Still, I do not regret my purchase for a second. This is a tangible item that Plath herself helped her two-year old daughter in to on the day of her christening on 25 March 1962. This garment appears to have been a much-loved item, and was evidently worn by Frieda more frequently than just the one special occasion.

Condition report: "exterior generally clean and in good condition. Lining torn at inner seam and frayed at edges, with some staining."

Overall the jacket is beautiful, a deep shade of blue with light blue and cream detail.

Detail of right side of jacket. Notice the individual stitches.

Each swirl is actually indented into the fabric, and they feel like little bumps on the underside.

The left side of the jacket has two small tears, one is quite noticeable. I wonder if Frieda is left-handed and had picked at that side of the jacket when she was wearing it as a child?

The seams in the lining are torn. The lining itself it also stained.

Here you can clearly see that both seams are torn; the left side is more frayed than the right.

Back of the jacket.

Sincere gratitude to Peter K. Steinberg for welcoming other Plath enthusiasts to share their stories on his blog. Thank you for maintaining such an informative and enduring record of Plath studies and activities, and for providing a space where this intelligent and passionate community can come together to share our appreciation for a truly remarkable woman: Sylvia Plath. Like so many others, I am looking forward to reading The Letters of Sylvia Plath, Volume 2 later in 2018.

Thank you, Tammy, for this lovely post! You were an auction viewer, winner, or even loser and what to write about your own experiences, please do consider writing a guest blog post, too.

All links accessed 17 April 2018.

10 April 2018

Go Fish with Sylvia Plath

Going into Bonhams fascinating Sylvia Plath and Ted Hughes, The Property of Frieda Hughes auction I was completely torn about bidding. Of course Plath herself, in the guise and persona of "Lady Lazarus", predicted how her readers would covet "a piece of my hair or my clothes". And having been lucky enough to acquire, previously, something that Plath created as well as being gifted a typescript story, there is always the desire to have more.

I ranked some of the lots that most interested me and that would not completely destroy my meagre piggy bank from the moment I saw the draft sales catalogue in January. I was completely taken with the idea of owning something as random and frivolous as Plath's fishing rod (Lot 351). But something in me said go for something else. So I marked down Lot 334 ("A Winter Ship") as being idea. Copies are available but not one that was retained for 58 years by the family. I was interested also in the small lot of books (381) and well as the lot of 6 editions of The Colossus (336). So, yea, I was all over the place.

I discussed with a few friends what they might be interested in bidding on so as to not bid against a friend. It was also interesting to see what other items people were attracted to. So I put in a bid on those Colossus editions but then immediately cancelled it and went for "A Winter Ship". I put in the low estimate and had no faith it would hold. And it didn't… it sold for £5,500 (£6,875)... five and a half times the low estimate.

Watching the auction live was an event; an experience. Truly glued to my seat and incapable of leaving it, I weighed my other option. I put a bid in that held for about 2 seconds on the Oxford Book of Wild Flowers (340), misheard the bidding price on the wooden tray (350) which sold for what I consider to be "chump change". I did bid a couple of times on Lot 380 as I have convinced myself some of those items were actually once the property of Sylvia Plath directly… Of course I could be and probably am delusional… The mind is a funny thing. The last things I bid on were lots 400 and 401, the Laureate's Choice sherry. I lost those, too, as I just could not make myself click "bid" once more. For what they were I felt the went for reasonable prices of, respectively, £187 and £112.

After the auction ended I reached out to Frieda Hughes about the unsold lot 328 of "Tobias and the Angel" by Leonard Baskin. But, because I did actually win a lot in the auction I opted in the end not to try for the additional item. I regretted it the minute I passed on it, and still do. Massively. The extra expense just could not work itself out in my mind. I regret it more and more and more each day.

If you read that previous paragraph you will see that I did successfully bid on one of the lots. In the end it was the first thing that I was initially drawn to that saw me walking away slightly lighter in my wallet but with an item that is to me both bizarre and unique. The catalogue description of the fishing rod read, "Sylvia Plath's 2-piece cane fishing rod, made by Forrest & Sons, Kelso, 5 loops, cork handle, length approximately 1220mm." And it was accompanied with a footnote: "Ted Hughes wrote to his brother Gerald in late summer 1958 that 'Sylvia loves fishing, and has luck' (Letters of Ted Hughes, Faber, 2007, p.131)". In addition to this in Hughes' letters, there is more than likely additional material about fishing in Plath's forthcoming letters.

Gail Crowther took this photo which shows many
lots, including the fishing rod in the back corner.

Like my "Dark River" experience in December, this item had me on tenterhooks. It was collected on the 28th of March and so should have shipped on the 29th. However, the shipper had a "glitch" that coincidentally lasted the entire four-day Easter weekend. This delayed delivery by several days which I am not impressed with. But, the fishing rod made its way from Bonhams in London, to Oxford where it was packed, then to Stansted and on to Indianapolis before coming back east to me in Massachusetts.

The day it was delivered was comical. I knew it was nearby but the scheduled delivery date was Tuesday 10 April. So, I went to work thinking it would frustratingly hang out for a few days and collect dust. But by the time I got to work, it had moved to a distribution center two towns from my house... Once it was marked as out for delivery I knew I had to leave work to try to be home to sign for it. I had wanted it sent to work, but Bonhams failed to follow my instructions.

Anyway, I get off the train and start walking home. Huffing and puffing up a hill I see a FedEx truck pull onto my street. So naturally I start running after it. I am not faster than a truck. And it wasn't, in the end, my FedEx truck. No, my truck came conveniently about 20 minutes after I got home. Had I stayed home from work I do fully believe it would not have been delivered that day.

The tube in which it came and the padding...

The fishing rod in in two pieces that fit together. It came with a nice dark green carrying bag that has "Shakespeare 1575-240" on it. I have to ask Frieda Hughes about this!

When together, the rod is just shy of seven feet long... here it is on the floor and then propped up by a bookcase.

Now for some close ups...

I am really thrilled about this and will have to figure out what, exactly, to do with it. I have heard from some friends about their winnings; so of course I am pleased for them too.

Did you win something? Do you have it? Do you want to write a guest blog post about it? It can be anonymous if you want. Contact me via this page if you are interested.

All links accessed: 22 March 2018.

04 April 2018

Sylvia Plath's The Dark River

In February I wrote about one of the kindest things anyone has ever done for me… when my friend Suzanne bought and gave me a typescript story called "The Dark River" by Sylvia Plath. Shortly afterwards I sent the story to a friend who is a book binder and artist. This was to have a custom box made to house the typescript and recently it was returned to me.

Project complete.

I asked for the cloth on the box to be a dark blue color to kind of match what a dark river might look like. I think Barbara, the woman who made the box, knocked it out of the park.

The spine label is glorious.

Inside the box is a custom folder to further protect and support the seven pages of the story. I've added some acid-free interleaving paper to wrap around the story and protect the folder from any potential transfer of acids from the story pages to the folder.

All links accessed: 29 March 2018.

01 April 2018

New Sylvia Plath Book Published

Readers of Sylvia Plath will be given a new way to interact with Plath's poetry in Plath Libs, which was inspired by Mad Libs, created in 1953 by Leonard Stern and Roger Price.

The first book features five of Plath's works: "The Glutton", "Maudlin", "Metaphors", "The Hanging Man", and "Winter Trees". Let's say for example that in "The Glutton" that you did not like Plath's line-ending verb "slake"... Well, now you, the reader, can revise the poem yourself! Yee-haw! The entire poetic output of Plath is scheduled to be Plath-Libbed in a projected 2,999 more five-poem publications over the next 27 years.

The first book is available as a free PDF download for a limited time. Subsequent volumes will be sold exclusively at Wal-Mart for $17.99.

The cover was inspired by the unanimous success and support of the Faber edition of The Letters of Sylvia Plath, Volume 1.

All linked accessed 1 April 2018.

28 March 2018

The Sylvia Plath and Ted Hughes Bonhams Auction

Like you, maybe, I am still fascinated and a bit mystified by the auction last week in London of Sylvia Plath and Ted Hughes: The Property of Frieda Hughes. I am still overly curious as to which items might end up in libraries and archives; which lots went to private collectors; and which will be seen, temporarily and with a mark up, via book or artifact dealers.

I went through and made a spreadsheet of the lots with the estimates, the hammer prices and the final price including the buyer's premium. Lastly I filled in a column in Excel to denote if the item was
  • withdrawn (1 lot);
  • did not sell (8 lots);
  • was under estimate (17 lots);
  • in estimate (17 lots); or 
  • over estimate (65 lots)

The large majority went for over the high estimate, even if just barely. The in estimate could be further broken down by whether it was low, mid, or high within that estimate price range but I frankly did not want to go that far... Well, I do, but indexing the second volume of The Letters of Sylvia Plath has kind of taken priority as you might imagine! I also really wanted to give more detail or a keyword about the lot, or provide hyperlinks to them, but just did not. Sorry.

Hope you all find this interesting or useful.

All links accessed: 27 March 2018

26 March 2018

Sylvia Plath Talk at Columbia Chicago

In just under one month, on Tuesday, 24 April 2018, I will be speaking on the Letters of Sylvia Plath and other subjects at Columbia College, Chicago. Poet and Plath scholar David Trinidad is bringing me there on a Rubin Visiting Artist Award and I would like to express my gratitude to David, Columbia College, and to Ms. Roberta Rubin for making this possible.
n just under a month, on Tuesday, 24 April 2018, I will be speaking on the

I will be speaking twice that day. The first is the public lecture which starts at 1:00 p.m. It will be in Hokin Hall, located at 623 S. Wabash Avenue, Chicago. The event is free and open to the public.

Hokin Hall is named after Bess Hokin and in 1957, Sylvia Plath was awarded Poetry magazine's Bess Hokin Prize. I feel like this is a wonderful little connection, not to mention, of course, that both Eddie Cohen and Ann Davidow-Goodman both came from Chicago. Esther Greenwood even thought about moving to Chicago in The Bell Jar.

I will also be sitting in a class of David's and talking Plath and her letters that evening. It is a wonderful feeling to know that David is already teaching Plath's letters.

And, as a reminder, on 8 April 2018, there will be a talk on the Letters of Sylvia Plath at the 92nd Street Y in New York City.

All links accessed: 26 March 2018.
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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.