Moving from metaphor to maker, Plath’s own work models the gesture. In Ariel (1965), speed, light, and dawn slice through despair, while “Tulips” (1962) lets a violent red pulse against clinical white. Even The Bell Jar (1963) stages suffocation so it can be seen—and therefore named. Her Journals (ed. 1982) reveal craft beneath catharsis, reminding us that transformation is edited as much as felt. [...]
