Plath published her first verse, simply titled “Poem,” in the Boston Herald on 10 August 1941. This brief nature poem featuring the sounds of crickets and the sights of fireflies appeared in the children’s section, “The Good Sport Page.” Paul Alexander calls this first publication the most important day of that summer. But the occasion was more than that: Sylvia became aware that the world was watching. Publication is a form of judgment that another kind of sensibility—say, Emily Dickinson’s—shrinks from, but Sylvia already had a habit of putting herself forward. She measured herself by having others take the measure of her.

Aurelia understood this aspect of her daughter. When in the fall of 1942 Aurelia sold the family house in Winthrop and moved her family to Wellesley, she was thinking of more than situating Sylvia in a college town. Sylvia Plath needed a bigger canvas on which to practice her art. She was already drawing quite well, one year after publishing “Poem” winning a prize for a picture of a woman wearing a hat. Like some other extraordinary writers—Rebecca West, Norman Mailer, and Susan Sontag, for example—Sylvia from an early age regarded writing as a form of serious play.

Jane Eyre and Gone with the Wind were favorite novels, but Syl also liked to listen to The Lone Ranger and The Jack Benny Show. If Aurelia fussed over her child’s devotion to radio the way parents today worry over how much television their children watch, such concern left no traces. Sylvia loved paper dolls and was overjoyed to get Rita Hayworth and Hedy Lamarr paper doll books. She also treasured her Bette Davis autograph. Syl may have seemed “brainy” to other kids, but her outgoing nature and wide-ranging interests and activities—swimming, sunbathing, and playing with boys—reveal nothing like the nerdy, introverted behavior often attributed to exceptionally brilliant students. Helen Lawson, Sylvia’s ninth grade English teacher, told Edward Butscher that Sylvia, a perfectionist, “seemed to have the complete respect of her fellow pupils—not that of the ‘grind.’”

By the age of twelve, Sylvia had scored in the 160 range on an IQ test, well into genius territory, according to Dorothy L. Humphrey, who reported the results to Edward Butscher. Humphrey notes that Sylvia was not only unusually knowledgeable for her age, she took a remarkable interest in the test itself, seeming to enjoy the “whole lengthy procedure,” which she prolonged because she kept providing correct answers.

The next year Sylvia attended a performance in Boston of The Tempest. Aurelia dated the program 21 January 1945 and preserved it in the Smith archive, noting that her daughter had been “completely transported to the magic island of Prospero,” talking about the play on the train home. It was a brilliantly sunny day. To Aurelia, the play’s “stuff that dreams are made on” seemed reflected in the shining piles of snow. Sylvia was reading Shakespeare, entranced by a poet who once again brought the sea of her experience home to her.

Full fathom five thy father lies;

Of his bones are coral made;

Those are pearls that were his eyes:

Nothing of him that doth fade

But doth suffer a sea-change

Into something rich and strange.

Sea-nymphs hourly ring his knell:

Ding-dong.

Hark! now I hear them—ding-dong, bell.

The sounds of this poem and the effect of the bell sounding a death knell create a magical resonance that could well captivate a child entranced not merely by poetry, but by all the wonderful sound effects on the radio—portentous music like the “William Tell Overture,” heralding the Lone Ranger’s appearance. Sylvia loved to create radio melodramas in the schoolyard, and she was already writing short stories and plotting novels, even as she tried to get the fingering right during her piano lessons at camp.

And yet she still had time for fellow campers, taking on a new name, “Sherry,” and comforting a homesick girl. She assured Aurelia that her wonderful letters helped her daughter adjust to being away from home. Sylvia was “overwhelmingly happy” and eating well. If her accounts were accurate, she was stuffing herself. Why eat one bowl of tomato soup if she could down three? The same went for coffee cake and watermelon: She ate four slices of each. She reported her achievements, such as swimming sidestroke for a hundred yards and bravely diving into the cold water when everyone else malingered. Making new friends was a competitive activity. Joan Beales, for example, could play piano and violin and tap dance—and, most impressively, she sang on the radio. Ah, but she could not draw, Sylvia told Aurelia.

One feature of camp life that separates Sylvia’s world from ours was the minstrel show. She dressed as a “pickaninny” and deemed her performance a “great success.” Sylvia had no Negro friends, to use the argot of those times. She would not have seen many African Americans in her neighborhood. As human beings, they were virtually invisible—not just to her, but to millions of Americans, as Ralph Ellison eloquently explained in Invisible Man. The most familiar Negro figure in Sylvia’s life would have been Rochester, Jack Benny’s sly factotum, who was always scheming to get a day off from serving his parsimonious employer. Benny’s half-hour Sunday night comedy program delighted millions, who took in stride an anodyne version of house slave humor. Audiences laughed at jokes about Rochester’s skin color—for example, his plea that Benny stop scraping the blackened toast in his servant’s hands because “Boss, you’re getting down to me.” The only other Negro role model was Mammy, Scarlett O’Hara’s house slave, who insists that her rebellious teenage charge behave with a propriety befitting a woman of her class and race.

Caught up in what the movies purveyed as desirable daughterly behavior, Sylvia sought to please Aurelia and play the dutiful daughter to a mother as saintly as Scarlett O’Hara’s mother, Ellen, who was always a lady. Aurelia resembled the kind parent who enforced a strict moral regime not through punishment, but through martyrdom to principles. Sylvia’s postcards and letters from camp sound the continual theme of mother love. It was what saved her, Sylvia said, from her own “petty jealousies.” Sylvia ran to Aurelia for comfort just as Scarlett sought out Ellen’s embraces. But Scarlett O’Hara could never be as nice as her mother, and Sylvia realized early on the same would be true of her.

Sometimes Sylvia relegated Aurelia to the role of an offstage mother like Stella Dallas. Aurelia would eventually watch her beloved daughter depart for England and a life just as separate and unreachable to her as Stella Dallas’s daughter’s life is to the protagonist of Olive Higgins Prouty’s novel. Stella can only stand in the street and gaze yearningly up at the window into her wealthy daughter’s grand new world. And yet, as Sylvia’s letters show, Aurelia—again like Stella Dallas—had a certain power. On the radio, Stella, like Superman, often got people out of jams. She was a tower of strength for her daughter. It is telling that when Sylvia married Ted Hughes, she wanted only her mother by her side.

Throughout her secondary school years, Sylvia won awards for her writing and her art. Other than her mentor, high school teacher Wilbury Crockett, who ran his literature classes like college seminars, her teachers by and large did not see her as a genius, although Anna C. Craig, a guidance counselor at Wellesley High School, recalled for Edward Butscher that Sylvia “devoured” Shakespeare and was an avid reader and creative writer, a standout who was also a “loner.” One of Plath’s classmates, Louise Lind, told Butscher that she and Sylvia “laughed and giggled together over school projects.” Many years later, when Aurelia was still pondering the reasons for her daughter’s suicide, Wilbury Crockett told her: