Ted sent an enchanting May Day letter to Aurelia and Warren, likening the array of thousands of daffodils on their property to a “perpetual court-ball.” Sylvia, he said, was staggering with delight. Away from the “panic pressure” of the American poetry world, she was in her own element, writing extremely well. The house had given both of them a grounding utterly lacking in the unreality and fantasies of literary life, he concluded. Sylvia’s calendar shows that she was painting moldings and other items in the children’s playroom, baking, working in the garden, reading Dr. Spock, writing reviews for the New Statesman, and working on a dramatic poem, “Three Women.” She was also developing a warm relationship with Elizabeth Compton and her husband, David, both admirers of Ted’s work who were beginning to read Sylvia’s as well.
Besides working on the house and in the vegetable garden, Ted took off twice a week to fish on the Taw River. He surely would have done so whatever the state of his marriage. But his participation in Sylvia’s all-consuming domesticity—especially after the initial excitement over Nicholas’s birth and refurbishing of the house—may have given way to his sense of marriage as a “nest of small scorpions.” Writing to his brother, Gerald, in early May, Hughes went into considerable detail about his fishing expeditions, reminiscent of the boyish hunting days he had spent with his older brother. Ted did not mention the weekend visitors he and Sylvia had just entertained, David and Assia Wevill. To Aurelia, Sylvia described David as a “nice young Canadian poet,” and Assia as his “very attractive, intelligent wife.” Accounts vary as to what happened that weekend. To Sylvia, however, the attraction between Ted and Assia was palpable. Ted later told Olwyn his affair with Assia began in June, although David Wevill later told Olwyn he was not aware of the affair until Sylvia wrote to him in October.
Just the faintest hint of trouble may have been signaled in Ted’s 24 May letter to the Merwins, in which he confessed he had “written nothing.” He said he was “quite content” to let the tension smooth itself out instead of “writing purely out of nerves.” Taking it easy that way, he hoped he might be able to “hear myself speak.” It is a common enough idea—the writer awaiting the arrival of his own voice—but the words, in retrospect, seem also to convey an undertow that perhaps Hughes himself did not yet appreciate. He may have exaggerated his dry spell, since his letters to Olwyn are full of news about his writing projects, but perhaps he meant “nothing” in the sense that he had not produced anything worth being called writing. Certainly nothing in the tone of Ted’s letters approaches Sylvia’s avowal in a 7 June letter to her mother: “This is the richest and happiest time of my life.” Apparently, her husband was beginning to see married life as an engulfment.
A. Alvarez visited the couple during this period and noticed that Sylvia no longer seemed the subordinate wife he took her for when they first met. Now, as he puts it in The Savage God, she appeared “solid and complete, her own woman again.” She was sharp and clear and in command of her household. The power, in short, had shifted to her. As she showed him around Court Green, Alvarez had the distinct impression that this was “her property.”
Sylvia wrote to Olwyn sometime in June, describing Nicholas’s birth, his pacific demeanor, and his “Buddhalook,” which she found “endearing.” During a lunch, Elizabeth Compton remembered, Sylvia bounced Nicholas on her lap and said, “Just watch those eyes. He’s such a greedy little boy. He wants his fair share.” To Olwyn, Sylvia described mowing and scything “like a black,” and being preoccupied with many other household tasks. In a letter to Elizabeth Compton a few months after Sylvia died, Aurelia evoked the scene: “the cobbled Court, the giant elms—the front and rear doors open so that one can see through from the court to the green—where Sylvia mowed her bit of lawn and planted the flower beds and Frieda brought her toys out on the green to play.”
Sylvia was quite excited about, “Three Women: A Poem for Three Voices,” set in “a maternity ward and round about,” suggesting that what occurs is as much in the mind as in a tangible place. Performed on BBC radio on 19 August 1962 “to great effect,” Ted thought, this haunting piece incorporates several aspects of Sylvia’s psyche: a woman with child who feels a part of the world, as though she is a “great event”; a mother who in giving birth rages against the world of “flat” and “formless” men who plot destruction, bulldozing and guillotining their way to death, which becomes the woman’s lover like a disease she carries with her; and a woman who wonders what it is she misses and feels “solitary as grass.” How shocking this prophetic piece is to read when set against the benign letters Plath and Hughes were writing at the time. While the calm and contented voice of Sylvia’s correspondence is represented in “Three Women,” so, too, is her anguish and her anxiety that her life was about to miscarry. The “second voice” insists she can love her husband and that he will understand her and love her “through the blur of my deformity.” But she cannot be sure that, like starfish who can grow back missing arms, she can be “prodigal in what lacks me.” She remains suspended between hope and doubt. And for Sylvia, it would only get worse.
CHAPTER 7
QUEEN ALSO OF THE IMMORTALS
(1962–63)
July 1962: The call that kills a marriage—Plath discovers her husband’s infidelity; October: The couple separates, and Hughes moves to London; December: Plath moves to a London flat with her two children; January 1963: The Bell Jar is published in England under a pseudonym; 11 February: Plath commits suicide.
9 July 1962: The double ring of doom—Sylvia raced to catch the call before Ted could intercept it. To American ears, the harsh doorbell-like sound seemed insistent—not like the plodding, monotonous tones of an American phone. She recognized the woman asking for Ted, even though Assia lowered her voice, pretending, Sylvia thought, to be a man. She had been on edge ever since David and Assia Wevill’s May visit to Court Green. Sylvia would later mythologize Assia as a Jezebel, a harlot queen, an evil woman bent on taking away her Ted.
Aurelia, then staying at Court Green, saw her daughter clutch the phone, blanch, then turn it over to Ted. This was the moment Sylvia’s life sped up, the second her poetry erupted like a Greek necessity and became palpably autobiographical. Two days later, she could still write to Clarissa Roche, asking her to come for a visit as if nothing had happened. But in her poetry she described her defilement by words pouring out of the phone like mud. Court Green, the Devon home she had created as a haven for their family and their writing, now seemed polluted: “O god, how shall I ever clean the phone table?” Aurelia watched her fastidious daughter, a homemaker who believed in a spotless house—the same way she believed in impeccable poetry—rip the phone line out of the wall, treating it like a monster’s threatening tentacle. It was too late, and the poet felt infected, sensing the caller’s words were like a monster’s spawn percolating in her heart.
Ted talked into the phone briefly and hung up, but Sylvia believed he had summoned this speaking abomination: “It is he who has achieved these syllables,” she declared in her cryptic poem, “Words heard, by accident, over the phone.” “Now the room is ahiss,” wrote Sylvia, transforming the vowels and sibilant s’s of Assia’s name into a threatening noise. It is a scene from a 1950s science fiction movie, the imagination of disaster that Susan Sontag saw as a prevalent theme of the decade. The awful horror of being swallowed up resonates in the poem’s last hysterical lines: “Muck funnel, muck funnel— / You are too big. They must take you back!” The nameless “they,” Sylvia’s being dragged into this swamp of feeling, dramatizes her engulfment by the terror of her decomposing marriage.