Your Own, Sylvia

March 19, 2007
Hemphill ambitiously undertakes a fictionalized portrait of Sylvia Plath in poems, many of them inspired by Plath's own works. Hemphill stays true to the basic framework of the poet's life, highlighting her major milestones: her childhood, college years, her hospitalization and first suicide attempt, as well as her first meeting with poet Ted Hughes—whom Plath would marry (in a poem from his viewpoint, he describes her as "Blond and tall as a magazine/ swimsuit model. I nibble/ at the whippet's neck./ Her lips fury-red, she bites/ me—teeth tearing my cheek./ I retreat, imprinted, stunned")—and her suicide ("She could not help burning herself/ From the inside out,/ Consuming herself/ Like the sun./ But the memory of her light blazes/ Our dark ceiling," Hemphill writes, in the style of Plath's poem "Child"). Accompanying each entry, the author includes footnotes with background information about the people and events alluded to in the poems. Plath committed suicide during a prolific time in her life. Her autobiographical novel, The Bell Jar
, had just been published, and she was working furiously on a collection of poems (Ariel
) which would be published posthumously. Hemphill's innovative portrait may not shed any new light on this tragic figure, but it could well act as a catalyst to introducing Plath to a new generation. Ages 12-up.

March 1, 2007
Gr 8 Up-Through a series of skillfully crafted poems, Hemphill has pieced together a collage of the life and work of the American writer. Arranged chronologically from Plath's birth to the month of her suicide, the poems are written from the points of view of people involved in her life. The voices of Plath's mother; her poet husband, Ted Hughes; and other intimates are interspersed with those of more fleeting acquaintances, each chosen to underscore a unique aspect of the subject's fiery life and tumultuous literary career. Hemphill rises to the challenge of capturing the life of a poet through poetry itself; the end result is a collection of verse worthy of the artist whom it portrays. Form is of paramount importance, just as it was to Plath herself. Many of the selections were created "in the style of" specific Plath poems, while others are scattered with Plath's imagery and language. While the book will prove an apt curriculum companion to Plath's literary works as touted on the jacket, it will also pull the next generation of readers into the myth of Sylvia Plath."Jill Heritage Maza, Greenwich High School, CT"

Copyright 2007 School Library Journal, LLC Used with permission.

Starred review from February 15, 2007
As in Margarita Engle's " The Poet Slave of Cuba" (2006), this ambitious portrait uses poetry to illuminate the facts of a famous life, in this case, Sylvia Plath's. Although classified as fiction, the book draws from numerous nonfiction sources, including biographies and Plath's journals and letters, and each poem is accompanied by footnotes grounding Hemphill's imagined scenes within the facts. Rather than write in Plath's voice, Hemphill channels the voices of those who knew the poet in chronologically arranged poems, written from the perspective of family members, friends, colleagus, even Plath's doctor. Plath's own voice is evident in the poetic forms, though, with many of the poems written "in the style of" specific works. The result is an intimate, comprehensive, imaginative view of a life that also probes the relationships between poetry and creativity, mental fragility, love, marriage, and betrayal. Some readers may be slowed by the many poems that chronicle the bitter dissolution of Plath's marriage, and readers who know the Plath poems Hemphill references will have an advantage. But Plath's dramatic genius and personal struggles, particularly the difficulties of reconciling the writing life with the roles of wife and mother, have long attracted teen interest, and this accomplished, creative story may ignite new interest in Plath's original works. A bibliography of sources is appended.(Reprinted with permission of Booklist, copyright 2007, American Library Association.)