Sylvia Likens

Paula broke her wrist slugging Sylvia in the jaw and subsequently went to church and bragged about it. The Likens’ parents came to visit the girls between fairs, and they saw nothing out of the visits. Later still, Sylvia was accused of spreading rumors that Paula and Stephanie Baniszewski were prostitutes at Arsenal Technical High School. This provoked Stephanie’s boyfriend, Coy Hubbard to flip Sylvia onto the floor and bang her head against the wall. Gertrude encouraged

and not only going to change the world I saw around me, but also how I saw myself. An American Crime, based off a true story, was about how Sylvia Liken was

This all became clear when he started to harm my mother, my sister was there to witness it all. I wake up to hear his nonchalant snores. I slowly stand up from the floor and exit the room. I want to check up on Sylvia, I knew if he found me he would kill me but her screams were the only thing I could think about. My sister is quiet and never dares to make a noise. I can’t remember the last time she walked out of her room because she was locked inside. A month

Sylvia isolates herself in nature and identifies herself as a person who prefers to be alone. While wandering in the woods and playing around with her cow, she “would look upon the cow’s pranks as an intelligent attempt to play hide and seek, as [she] had no playmates” (Jewett 196). Sylvia does not experience human interaction, besides her grandmother, due to being isolated in the countryside. However, she interacts with her best friend, Mistress Moolly the cow, as a way to fill in the need of

In "The Lesson" by Toni Cade Bambara, the narrator is Sylvia. She is a young African-American girl who has the capacity to see the truth in the reality around her. Her point of view explores the issues that minorities face every day. In the way she thinks, speaks, and feel in situations. Sylvia is able to present a broad view regarding her community; the lack of proper education, the need for involved parents, and the inequality between rich and poor in the United States. To begin, the horrifying

Sylvia Plath's Poetry Wrapped in gaseous mystique, Sylvia Plath’s poetry has haunted enthusiastic readers since immediately after her death in February, 1963. Like her eyes, her words are sharp, apt tools which brand her message on the brains and hearts of her readers. With each reading, she initiates them forever into the shrouded, vestal clan of her own mind. How is the reader to interpret those singeing, singing words? Her work may be read as a lone monument, with no ties to the world

philosophical movement dominated literature. Despite the maturity of the topics the world faced during the time, literature erred on the conservative side and avoided personal issues such as depression, sexuality, and trauma. In the 1950’s, however, Sylvia Plath emerged to spearhead a new era of writing in the form of Confessional poetry. Plagued with depression, suicidal tendencies, and trauma tied to her father’s death, Plath explored these taboo themes in her poetry. Alongside a few other influential

How Sylvia Plath's Life is Reflected in the Poems Daddy, Morning Song, and Lady Lazarus Sylvia Plath has had an "exciting" life, if I can use this word. Her father died from an undiagnosed diabetes when she was eight. At the same time, a short couplet that she wrote was published in the Boston Sunday Herald. Later, she won scholarships to study in Smith, Harvard, and finally Cambridge. There, Plath married Ted Hughes, who was a good poet, too. What amazes me in her life

aggression or brutal nature, which both qualities synonymous with Nazis. Later, Plath begins to liken her husband to Hilter she believes he is a model of her father describing him as having a ‘meinkampf stare,’ an allusion to the fascist tome written by Hitler. It is very evident that the speaker sees herself as a victim, not only of the actions of her father but also her husband, mirroring Sylvia Plath’s own issues with the men in her life. The critic Richard Nathan argues

ourselves, how does poetry gain its power? To answer this question, we examine the work of poets Harwood and Plath. ‘The Glass Jar’, composed by Gwen Harwood portrays its message through the emotions of a young child, while the poem ‘Ariel’, written by Sylvia Plath, makes effective use of emotions to convey artistic creativity and inspiration. Through my personal reading of Harwood’s poem ‘The Glass Jar’, I view it as an examination of maturation – the inevitable change driven by painful experience. The