Two Great Women Writers

She died in the house where she was born(p) in Amherst, Massachusetts. she left(p) that state only once and left her village only a few times in her life. From the time she was 42 historic period of age, she rarely left her internal or its grounds. This constituted a change in Emily everyplace time, for as a youth she had been gregarious, whereas in the last geezerhood of her life she retreated to a smaller and smaller muckle of friends and family. She communicated with friends through cryptic notes and fragments of poems. She was essentially unknown as a poet when she died--her fame would come much later with the humanityation of her acts, and only vii of her poems were printed in her lifetime, all of them anonymously (Baym, Gottesman, Holland, Kalst wizard, Murphy, Parker, Pritchard, and Wallace 1093-1094).

Sylvia Plath's life was not so circumscribed physically, but psychologically she was tortured and enclosed in a way that Emily Dickinson was not. She was much more explicit close to the stereotyping of women in the 1950s, not only through images in her poem but in her novel The cost Jar, an autobiographical lick about suicide which portrayed her own experience with early madness and self-destruction. She did indeed commit suicide more or less years after. Unlike Dickinson, Plath married, had a family, and then had to face the anger she matte for her father and her husband. Also

Plath, Sylvia. "Daddy." In Nina Baym, Ronald Gottesman, Laurence B. Holland, David Kalstone, Francis Murphy, Hershel Parker, William H. Pritchard, Patricia B. Wallace (eds.). The Norton Anthology of American Literature, 2602-2604. New York: W.W. Norton, 1989.

Dickinson, Emily. "In Winter in My Room." In Nina Baym, Ronald Gottesman, Laurence B. Holland, David Kalstone, Francis Murphy, Hershel Parker, William H. Pritchard, Patricia B. Wallace (eds.). The Norton Anthology of American Literature, 1118-1119. New York: W.W. Norton, 1989.

Because I could not regress for Death--

In a poem like "Because I could not stop for Death" (712), the bride-of-Christ tradition is fused with the narrative of seduction instead openly as God's emissary, Death, becomes the suitor to carry the runaway heroine to some undefined lovers' rendezvous:

And the villagers never liked you.

Daddy, daddy, you bastard, I'm through (76-80).

"In Winter in my Room" (1670) is an erotically symbolic work that is at once a graphic description of the precedent of sexual haul and an analysis of the fear and revulsion that attraction may arouse. This is a poem both about aridness and love, and the poem displays the poet's ambivalent attitudes about love. Here we can in addition see the use of the poet's own house and room as the site of her speculations. That room is often closed and shuttered against the cold, and so it is in like manner dark. The worm is described as being safe and even attractive, but he is also suspect.

unlike Dickinson, she print many works during her lifetime and became well-known with the publication of the Bell Jar (Baym et al. 2598-2599).

Both writers seem to be viewed by the public through the medium of romance more than anything else. Much of the myth of Emily Dickinson centers on the fact that she lived most of her life in one house, and the concept of home is central in her work and is also embodied with her ideas of love, love for family, love for
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