And though Plath never really described many characters as to their personality, I began to feel I knew them all intimately. The writing that I was a little sketchy about at first helped me visualize the setting and get to know the characters. But that only remained within the first two pages, because after that I became absorbed.

I went into the novel knowing that Plath was a poet and felt that at first the book was just another form of her poetry and her showing off her writing abilities. Her descriptions were crisp and precise, often using words that one rarely hears spoken or even read. When I first started reading the book I was a little put off, feeling it was an extremely pretensious novel. I assure you, The Bell Jar is a book all on it's own and should not be compared to any other book. I liked Catcher but I know there are many people who didn't and upon hearing that may be similar to Catcher not have the desire to read it. I was a little caught of guard when I read a few reviews of The Bell Jar comparing it to The Catcher in the Rye stating how it's the female version of it. I am gladly considering myself one of them. Let them talk, those cold theologians.There are many who have read The Bell Jar and absolutely loved it. He wades in and does something and stays with it, in short, he violates, 'defiles' - they say. But no matter how vacant and vain, how dead life may appear to be, the man of faith, of energy, of warmth, who knows something, will not be put off so easily. Life itself, too, is forever turning an infinitely vacant, dispiriting blank side towards man on which nothing appears, any more than it does on a blank canvas. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of 'you can't' once and for all. The canvas has an idiotic stare and mesmerises some painters so much that they turn into idiots themselves. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, You can't do a thing. Just slap anything on when you see a blank canvas staring you in the face like some imbecile.

Many people think that they will become good just by doing no harm - but that's a lie, and you yourself used to call it that. 1884)Ĭontexto: I tell you, if one wants to be active, one must not be afraid of going wrong, one must not be afraid of making mistakes now and then. 1880s, 1884, Letter to Theo (Nuenen, Oct.

La campana de cristal by Sylvia Plath