It helped a little to attend Robert Lowell’s class and hear his response to her poems, but in truth, she did not feel very inspired by his ineffectual teaching and was hoping to do more with her prose. This is the class that included Anne Sexton and another well-known poet, George Starbuck. Sexton later wrote an unrevealing memoir about her jaunts with Sylvia and Starbuck. Lowell recalled Plath as “willowy, long-waisted, sharp-elbowed, nervous, giggly, gracious—a brilliant, tense presence embarrassed by restraint. Her humility and willingness to accept what was admired seemed at times to give her an air of maddening docility that hid her unfashionable patience and boldness.… I sensed her abashment and distinction, and never guessed her later appalling and triumphant fulfillment.” Although Lowell was beginning to enter his confessional poetry phase and Sexton proved an apt acolyte with her flamboyantly self-referential poems, the greater influence on Plath was Theodore Roethke’s brilliantly controlled self-revelatory poems, full of fecund metaphors of growth. Her reading of Faulkner, especially of Sanctuary and “The Bear,” would have a long-term impact on her own violent, apocalyptic verse. Sylvia Plath gave Anne Sexton her due but also thought her contemporary’s work “loose.”

On 9 March, Sylvia, accompanied by Ted, visited her father’s grave in Winthrop, just a flat stone near Azalea Path. She wanted to dig him up as proof of his existence. She felt cheated, probably because seeing the site resolved nothing. His dying while she was so young seemed a swindle. The poem commemorating her visit, “Electra on Azalea Path,” is, as she realized, overdone. She did not yet have the capacity to strip down her emotions into the taut lines of her later work. Still, the poem does capture the sensibility of a daughter who tells her father how she has dreamed his “epic, image by image,” and in the poem’s concluding line confesses, “It was my love that did us both to death.” Discussing her father and this visit in therapy made Sylvia feel she was regressing. But then Ted won a Guggenheim Fellowship, Sylvia received another acceptance from The New Yorker, and the couple was invited to spend two months at Yaddo, the writer’s colony in Saratoga Springs, New York, where they would repair in mid-September. Their concerns about money would be relieved until the end of the year, and in Yaddo’s bracing, pampered climate, perhaps Plath would finally achieve a breakthrough.

For all her complaining about stunted creativity, Sylvia arose on 31 May to realize that since the beginning of 1959 she had written six stories, including some of her best: “Johnny Panic,” “The Shadow,” “Sweetie Pie and the Guttermen,” and “Above the Oxbow.” “The Shadow” re-creates the ambiance of the war years, when Sylvia listened to radio programs and read comic books featuring Superman, the Green Hornet, and The Shadow, with their messages that crime doesn’t pay. In the story, a young girl learns about the atrocities committed in Japanese prisoner of war camps and dreams of an evil that is not so easily defeated: “The hostile, brooding aura of the nightmare seeped out, somehow to become part of my waking landscape.” Even worse, her father is ostracized in their neighborhood because he is German. And the young girl further implicates her father in evil by biting a boy: “In some obscure, roundabout way” she has betrayed her father to the neighbors. When he is forced to leave home on government orders, the girl cries out at the unfairness and declares there can be no God if such injustice is permitted. What had seemed to be the externality of evil in programs like The Shadow is now brought home to her: “The shadow in my mind lengthened with the night blotting out our half of the world, and beyond it; the whole globe seemed sunk in darkness.” Such a story debunks American exceptionalism and foreshadows Sylvia’s return with Ted to Europe.

Sylvia continued to publish poetry in top-rated journals like Partisan Review, The Sewanee Review, and The Hudson Review, but her first book of poetry had just missed winning the Yale Younger Poets prize that went to George Starbuck, whom Sylvia dismissed as a light verse writer. In a letter to Ann Davidow, she confessed she did not have the confidence to commit herself to a novel, the long-delayed “Falcon Yard,” which she could perhaps resurrect when she and Ted headed for Yaddo in September, now that she had thought of a name for a heroine, Sadie Peregrine, a stand-in for herself. In the interim, they were setting off on a cross-country adventure as soon as they found a summer sublet for their Boston apartment.

By 25 June, Sylvia had purchased camping equipment. Out of the summer sojourn, she produced one memorable story, “The Fifty-Ninth Bear,” which makes for fascinating reading when set beside the long letter Hughes wrote to his parents about the adventure that inspired the tale, and beside Sylvia’s contemporaneous report to Aurelia and Warren. Ted described how he and Sylvia woke up in the middle of the night to the sounds of bears foraging through garbage in Yellowstone Park, sniffing around their tent, and then apparently breaking into their car’s trunk, prompting him to look out and discover that a bear had broken the rear window to get at their food—all details Sylvia put in her story. Later they learned a bear had killed a woman who had shone a flashlight on it. Ted counted sixty-seven bears during their stay. Sylvia’s account emphasized their fear that the bear would eat them. She described looking out of the tent at the bear, not mentioning what Ted did at that moment. Later, he did get up to have a look. Sylvia said they were “quite shaken.”

In Plath’s story, the husband is hectored by his passive-aggressive wife into shooing the bear away, an effort that results in the husband’s death. This death is the culmination of tensions between the couple, centering on his rather condescending efforts to placate her. She is portrayed as a hysteric who depends on her husband and resents him at the same time. According to Lucas Myers, when the story was published in The London Magazine, he and others were troubled by Plath’s willingness to kill Ted off in a story. But the husband’s name in “The Fifty-Ninth Bear” is Norton, and he does not resemble Ted Hughes so much as he does Dick Norton, whose sense of male prerogative deeply offended Sylvia. Neither Plath’s journals nor her letters offer any support for the kind of animosity toward the male protector that is portrayed in the story. Moreover, the wife, named Sadie (like the protagonist of Sylvia’s projected novel), is an unflattering portrait of Sylvia herself—or of the Sylvia she would have become as Dick Norton’s wife, subordinating herself to a doctor’s practice and neurotically relying on him to cosset her. Ted’s own commanding presence, and his affinity for the natural world, are entirely absent from this story. Indeed, as critic Tracy Brain observes, “The Fifty-Ninth Bear” is all about tourists on trips who “do” nature while having no real connection with it—and pay for their errant stupidity with their lives.

And yet, how can one read “The Fifty-Ninth Bear” and not wonder if in fiction Sylvia Plath was owning up to her anger about her husband, which she could not yet express in a nonfictional voice? After all, Norton sings a ditty about the “wanderin’ boys of Liverpool,” although he is not explicitly identified as English. In this reading, the name Norton is merely a way to disguise an attack on Ted. Still, the man who is killed is foolish (to use Ted’s word from the letter to his parents) to shine a flashlight at the bear. And Ted Hughes was no fool. With his profound rapport with wild creatures he could not be more different from the hapless Norton of the story. What Sylvia might have been getting at in the private mythology of her life is unrecoverable, but the story seems nevertheless self-congratulatory, in the sense that it was her way of explaining why she rejected Dick and opted for Ted.