The first line in The Bell Jar is a hook: “It was a… sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York.” The person speaking is Esther Greenwood, a smart, straight-A, dark-humored and, as the story goes on, depressed protagonist.

The book was published in London on January 14^th, 1963 under a pseudonym Victoria Lucas, one month before the actual author, Sylvia Plath, committed suicide. People had to wait almost a decade for its publication in The United States. It is the only novel Plath ever wrote.

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The story itself is a coming of age tale about a college girl who is figuring out what she wants and who she wants to be. She wins a contest to write for a “girl’s” magazine called Ladies’ Day in New York. She takes the opportunity and moves to New York for the summer along with a group of other young women, and they all live in a hotel/dormitory called the Amazon. This is where the book begins. The experience is less than Esther expected it to be. Her editors give her uninspiring pep talks, and her friends lead her into dangerous situations where she is almost, at one point, raped. She feels lonely most of the time. Upon getting stuck in a room where one of her friends, Doreen, is getting close with Lenny Shepherd, a man they met by happenstance one night on the town, Esther says:

“There’s something demoralizing about watching two people get more and more crazy about each other, especially when you are the only extra person in the room. It’s like watching Paris from an express caboose heading in the opposite direction – every second the city gets smaller and smaller, only you feel it’s really you getting smaller and smaller and lonelier and lonelier, rushing away from all those lights and that excitement at about a million miles an hour.”

It is with similes like this one where we get a deep look into Esther’s intelligence and ability to discern the truth about what it means to be young and still forging your identity.

A lot of the novel is about forging identity, but Esther’s identity is so tied up with her depression that she has trouble separating the one from the other. After New York, she heads back home to Boston and spirals downward until she finds a crawlspace to hide in, and tries to commit suicide. This lands her in a sanitarium. She is eventually sent to a private hospital in the countryside paid for by the woman who sponsored her scholarship, Philomena Guinea. It is there where Esther is really attended to for her illness. She is given insulin, analysis, freedom to go into town with improvement in mood, and is treated with electric shock therapy; all of it leads her back to wellness. How do we know she’s well? She says, just before her dismissal, “There ought, I thought, to be a ritual for being born twice – patched, retreaded and approved for the road.”

This novel also gave Sylvia Plath a way to confront sexism and convention. Throughout the pages, Esther mentions how many times her mother has at one point told her to learn shorthand. “The trouble was, I hated the idea of serving men in any way. I wanted to dictate my own thrilling letters.” Esther doesn’t know how to cook, either. She doesn’t know how to dance. She can’t sing a note. “The one thing I was good at was winning scholarships and prizes…” In other words, Esther succeeds at competing with men.

image via sylviaplathinfo.blogspot.com

Plath’s writing style can be interpreted as dark, but also as darkly comic, elegiac, honest, and nostalgic. “When I was nineteen, pureness was the great issue.” This is both a joke and an admittance. After Esther finds out Buddy Willard, her boyfriend, has already had sex, she is filled with resentment over the hypocrisy he embodies but also feels a competitive edge. She rejects his proposal. He is a fraud in her eyes now, and it brings her a step closer to knowing something about herself: she cannot succumb to promises of chastity until marriage. Esther ends up losing her virginity to some guy named Irwin she meets on the steps of the Harvard Library. It leads to a slight hemorrhaging mishap that lands her in the Emergency room; what she loses in blood she gains in experience and independence. She is even fitted for a diaphragm with the encouragement of her female doctor. “I was my own woman.”

Esther also ponders a life of wifely duties with children and husband as her primary purpose in life and she grows deeply afraid. “I knew that in spite of all the roses and kisses and restaurant dinners a man showered a woman before he married her, what he secretly wanted when the wedding service ended was for her to flatten out underneath his feet like Mrs. Willard’s kitchen mat.”  While this characterization of family life may be exaggerated, Plath is pointing out the inherent gender inequality and unfair expectations society has for women.

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The bell jar itself symbolizes Esther’s mental illness in all its stifling, alienating inescapability: ”…wherever I sat—on the deck of a ship or a street café in Paris or Bangkok—I would be sitting under the same glass bell jar, stewing in my own sour air.” The bell jar warps reality, but there isn’t much difference, at times, between the distortion and the truth, as Esther discovers. On the day she is due to leave the hospital, Belsize, where she lived during her hospital stay, she wonders “what was there about us, in Belsize, so different from the girls playing bridge and gossiping and studying in the college to which I would return? Those girls, too, sat under bell jars of a sort.”n

If you’re curious as to how closely this novel relates back to Sylvia Plath, she did indeed have a guest editorship at a magazine called Mademoiselle. Philomena Guinea is based on a real woman, her literary patron named Olivia Higgins Prout, and Plath did try to commit suicide, and was sent to a hospital as a result. She even had Electroconvulsive Therapy just like Esther.

In 1979, there was a film adaptation starring Marilyn Hassett and Julie Harris. It did not do well with audiences or critics. There is a Showtime tv series (originally slated to be a film) starring Dakota Fanning based on the book supposedly in the works.

image via storenvy

The response to the book was positive, but Sylvia’s mother didn’t want it to be published in the United States because of the comparisons people made between Esther’s family and her own. It finally made it here in 1971, and fans did hyper-focus on the autobiographical similarities, though the NY Times gave it a positive review. The New Yorker’s review was mixed. In the end, it became one of the most influential novels of the 20^th century.

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