DOCSLIB.ORG

Psychiatrist-Patient Confidentiality and the Anne Sexton Biography Sharon Carton

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Psychiatrist-Patient Confidentiality and the Anne Sexton Biography Sharon Carton University of Miami Law School Institutional Repository University of Miami Entertainment & Sports Law Review 5-1-1993 The oP et, the Biographer and the Shrink: Psychiatrist-Patient Confidentiality and the Anne Sexton Biography Sharon Carton Follow this and additional works at: http://repository.law.miami.edu/umeslr Part of the Entertainment and Sports Law Commons Recommended Citation Sharon Carton, The Poet, the Biographer and the Shrink: Psychiatrist-Patient Confidentiality and the Anne Sexton Biography, 10 U. Miami Ent. & Sports L. Rev. 117 (1993) Available at: http://repository.law.miami.edu/umeslr/vol10/iss1/7 This Article is brought to you for free and open access by Institutional Repository. It has been accepted for inclusion in University of Miami Entertainment & Sports Law Review by an authorized administrator of Institutional Repository. For more information, please contact [email protected]. Carton: The Poet, the Biographer and the Shrink: Psychiatrist-Patient Con THE POET, THE BIOGRAPHER AND THE SHRINK: PSYCHIATRIST-PATIENT CONFIDENTIALITY AND THE ANNE SEXTON BIOGRAPHY SHARON CARTON* I. INTROD UCTION .......................................................... 117 II. HISTORICAL BACKGROUND OF SEXTON'S PSYCHIATRIC TREATMENT ............. 118 III. THE CONTROVERSY: REACTION TO THE DISCLOSURE .......................... 121 IV. NATURE OF THE CAUSES OF ACTION AVAILABLE TO SEXTON'S ESTATE .......... 131 V. FIRST AMENDMENT RIGHT TO DISCLOSURE ................ ............... 146 VI. THE DEFENSES OF WAIVER AND CONSENT .................................. 153 V II. C ONCLUSION ........................................... ............. .. 163 I. INTRODUCTION "[M]e, I likes confession..." Anne Sexton.' One could not hypothesize a tougher case to argue breach of the psychiatrist-patient privilege of confidentiality than one con- cerning the patient in this instance, the noted "confessional" poet Anne Sexton. Sexton made it her life's oeuvre to give the public access to the darkest secrets of her years of devastating mental ill- ness that culminated in her suicide. The psychiatrist who arguably violated the privilege, Dr. Martin Orne, was unquestionably re- sponsible not only for motivating Sexton to begin her literary ca- reer, but also for extending Sexton's life by encouraging her to write. Thus, many commentators have argued that Sexton owed Orne both her life and her art. At first blush, one is hard-pressed to find either a victim or a villain in the purported breach. However, in releasing the tapes of Sexton's therapy sessions to her biographer, Diane Wood Mid- dlebrook, Dr. Orne has generated a storm of controversy. Those who have injected themselves into the fray have raised issues rang- ing from the First Amendment to the right of privacy to, less pre- * Professor, Nova University Shepard Broad Law Center; B.A., C.W. Post College, 1976; J.D., Hofstra University School of Law, 1979; L.L.M., George Washington University National Law Center, 1986. The author gives special thanks to research assistant Shelley Zabel for her tireless and invaluable contribution. 1. DIANE MIDDLEBROOK, ANNE SEXTON 215 (1991). 2. See, e.g., L.S. Klepp, Bedlam Bound, ENT. WKLY., Sept. 6, 1991, at 76. Published by Institutional Repository, 1993 1 University of Miami Entertainment & Sports Law Review, Vol. 10, Iss. 1 [1993], Art. 7 ENTERTAINMENT & SPORTS LAW REVIEW [Vol. 10:117 dictably, feminism. A first reading of Anne Sexton's eponymous biography does not inspire any palpable sense of outrage. Middlebrook has not written a sensationalized "tabloid" account, but an account grounded in the sober tone and jargon of literary criticism inter- spersed with the similarly sedate sensibilities of psychiatric evalua- tion. The most lurid events and characterizations of Sexton's life are treated with decorum and arid detachment.' Unfortunately, this is not a case susceptible of easy resolution by visceral reaction. The emotions evoked in the reader should not be determinative of whether Dr. Orne breached a tort or contract duty. Nor should this issue be governed by establishing or at- tempting to establish whether Sexton was aggrieved by Orne's de- cision. Even if Sexton's views can be ascertained from beyond the grave, and even if those views do not condemn the release of the tapes, it must still be considered whether there are rights belong- ing to other potential victims of that action, and whether their rights have been violated. This Article will address several issues raised by Dr. Orne's actions. First, it will examine the background of the controversy, that is, Sexton's treatment by Dr. Orne and the disclosure to Pro- fessor Middlebrook. Second, it will review the different theories of recovery upon which liability might be based. Third, it will address the potential defenses to such liability, most notably consent or waiver and the First Amendment. I. HISTORICAL BACKGROUND OF SEXTON'S PSYCHIATRIC TREATMENT Anne Sexton began psychiatric treatment with Dr. Martha Brunner-Orne, the mother of the psychiatrist who would later be- come Anne's long-term psychiatrist and make the decision, after her death, that gave rise to the present controversy. Anne con- sulted Dr. Martha Brunner-Orne shortly after Anne's second daughter was born in August of 1955, for what the doctor diag- nosed as postpartum depression. Sexton had been experiencing what she called "'terrible spells of depression;' " she was "agitated, disoriented, and subject to fits of feeling 'unreal.'-" The therapy relationship lasted one year, during which time Sexton was hospi- talized temporarily, where she was diagnosed as suffering "'rather 3. Lance Morrow, Pains of the Poet-And Miracles, TxmE, Sept. 23, 1991, at 76. 4. MIDDLEBROOK, supra note 1 at 31. http://repository.law.miami.edu/umeslr/vol10/iss1/7 2 Carton: The Poet, the Biographer and the Shrink: Psychiatrist-Patient Con 19931 PSYCHIATRIST-PATIENT CONFIDENTIALITY prevalent psychoneurotic features, not entirely the picture of true depression.' ",5 Dr. Martin Orne began treating Anne in August of 1956, while his mother was on vacation. It was the start of a rela- tionship that would last for the next eight years.6 Sexton had met and formed a favorable impression of Dr. Orne during her hospital- ization, and liked him so well that he remained her psychiatrist even after his mother returned.7 Dr. Orne later noted that he often lost his temper with Sexton. "She was a very difficult patient; she pushed the world of reality away." 8 In 1960, Dr. Orne grew frus- trated with Anne's tendency to treat the sessions as "self-con- tained vignettes with a beginning, middle and end."' That is, Anne retained no memory of any progress made in any one session, los- ing any sense of continuity from one session to the next. Indeed, Sexton would often close the sessions by falling into a deep trance, "further distancling] the content of the preceding hour from [her] memory."1 o It is difficult to describe the profound inability to respond that marked these states of dissociation . .. Eventually it became clear that she would dissociate when she had not been able to come to the end point of a session . .. Often she was annoyed, or she was feeling too much to stop just then, but she could not really verbalize much of what was troubling her. This symptom interfered with treatment. To some extent, she was aware of what she was doing. At times I couldn't help becoming angry about her lack of response . In an attempt to remedy his frustrations over Sexton's loss of memory, Dr. Orne instructed Sexton to capture the sessions by making notes immediately following each meeting. Later, in 1961, Dr. Orne began to tape record the sessions. He then assigned Sex- ton the task of compiling a written record of each session, request- ing her to return a day later to the office to listen and take notes on the previous session.1" As Dr. Orne put it, he "taped [their] ses- sions ... to help her understand what she was doing [in the ther- apy process]. 13 5. Id. at 34. 6. Id. 7. Id. 8. Id. at 41. 9. Id. at 37. 10. Id. 11. Id. at 44 (quoting Dr. Orne). 12. Id. 13. Id. at 43. Published by Institutional Repository, 1993 3 University of Miami Entertainment & Sports Law Review, Vol. 10, Iss. 1 [1993], Art. 7 120 ENTERTAINMENT & SPORTS LAW REVIEW [Vol. 10:117 Although Sexton was disturbed by the pain of remembering and thus facing her problems and by the fact that her "assign- ments" took time away from her writing, taping the sessions proved a success. 14 Sexton's condition was symptomized, if not caused by, her inablility to care for her children. Middlebrook the- orizes that Sexton's illness lay "in ambiguous diagnostic territory that is only somewhat clearer today than it was in 1956.''15 [A]necdotal evidence of breakdowns on both sides of her family suggests a genetic predisposition to a biologically based illness, a supposition reinforced by Sexton's extreme physiological symp- toms: wildly alternating moods, anorexia, insomnia, waves of su- icidal and other impulses, rages, rapid heartbeat. It is possible that biochemical imbalances throughout her life intensified the underlying psychological vulnerabilities that were the primary focus of her psychotherapy. 6 Particularly problematic for Sexton was her relationship with her daughters, stemming from unresolved feelings about her rela- tionships with the two women who were her maternal figures: her biological mother, Mary Gray, and the great-aunt, "Nana," upon whom Sexton was largely dependent. 17 Also to be factored into di- agnosing Sexton's illness, according to Middlebrook, was the soci- ology of Sexton's time. "The glorification of 'feminine' roles did not offer insight into the rage and guilt aroused by the behavior of small children - women were supposed to be naturally good at mothering.' 1 8 This perspective fed into Sexton's belief that, since she was not "naturally good at mothering," she was good at noth- ing, save perhaps sex, as she portrayed herself to Dr.
Load more

Recommended publications
  • Anne Sexton, Her Therapy Tapes, and the Meaning of Privacy
    UCLA UCLA Women's Law Journal Title To Bedlam and Part Way Back: Anne Sexton, Her Therapy Tapes, and the Meaning of Privacy Permalink https://escholarship.org/uc/item/2sn2c9hk Journal UCLA Women's Law Journal, 2(0) Author Lehrich, Tamar R. Publication Date 1992 DOI 10.5070/L321017562 Peer reviewed eScholarship.org Powered by the California Digital Library University of California TO BEDLAM AND PART WAY BACK: ANNE SEXTON, HER THERAPY TAPES, AND THE MEANING OF PRIVACY Tamar R. Lehrich* INTRODUCTION I have ridden in your cart, driver, waved my nude arms at villages going by, learning the last bright routes, survivor where your flames still bite my thigh and my ribs crack where your wheels wind. A woman like that is not ashamed to die. I have been her kind.' The poet Anne Sexton committed suicide in October, 1974, at the age of forty-five. Three months earlier, she had celebrated the 21st birthday of her elder daughter, Linda Gray Sexton, and on that occasion appointed her as Sexton's literary executor. 2 Anne Sexton * J.D. candidate, Harvard Law School, 1992; B.A., Yale University, 1987. This Essay was written in Alan A. Stone's seminar, "Psychoanalysis and Legal Assump- tions," given at Harvard Law School in the fall of 1991. The seminar provided a rare opportunity to explore theories of law, medical ethics, and artistic expression from an interdisciplinary perspective. In addition to Professor Stone, I am grateful to Martha Minow and Mithra Merryman for their insightful comments and challenging questions and to Carmel Sella and Lisa Hone for their invaluable editorial talents.
    [Show full text]
  • “Something Very Modern”: Order and Mess in the Later Work of Anne
    “Something Very Modern”: Order and Mess in the Later Work of Anne Sexton by Michael Kaler A thesis presented for the B. A. degree with Honors in The Department of English University of Michigan Winter 2018 © 2018 Michael Kaler For Rene Ribant. Acknowledgments Writing this thesis never would have been possible without the amazing support I’ve received, and I owe thanks to more people than I can acknowledge here. I first would like to thank my family and friends. To my parents, who have taught me self-sacrifice, thank you for never having failed to encourage me to put my best effort into my work. To my siblings, who inspire me to better myself each day, thank you for your enthusiasm and your willingness to listen. To Sandy, who has been so supportive and so understanding, thank you for your kindness. To Alyssa, who reminds me of where I have been, thank you for having stood by my side throughout the tumult of the past twelve months. To Patrick, who has helped me remember where I want to go, thank you for your patience. To Laci, who can always make me laugh, thank you for having made my last year at Michigan especially memorable. I next must express my gratitude toward the many brilliant instructors and professors I’ve had during my undergraduate career, who have helped me become a more lucid writer. I must thank in particular Maayan Eitan, whose mental dexterity and agility never cease to astound me, and Professor Madhumita Lahiri, whose insight helped shape this thesis during its first stages.
    [Show full text]
  • A Fine White Flying Myth of One's Own: Sylvia Plath in Fiction – a Review
    278 A Fine White Flying Myth of One’s Own: Sylvia Plath in Fiction – A Review Essay Luke Ferretter, Baylor University Emma Tennant, Sylvia and Ted: A Novel (New York: Henry Holt, 2001). 177 pp. $22.00 (cloth). ISBN 0-7567-9474-9. Kate Moses, Wintering: A Novel of Sylvia Plath (New York: Anchor, 2003). 313 pp. $14.00 (paper). ISBN 1-4000-3500-7. Robert Anderson, Little Fugue (New York: Ballantine, 2005). x + 367 pp. $14.95 (paper). ISBN 0-345-45411-1. Susan Fromberg Schaeffer, Poison: A Novel (New York and London: Norton, 2006). 606 pp. $15.95 (paper). ISBN 978-0-393-32979-7 Grace Medlar, The Lost Papers of Sylvia Plath (CreateSpace, 2009). 214 pp. $14.95 (paper). ISBN 1-4414-6480-8. From just a few years after the publication of Ariel , artists in many media have produced a vast array of aesthetic responses to the work of Sylvia Plath. Music, songs, poetry, plays and short films based on Plath’s poetry have been written, and continue to be written, in great profusion. 1 This last decade has seen the response of novelists. 2 It is 1 The complete bibliography, and indeed the complete study, of cultural representations of Plath’s life and work remain to be written. I will give just two or three example of each genre here: for musical settings of Plath’s works, see Rorem, Burton, and Knussen; for songs, see The Bangles, Adams, and Etheridge; for poetry, see Ackerman, Hurdle, and Bowman; for plays, see Kyle, Goldemberg, and Anthony; for films, see Sylvia , The Girl Who Would Be God , and Lady Lazarus .
    [Show full text]
  • Restoring Sylvia—Reconstructing Sylvia Plath's Ariel
    Academic Forum 26 2008-09 Restoring Sylvia—Reconstructing Sylvia Plath’s Ariel Carly Cate MLA Graduate Student Mentor: Dr. Wayne McGinnis, Ph.D. Professor of English Abstract In Sylvia Plath’s, Ariel , first released in the United Kingdom in 1965 and in the United States in 1966, her husband, Ted Hughes, meticulously altered the released work from Plath’s original manuscript. Hughes removed and replaced several poems in the US and the UK versions. Hughes is also responsible for changing punctuation, diction, and even the original title of the work. These changes and manipulations are superbly demonstrated in Ariel: The Restored Edition , released in 2004. In this edition, Frieda Hughes, daughter to Sylvia Plath and Ted Hughes, provides a very insightful, though possibly skewed, forward. Frieda Hughes understandably stands by her father’s decision in the editing of Plath’s manuscript. She presents Ted Hughes as a victim of circumstance, criticized for his molestation of Plath’s original work. Does replacing more personal and confessional poems with less offensive, more “suitable” works make the first editions of Ariel better than his wife’s true original collection? Why remove and change aspects of Plath’s original manuscript if not for Mr. Hughes’ own personal gain or protection? In Sylvia Plath’s, Ariel , first released in the United Kingdom in 1965 and in the United States in 1966, her husband, Ted Hughes, meticulously altered the released work from Plath’s original manuscript. Hughes removed and replaced several poems in the US and the UK versions. The barred poems included, “The Rabbit Catcher,” “Thalidomide,” “Barren Woman,” “A secret,” “The Jailor,” “The Detective,” “Magi,” “The Other,” “Stopped Dead,” “The Courage of Shutting Up,” “Purdah,” and “Amnesiac.” Hughes is also responsible for changing punctuation, diction, and even the original title of the work.
    [Show full text]
  • The Problem of Biography
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by HAL AMU 1 JOANNY MOULIN The problem of biography All biographies are impossible, but Ted Hughes’s is more impossible than others. One of the reasons for this is that he was made a character in the life- storyofSylviaPlath.Witnessthe title of one of the two Ted Hughes biographies to date: Her Husband: Hughes and Plath – A Marriage.1 Of course, Diane Middlebrook came to Hughes from an interest in Ann Sexton and Sylvia Plath. Her approach testified to the construction of a personage called ‘Ted Hughes’ that took place early on in his own lifetime, originating in Sylvia Plath’s poems and her extremely detailed journals and letters, which are one of the main documentary sources for any Hughes biographer. The earlier biography, Elaine Feinstein’s Ted Hughes; The Life of a Poet,2 while still relying heavily on Plath’s writings, had already attempted to broaden the scope of what was then known by using first-hand correspon- dence and conversations with people who had been personally acquainted with the poet. Of course, huge new sources of information were discovered with the opening in the year 2000 of the Ted Hughes Archives in the Manuscript, Archives, and Rare Book Library of Emory University in Atlanta. This consists of a major part of Hughes’s letters, drafts, notebooks and drawings, and it provides ample material for a literary biography of Ted Hughes that could not but lead to a genuine reappraisal of the figure of both the man and the poet.
    [Show full text]
  • I Made You to Find Me
    I Made You to Find Me I MADE YOU TO FIND ME The Coming of Age of the Woman Poet and the Politics of Poetic Address Jane Hedley T H E O H IO S T A T E U N I VER SITY P R E SS | C O L UM B US Copyright © 2009 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Hedley, Jane. I made you to find me : the coming of age of the woman poet and the politics of poetic address / Jane Hedley. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1101-4 (cloth : alk. paper) 1. Women poets, American—20th century. 2. American poetry—Women authors— History and criticism. 3. American poetry—20th century—History and criticism. 4. American literature—Women authors—History and criticism. 5. Women and literature—United States—History—20th century. I. Title. PS151.I25 2009 811.'54099287—dc22 2009002739 The author has received permission to quote from the following sources: The Un- abridged Journals of Sylvia Plath, 1950–1962, edited by Karen V. Kukil (New York: Random House, 2000); Carol Muske, Women and Poetry: Truth, Autobiography, and the Shape of the Self (Ann Arbor: University of Michigan Press, 1997), courtesy of the University of Michigan Press; Gwendolyn Brooks, Report from Part One (Detroit: Broadside Press, 1972), reprinted by consent of Brooks Permissions; “The Double Image,” from To Bedlam and Part Way Back by Anne Sexton, copyright © 1960 by Anne Sexton, renewed 1988 by Linda G. Sexton, reprinted by permission of Houghton Mifflin Harcourt Publishing Company, all rights reserved; and Gwendolyn Brooks (© 1949), Poem XI from Annie Allen, “The Womanhood” (New York: Harper Peren- nial, 1999).
    [Show full text]
  • Contributors
    Plath Profiles 1 Contributors Smita Agarwal is the author of two collections of poems: Wish-granting Words, Poems (Ravi Dayal, New Delhi, 2002) and Mofussil Notebook. Poems of Small Town India (Cooperjal, London, 2011). Her poems have been published in magazines and anthologies such as Literature Alive: New Writing from India and Britain (British Council), Nine Indian Women Poets (OUP), Verse: Indian Poetry Feature (UK/USA), Confronting Love (Penguin, 2005), Quote poet Unquote: Contemporary Quotations on Poets and Poetry (Copper Canyon Press, USA, 2008), Indian English Women Poets (New Delhi, 2009), Wasafiri: India South Asia & the Diaspora (London: QMW University) and The Literary Review: Indian Poetry (New Jersey: Fairleigh Dickinson University). Her critical articles have appeared in Poetry Review (UK) and Journal of Commonwealth Literature (UK). She is currently engaged in editing a collection of essays on Indian Poetry in English (Rodopi: The Netherlands). She is Professor of English at the University of Allahabad, India. Her hobby is Indian music and her songs are available on http://www.beatofindia.com and YouTube. Diann Blakely is a poet, reviewer, and essayist whose most recent book, Cities of Flesh and the Dead, won the Alice Fay DiCastagnola Award from the Poetry Society of America and the 7th Annual Elixir Publication Prize. Work from her current manuscript, Rain in Our Door: Duets with Robert Johnson, has been featured in the Believer, Callaloo, the Chronicle of Higher Education, DoubleTake, Parnassus, and Shenandoah; since 2010, Blakely's prose has appeared at Antioch Review and Pleiades, as well as online at the Best American Poetry site, Chapter 16: Tennessee Humanities Online, Nashville Scene, Village Voice Media, Option, and Swampland.
    [Show full text]
  • Contributors
    CONTRIBUTORS CONTRIBUTORS Colleen Abel has had work published in numerous magazines, including the Evansville Review, Heliotrope, and Bellevue Literary Review. She is a former Diane Middlebrook Poetry Fellow at UW-Madison. Kelli Russell Agodon is the author of Small Knots and a chapbook, Geography. Her work has recently appeared in the Atlantic Monthly, Prairie Schooner, and 5am. Michael Anania’s most recent book of poetry is Heat Lines. He is emeritus at the University of Illinois at Chicago, and is a member of the Faculty in Writing at Northwestern University. Nin Andrews is the editor of a book of translations of the Belgian poet, Michaux Henri, called Someone Want to Steal My Name. She also is the author of several books including Why They Grow Wings and Midlife Crisis with Dick and Jane. Her most recent book is Sleeping with Houdini. June Frankland Baker lives in Richland, Washing- ton. Her poems have appeared in The Christian Science Monitor, Common- weal, The Greensboro Review, Poet Lore, Poem, Poetry Northwest, Southern Poetry Review, and many others. Mary Jo Bang is the author of five books of poems, including Louise in Love and The Eye Like a Strange Balloon. Her most recent collection is Elegy. She is a professor of English and Director of the Creative Writing Program at Washington University in St. Louis. Jonathan Barrett’s poetry has appeared in the Literary Review, The Minne- sota Review, The North American Review, and Phoebe, among others. He lives in Kansas City. Michael S. Begnal has published three collections, The Lakes of Coma; Mercury, the Dime; and Ancestor Worship.
    [Show full text]
  • Sylvia Plath with Robert Lowell and Anne Sexton Sarah-Jane Burton University of Wollongong, [email protected]
    University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Law, Humanities and the Arts 2013 An Introduction to "The Boston Trio": Sylvia Plath with Robert Lowell and Anne Sexton Sarah-Jane Burton University of Wollongong, [email protected] Publication Details Burton, S. (2013). An Introduction to "The Boston Trio": Sylvia Plath with Robert Lowell and Anne Sexton. Plath Profiles, 6 (Summer), 75-84. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] An Introduction to "The Boston Trio": Sylvia Plath with Robert Lowell and Anne Sexton Abstract In an interview with A. Alvarez for The Observer in 1963, the poet Robert Lowell asserted, "Inspiration's such a tricky word…we all know poetry isn't a craft that you can just turn on and off. It has to strike fire somewhere" (76). The question of the location of this elusive "somewhere" – this inspirational moment in the trajectory of Sylvia Plath's career is one of the main concerns of this paper. This pivotal moment and literary shift is often cited as occurring late in Plath's life, with motherhood and the break-up of her marriage to Ted Hughes providing the fuel for the powerful work of Ariel. However, several years earlier, in early 1959, Plath briefly uda ited a poetry class taught by the revered American poet Robert Lowell at Boston University. It was here, alongside fellow poet Anne Sexton, that Plath gained new perspective regarding her work and her own position in the emerging currents of American poetry.
    [Show full text]
  • MERCHANTS of PATHOS: Confessional Poetry, Publicity, and Privacy in Cold-War America
    MERCHANTS OF PATHOS: Confessional Poetry, Publicity, and Privacy in Cold-War America. Tyne Daile Sumner Submitted in total fulfilment of the requirements of the degree of Master of Arts February 2013 The School of Culture and Communication The University of Melbourne ABSTRACT The relationship between confessional poetry and cold-war culture in America is structurally important to our understanding of ongoing debates over the authenticity of the textual voice in confessional verse. Exploring the work of poets Robert Lowell, John Berryman, Sylvia Plath and Anne Sexton, this thesis provides an explanation for the tendency among both readers and critics to conflate the roles of poet and persona in assessments of confessional poetry. It is argued that the confessional poets deliberately manipulated the status of truth in their work to create the illusion of a publicly legitimate, yet authentically private self. This thesis does not, however, reduce confessional verse to simply poetic artifice. Rather, in the process of conflating poet and persona, the confessional poets fashioned an unprecedentedly complex culture of postmodern poetics. This thesis divides the poetic voice of confessional poetry into three sites of poetics, detailing how each complicates the status of truth in confessional verse. The first site, the ambiguity of confessional poetics, is characterized by the still-contested definition of confessional poetry and the indeterminate nature of persona in confessional verse. By blurring the distinction between autobiographical fact and poetic fiction, confessional poetry directly participated in national tensions over privacy by questioning the status of truth in acts of apparent revelation. Additionally, by applying rhetoric characteristic of the modern age of publicity, confessional poetry repeatedly advertises itself within the poetic text, acting to further blur the distinction between poet and persona.
    [Show full text]
  • Dr. Mossberg/CHC/CV 2016/Selected 1
    BARBARA A. CLARKE MOSSBERG [email protected] BarbaraMossberg.com (831) 236-6662 1825 Longview Avenue Eugene, Oregon 97403 Education: 1977 Ph.D. Indiana University Literature/Linguistics 1972 M.A. Indiana University English 1970 B.A. UCLA English/History Professor of Practice, Clark Honors College, University of Oregon, 2013— Professor, Tenure (2002) and Director, Integrated Studies Special Major, California State University Monterey Bay, 2004—(retired 2012) President Emerita Goddard College, 2001-- City Poet Emerita, Pacific Grove, CA, 2015- Affiliated Faculty, Ph.D. in Interdisciplinary Studies, Ethical and Creative Leadership, Union Institute & University, 2010-- Poet in Residence, City of Pacific Grove, CA, 2010--2015 Founding Dean and Professor, Tenure, College of Arts, Humanities, and Social Sciences, California State University Monterey Bay (2002-2004) Senior Consultant, American Council on Education, Center for Institutional and International Initiatives (2001-2002) President and Faculty, Goddard College (1997-2001) Dean of Arts and Sciences and Executive Assistant to President, National University (1996-1997) Director of External Relations (Foundations, Corporate, Federal), and --Associate Provost, Hobart and William Smith Colleges (1993-1994) Senior Scholar, American Council on Education, Office of Women, and --Director, Mary Robertson Smith Council of Scholars (1992-1996) Senior Fulbright Distinguished Lecturer (Inaugural Appointment), Bicentennial Chair of American Studies, University of Helsinki (1990-1991) Senior Advisor,
    [Show full text]
  • "The Boston Trio": Sylvia Plath with Robert Lowell and Anne Sexton
    Plath Profiles 75 An Introduction to "The Boston Trio": Sylvia Plath with Robert Lowell and Anne Sexton Sarah-Jane Burton, University of Wollongong, Australia In an interview with A. Alvarez for The Observer in 1963, the poet Robert Lowell asserted, "Inspiration's such a tricky word…we all know poetry isn't a craft that you can just turn on and off. It has to strike fire somewhere" (76). The question of the location of this elusive "somewhere" – this inspirational moment in the trajectory of Sylvia Plath's career is one of the main concerns of this paper. This pivotal moment and literary shift is often cited as occurring late in Plath's life, with motherhood and the break-up of her marriage to Ted Hughes providing the fuel for the powerful work of Ariel. However, several years earlier, in early 1959, Plath briefly audited a poetry class taught by the revered American poet Robert Lowell at Boston University. It was here, alongside fellow poet Anne Sexton, that Plath gained new perspective regarding her work and her own position in the emerging currents of American poetry. Plath would later describe the developments occurring at the time in a 1963 radio broadcast, saying of Lowell: "the shift in tone is already history" (Plath, The Spoken Word). During this time Plath was orbiting within a vibrant poetic community in Boston itself. Here, alongside her contemporaries, Plath analysed her own creative output and the works of others in a critical and artistic context. This unique intersection of influences helped to reshape Plath's writing, and would later enable her to reach new heights of creative expression.
    [Show full text]