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child’s love of rhythm and cadence. Matthew Arnold’s “The Forsaken Merman” struck Sylvia as being addressed to her—or at least to children like her:
    Come, dear children, let us away:
    Down and away below!
    Now my brothers call from the bay,
    Now the great winds shoreward blow,
    Now the salt tides seaward flow …
    For a child who often visited her grandparents on a strip of Winthrop land called Point Shirley that had views of both ocean and bay, the merman’s call to watery depths would echo in the image of riding on Otto Plath’s back, gradually losing her fear of the dark and deep sea beneath their bodies as he swam his rhythmical strokes.
    Arnold’s poetry was her world “through the surf and the swell … where the sea-beasts ranged all round.” Poetry proved to be a median point between her and the world, a conjoining like that of land and sea. The merman, forsaken by his beloved Margaret, yearns for her return. But she remains on land in church, “her eyes … sealed to the holy book!” The merman’s voice is the poet’s and expresses the enchantment of words that Margaret has also forsaken, but that Sylvia, a “sea-girl” like her mother, swooned over, saying they made her want to cry but also made her very happy. Poetry had that power over her. She would live and die by it.
    Plath published her first verse, simply titled “Poem,” in the Boston Herald on 10 August 1941. This brief nature poem featuring the sounds of crickets and the sights of fireflies appeared in the children’s section, “The Good Sport Page.” Paul Alexander calls this first publication the most important day of that summer. But the occasion was more than that: Sylvia became aware that the world was watching. Publication is a form of judgment that another kind of sensibility—say, Emily Dickinson’s—shrinks from, but Sylvia already had a habit of putting herself forward. She measured herself by having others take the measure of her.
    Aurelia understood this aspect of her daughter. When in the fall of 1942 Aurelia sold the family house in Winthrop and moved her family to Wellesley, she was thinking of more than situating Sylvia in a college town. Sylvia Plath needed a bigger canvas on which to practice her art. She was already drawing quite well, one year after publishing “Poem” winning a prize for a picture of a woman wearing a hat. Like some other extraordinary writers—Rebecca West, Norman Mailer, and Susan Sontag, for example—Sylvia from an early age regarded writing as a form of serious play.
    Jane Eyre and Gone with the Wind were favorite novels, but Syl also liked to listen to The Lone Ranger and The Jack Benny Show. If Aurelia fussed over her child’s devotion to radio the way parents today worry over how much television their children watch, such concern left no traces. Sylvia loved paper dolls and was overjoyed to get Rita Hayworth and Hedy Lamarr paper doll books. She also treasured her Bette Davis autograph. Syl may have seemed “brainy” to other kids, but her outgoing nature and wide-ranging interests and activities—swimming, sunbathing, and playing with boys—reveal nothing like the nerdy, introverted behavior often attributed to exceptionally brilliant students. Helen Lawson, Sylvia’s ninth grade English teacher, told Edward Butscher that Sylvia, a perfectionist, “seemed to have the complete respect of her fellow pupils—not that of the ‘grind.’”
    By the age of twelve, Sylvia had scored in the 160 range on an IQ test, well into genius territory, according to Dorothy L. Humphrey, who reported the results to Edward Butscher. Humphrey notes that Sylvia was not only unusually knowledgeable for her age, she took a remarkable interest in the test itself, seeming to enjoy the “whole lengthy procedure,” which she prolonged because she kept