I wanted to add this pic in the comments of another fans Sylvia tattoo, but your unable to share photos on the comments.

Anyway, this tattoo symbolises my favourite poem - Tulips, this poem has a profound impact on me. I struggle with being a highly sensitive person and too much negative can put me in a hole. I had a horrible upbringing, so that’s added to my fear. The red tulips signify the people that have hurt me in this life and the yellow tulip reminds me that there are kind people in this world and a nod to my shadow sister that we sensitive souls are not alone in this world.

I’ve attached a poem I wrote in honour of Miss Plath that correlates with my meaning behind my tattoo in the comments 💐

Typewriter tattoo done in London. Keen to know people’s thoughts…?

Just wanted to share my drawing here haha. Pretty proud of her, I adore Plath so so much. <33

Does anyone know how/where I can watch the movie, Sylvia, starring Gwyneth Paltrow? I’m based in the U.S. and none of the major streaming platforms seem to carry it (Prime Video, which I thought had everything, doesn’t have it). It’s so unusual for a movie to be missing from all platforms. Did it get banned? I know the filmmakers were blocked by Frieda Hughes and not allowed to use important content (mainly, Frieda did not allow them to use Sylvia’s actual words/poetry— so the filmmakers had to re-invent her words for the film, which really took away from the beauty of her talent)…and I’ve heard this hurt the final product of the movie (bad reviews). I still want to watch it though. Any suggestions?

Hiiii everyone! Ive been seeing that Sylvia Plath is antisemitic. Im not extremely familiar with a lot of her work, besides a few poems and a presentation i did on the bell jar (which i only skimmed through to get qoutes on mental health). I have dedicated some time to researching if Sylvia Plath is antisemitic but am struggling to find any qoutes/claims/ect... that prove her antisemitism. I know that the bell jar is filled with racist remarks, stereotypical descriptions, and that some of her poems create a distatesful metaphor to her experiences and the holocaust.

Not to excuse these aspects of Plath that are evidently, inexcusable but is there any direct evidence of Plath's antisemitism? Is it moreso this hefty collection of disrespect towards ethnic groups? What leads critics to believe that Plath was antisemitic?

I am asking this questions out of critical interest and more importantly, to develop my understanding of social issues and how they are represented in literature, throughout time. Along with not doing my own intensive reading on Plath, I am also white and never having experienced racism or offence to my religious upbringing, would be very grateful to be enlightened to others views on this, or point me in the direction out of my biases that i may be ignoring.

edit: thank you to all commenters for your insight! :)

I’m quickly deducing - from media/articles/interviews – that Frieda Hughes can be cruel toward her mother's (Sylvia Plath's) legacy and often displays a strong bias toward her father, Ted Hughes. What puzzles me is that Frieda does not seem to hesitate to promote herself as Sylvia Plath’s daughter -- when it suits her (i.e. when she is promoting her own poetry, artwork, and books) despite claiming that she wants privacy and doesn't like discussing her "dead parents". Is this the general consensus about Frieda Hughes or am I missing something that redeems her? I am struggling to find any interview/article/anything at all in which Frieda regards her mother with kindness or an ounce of empathy -- or even longing. She mentions “loving” both of her parents and “deeply appreciating” their poetry, but never singles out Sylvia in any positive way, like she does with her father. I've collected a long list of examples to support why I'm feeling this way and would like to hear what others think/know. I’m wondering why this isn’t discussed more. Is it because we need to stay on Frieda's good side if we want more Sylvia Plath work to be released?

I’ll start with some impactful quotes from an Indiana University paper (the only commentary I’ve been able to find on this subject), “Frieda Hughes and a Contemporary Reading of Sylvia Plath”, available for download here (PDF) – very interesting read: 

“Frieda has increasingly come to play a key role in the manipulation of her mother's work. It is shocking that this active silencing of Sylvia Plath continues with little protestation. As critics, scholars, and readers, we have a duty and responsibility to bring Frieda Hughes to task for her suppression of Plath’s voice and for her insistence that Plath be viewed through her own clouded lens.”

(On Ariel) “In her Foreword, Frieda Hughes tellingly describes Plath as having “a ferocious temper and a jealous streak,” while her father is “more temperate and optimistic”. These are the instructions readers are given as they read the “authentic version” of Plath’s Ariel; undoubtedly, readers of this ironically labeled “restored edition” are coloured and influenced by Hughes’s shrill introduction.”

“Hughes constructs her mother as an aggressor in a domestic drama: 'On work-connected visits to London in June 1962, my father began an affair with a woman who had incurred my mother’s jealousy a month earlier. My mother, somehow learning of the affair, was enraged. . . . Tensions increased between my parents, my mother proposing separation . . . By early October . . . my mother ordered my father out of the house'. This disquieting and degrading portrait of her mother most certainly alters a reader’s reception of Plath’s Ariel poems.”

Examples of polar opposite sentiments for her mother vs. father in the same article:

Guardian interview in which Frieda Hughes is promoting her new book of poems and paintings, “Alternative Values”, “Frieda Hughes - I felt my parents were stolen”:

• About her father: “He had a very powerful work ethic – he was very disciplined.” She also remembers him cooking her scrambled eggs, taking her to the beach and going for walks across Dartmoor. “I had a lot of freedom as a child..”
• About her mother: “When I read what other people had written about my mother, it was quite a shock to find that she wasn’t angelic because that was how my father had presented her. He never said a bad thing about my mother, ever.”
• (The only semi-positive statement I’ve found of hers about Sylvia Plath and basically it is to say that she likes the poems Sylvia wrote about her, Frieda): “She is full of admiration for her mother’s work, especially Ariel, and equally in awe of her father’s poetry. Her favourite poem of his is Full Moon and Little Frieda. Her mother also wrote about her in Morning Song. “I like their poems about me, basically,” she says, and laughs.

Interview from The Independent, “Frieda Hughes - It’s very strange to be reminded of your dead parents” (in which Frieda agreeably talks about her ‘dead parents’ in order to promote and sell her own project, a magpie memoir, George):

• “It’s really strange, on a personal level, to be reminded of your perpetually dead parents. Sorry, I shouldn’t joke, but” – this she says very bluntly – “once your family is dead, they’re not coming back.”
• On selling her parents’ and mothers' belongings: “ One morning she woke up and looked at an old chair, and realised, “One day I’m going to die and that’s £60 at auction. But Sylvia Plath sat in that chair with me and my brother on her knee and was photographed…Frieda admits she initially felt hesitant – “I thought, I really can’t sell these” – but, in fact, felt “abject relief” once they were sold. “The relief was, I have to say – I mean, financially, it was good, yes..”
• Frieda wrestled with Plath’s allegations of abuse, noting that Plath had once ripped up Hughes’s manuscripts, and concluding, “While my father does not come out of them as a saint, neither does my mother.”
• “If my father was in the room, then he represented warmth and safety just in his very being,” 

DailyMail foreword/response by Frieda Hughes on released Sylvia Plath psychiatrist letters. This whole response is so troubling, the way Frieda diminishes her mother's struggles, suspicions and overall feelings. Highlights:

• “The letters had been written by my distraught mother in the throes of real emotional pain; her side of the argument was the only side and I knew that was the side everyone was sure to take.”
• “...Then came the apparent realisation that they had been living in what I think of as a hermetically sealed bubble in which they ran out of oxygen and the decision that divorce was the best option.”
• “I was hugely relieved: there was no mention of ill-treatment by my father. Surely, if my father had been abusive, she would have mentioned something to Dr Beuscher at this point?”
• “My mother had noticed a change in my father’s behaviour, as if he had found a new lease of life sparked by people and situations she did not know about and could only guess at: the woman who took over the lease on Chalcot Square kept phoning my father, ‘seeming almost speechless when she got me’. Now there was anguish, paranoia and suspicion.”
• Frieda puts 50/50 blame for the breakdown of the relationship on her parents - equal culpability**:** “Then here was my mother, writing how for weeks she had been on a liquid diet, apparently highly-strung, volatile, paranoid and accusatory. Culpability lay with both of them. There was nothing new or ground-breaking in this. It was simply a case of two people tearing one another apart in the emotionally messy way that thousands of other couples do.”
• “ In reading my mother’s letters, I felt to be taking part in a breathtaking — albeit one-sided — race through the evolution and collapse of a powerful love affair.”
• “My mother now found my father ‘ugly’ and his apparent preoccupation with Assia Wevill tore at her like a hungry dog.”
• Minimizing the abuse documented by Sylvia in the letters: “In all my life with my father, I had never seen this side of him. What, I asked myself, would qualify as a physical beating? A push? A shove? A swipe?”
• “This assault had not warranted even a mention in that earlier letter, when my mother had written there was ‘no apparent reason to miscarry’. But, of course, now that the relationship was disintegrating, what woman would want to paint her departing husband in anything other than the darkest colours?”
• Frieda saying that Sylvia tearing up Ted’s manuscripts was an excessive punishment and I read this as her excusing, if not supporting, whatever "abusive" reaction he had in response: “In my mind, tearing up my father’s papers seemed an excessive punishment. My mother had hit out at the very thing they both knew was most precious: typescripts of their own work.”
• “He was giving her the house in Devon, the car and £1,000 a year, but this was not enough — she wanted more. She painted one scenario after another and, in all of them, she was the martyr…”
• Condescending…“Although still taking sleeping pills, my mother was now writing ferociously every morning when she woke in the early hours. She was writing a poem a day: poems that would become Ariel, the poetry collection that, under the auspices of my father, made her name..”

DailyMail article, “Artist daughter of Sylvia Plath reveals agony of seeing her father Ted Hughes punished by 'outsiders' for his wife's suicide in 1963” 

• “The poet and painter, 55, accused the loyalty of Plath's fierce fans towards her mother that saw Frieda's father blamed for her death in 1963 as 'an abuse' in the documentary.”
• “She told producers: 'I was appalled that something that happened in 1963 could be carried forward. What an easy way out for somebody to think, yes, we're right, we have got the real story, we know what really happened, and we are going to punish this complete stranger (referring to Ted) for something we weren't around to witness, we know nothing about, but we're the ones with the answer.” 

The irony is that Frieda Hughes was too young to “witness” or “be around” the truth either – so she is fully taking her father’s words as her source of truth.