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As Bronwyn Polaschek mentions in The Postfeminist Biopic , the film Sylvia (Christine Jeffs, 2003) is based on biographies of Sylvia Plath that focus on her relationship with husband Ted Hughes—such as Janet Malcolm’s The Silent Woman . In this paper, grounded in the works of Linda Hutcheon, Mary E. Hawkesworth, and Tracy Brain, I argue that this biography works as a palimpsest of Sylvia and that the film constructs Plath as the Ariel persona, neglecting her “Juvenilia”—her early poetry, as it has been defined by Hughes. Sylvia actually leaves Plath’s early life—before she met Hughes—aside and it thus ends up portraying her more as a wife than as a writer. Finally, by bringing information on Plath’s life before she met Hughes from a more recent biography (by Andrew Wilson), I analyze how a different image of Plath might have been created if this part of her life were not missing in the film.

Sylvia and the absence of life before Ted