The story was so tiring that I can't even accurately say how exhausting it was for me. But now I'm making an effort:

It's a story about a clerk who is responsible for recording people's dreams in an office. He teaches himself to become a "dream expert", a "dream interpreter". And all of this is because of Jani Panic, the creator of all the dreams in the world.

First of all, the story was extremely tiring for me until it almost made me want to die. I read these 52 pages over several months. Tonight, I also thought to myself that it's impossible for it to take my courage further than it already has, so I just finished it all.

In my opinion, the explanations and descriptions didn't come with the help of the story at all. The name of this story - "Faking" Jani Panic - but I realized on the third reading what this woman's intention was for all of this (referring to becoming a dream expert).

In the end, Ms. Milrooj, who is a correspondent in the research and investigation department of the hospital and the manager there, catches the narrator while he is reading people's dreams on the day he was born.

The narrator tells us: "Undoubtedly, through the news agency, Jani Panic has heard about my work. They want to know how her messengers appear in the world."

This part is really strange for me. What kind of crazy messenger is the other one? And why exactly do they have to keep those kinds of equipment underground in the hospital for years to answer this question? What value does understanding this question have for the correspondent and the chief? Does it cause them to gain access to people's dreams? What additional benefit does access to dreams create for them? Because unless they already have access to dreams?

Anyway, the only part of the story that I liked was the narrator's own dream. The dream of a lake where all of humanity's dreams and nightmares are gathered; people have lain out on the long lake and are sleeping and thinking they are alone. While thousands of people are having the same dream as them.

Oh God. "It was very bad. Very, very bad."

It's impossible to read Mr. Heuz's story now; if I read it, I'll add it.
1402/4/23

My recurring thoughts while reading through this were most often "Wow, I hate Ted Hughes" and "Oh, pretty prose!"

Plath's short stories are a remarkable blend of the sharp language and vivid imagery present in her poems and the distinct clarity of character found in her novel. She neatly summarizes this in the essay "A Comparison": "[the novelist's] business is Time, the way it shoots forward, shunts back, blooms, decays and double-exposes itself. Her business is people in time. And she, it seems to me, has all the time in the world. She can take a century if she likes, a generation, a whole summer. I [as the poet] can take around a minute."

Plath manages to convey so much within a limited number of pages. She is incredibly adept at describing feelings with great acuity, even those that I have long believed I alone experienced.

Among her essays and journal entries, I have a particular fondness for "Snow Blitz", "America! America!", and "Cambridge Notes". I especially enjoyed the following short stories: The Wishing Box, Sunday at the Mintons', The Fifty-ninth Bear, and Stone Boy With Dolphin. I would have preferred this collection to contain more journal entries upon which her stories were based. Those that were included had a striking resemblance to her stories, clearly demonstrating that Plath's art imitated her life.

This brings me back to my intense hatred of Ted Hughes. Many of these stories depict similar character types: the emotional, "foolish" wife who is doubted and ridiculed by the rational, unempathetic husband. Some stories center around infidelity (perhaps inspired by Hughes' repeated affairs with his students), while others revolve around the insecurity of being a woman in a time when her success as a writer depended on male publishers who censored her and prevented her from explicitly detailing the physical and emotional abuse she endured at the hands of Hughes. She is left to express herself through cryptic hints scattered throughout her stories.

Oh, how I wish that he hadn't destroyed so much of her work from the months preceding her death. The pain and abuse she faced (at the hands of Hughes, as per the numerous reports she made) have been lost due to his desire to shape the narrative and gain sympathy for tolerating his tragic, crazy wife, whom he pushed towards ruin.

Mark that, mark that.

I felt that there were far more weaker aspects than stronger ones. However, based on the strength of the best pieces, such as the manifesto-like 'Context' which I now have printed and hanging up, and the general interest in seeing the writer at work, there is still value here.

The ratings vary. Johnny Panic & the Bible of Dreams received a 4/5. It was a great story, unexpectedly absurd yet with Plath's humor. It was better than Hellraiser, Kafkaesque, comfortable, and laugh-out-loud. America! America! got a 3/5, maintaining a charming and lightly humorous pace. The Day Mr Prescott Died was rated 1.5/5 (rounded down). Maybe it was due to reading with noise and distractions, but I felt I missed any meaningful subtext. The Wishing Box got a 2/5. Nicely written and entertaining in its short way, but its bleak and predictable ending didn't impress me at all.

A Comparison was given a 3/5 for doing what was needed and being pithy. The Fifteen-Dollar Eagle got a 1.5/5. I read it rather drowsy in bed and missed a lot of subtext. There seemed to be a twist at the end, but I was too tired to understand it. I'll read it again. The Daughters of Blossom Street got a 2/5, probably another one affected by broken concentration. I need to re-read it as a horror. 'Context' received a well-deserved 5/5. It's a manifesto and an exploratory explanation. I might print it out and put it somewhere, and then replace it with my own.

The Fifty Ninth Bear got a 1/5. I had no idea what it was about and didn't like it. Mothers also got a 1/5. It felt like it was trying to be boring for the most part. Ocean 1212W received a 3/5. It was a nice little piece, and I could easily see myself liking it more on a subsequent read. Snow Blitz got a 3/5, being kind of funny and feel-good. In the Mountains got a 2/5 or maybe just 1.5. I didn't really understand why a lot of these were supposed to be of much interest. The dialogue felt extremely unnatural, with "I'm" always written as "I am". I've never been a big fan of literal descriptiveness, at least as used here and in many of these stories.

All the Dead Dears got a 1/5. Day of Success received a 4/5. In a way, 4 seems high, but it's just a nice story. I liked almost everything in it. Cambridge Notes got a 4/5, capturing the young writer life. Widow Mangada got a 3/5. It was interesting enough, and maybe I should try describing locations the way the first part of this is done, like in my SW novels. Rose & Percy B got a 1.5/5. Charlie Pollard & the Beekeepers got a 1/5. A Day in June got a 3/5. The Green Rock got a 3.5/5. I want to reread it in different moods as I think it does a great job and might deserve a better rating. Among the Bumblebees got a 3/5. Tongues of Stone got a 2/5. Like with most of these, I just didn't feel anything. That Widow Mangata got a 3/5. I wonder how I'd have felt about it if I hadn't read Sylvia's journaled notes first. As it stands, I liked it. Stone Boy with Dolphin got a 3.5/5. It's a strange one that I want to reread. Above the Oxbow got a 1.5/5. I don't know, just... why? The Shadow got a 2 or 2.5/5. It was okay, with some charm and depth. Sweetie Pie & the Gutter Men got a 2/5. I liked any scene focused on Alison/Millicent.

I'm completely obsessed.

This feeling has taken hold of me and won't let go. It's like a fire burning inside, consuming my every thought and action.

I find myself constantly thinking about the object of my obsession, whether it's a person, a hobby, or a goal.

It dominates my dreams and haunts my waking hours.

I can't seem to get enough of it, always seeking more, always渴望着 the next fix.

This obsession has both positive and negative aspects. On one hand, it gives me a sense of purpose and drive, pushing me to work harder and achieve more.

On the other hand, it can be all-consuming, causing me to neglect other important aspects of my life.

But despite the potential drawbacks, I can't seem to break free from this obsession. It's a part of me now, and I don't know if I want to let it go.

Maybe this is just who I am, a person driven by passion and obsession.

And perhaps that's not such a bad thing after all.

Ignore the hideous, 90s, "multicultural" cover applied to this text in an effort to make classic female authors hip. Hard as it is, pull your eyes away from the horror.

Instead, focus on the meticulous, suffocating power of Ms. Plath's prose. Her poetry in Ariel and The Colossus and Other Poems evokes images of women scorned, scorched, and yet lulled into complacency and love by their micro-worlds.

The same is true here, but it's spelled out for you, in shocking detail. Plath gets you nice and comfy, with a hot toddy or a walk on a Spanish beach, and then she takes a baseball bat to your shins with a single line.

After Ted Hughes's informative-ominous introduction, the stories are published in descending order, from newest to oldest, all the way back to Plath's freshman year at Smith College. It's as if you are peeling away the layers of Plath's mind, and approaching the core of what makes her so brilliant. But you never quite get there.

I am especially fond of the titular story, Johnny Panic. An office assistant in a hospital compiles the dreams of psychiatric patients in the "Bible" of humanity's drive, the one true God, Johnny Panic. Our narrator hides her task, but discovery is imminent. And that discovery has all the blood and vinegar of a Flannery O'Connor novella.

I am also fond of Plath's nonfiction, her documentary "writing exercises" from her journals that catalog all of the minute details and idiosyncrasies of her neighbors, as well as all of her hate for them. Love, love, LOVE the darkness, the sarcasm, and the bile.

In all, this is a dark and variegated collection that will surely entertain a broad spectrum of readers. Yes, read The Bell Jar, because it's canonical and shocking. But don't forget to also read this collection, which reveals the dark underbelly of her life's work. It offers a unique and fascinating perspective into the mind of one of the most talented and complex writers of the 20th century.

Buy this title from Powell's Books.

He leído la versión ampliada.

This statement implies that the person has read an expanded version of something. It could be a book, an article, a report, or any other written piece. Reading the expanded version might provide more in-depth information, additional details, or a more comprehensive understanding of the subject matter.

By reading the expanded version, the person may have gained new insights, discovered new perspectives, or filled in gaps in their knowledge. It could also have enhanced their overall learning experience and allowed them to explore the topic further.

Overall, reading the expanded version can be a valuable and enriching experience, providing a more complete and detailed picture of the subject at hand.

I just re-read this book.

It was my very first foray into the works of Sylvia Plath, and from the moment I started, I was completely hooked.

Even though the topics she explores might seem ordinary at first glance, it is the remarkable way she writes about them that truly sets her apart.

As I delved deeper into the book, I felt as if I was uncovering the layers of her complex personality through the vivid characters and engaging storylines she has crafted.

I have come to really enjoy her unique perspective and the way she can make the most ordinary things seem extraordinary.

This book was definitely a memorable read, one that has left a lasting impression on me and has made me eager to explore more of her literary genius.

I have eaten the delicious cream in the land of racing horses, who are so excited about eating oats that they don't see the stables at the end of the track.

I am Armin in the fictional land of pleasure.

This land seems to be a world full of magic and wonder. The racing horses gallop freely, their manes flowing in the wind. The delicious cream is like a taste of heaven, making my taste buds dance with joy.

Here, time seems to slow down, allowing me to fully enjoy every moment. The fictional land of pleasure is a place where dreams come true and all my desires are fulfilled.

I feel like I am in a fairy tale, surrounded by beauty and happiness. I never want to leave this wonderful place.

Oh, Sylvia.

Thank you for revealing to me the profound truth that talent and genius are not one and the same.

You showed me how some individuals have to toil and struggle for talent until they accidentally stumble into the realm of genius.

It's truly remarkable how you were just as proficient at propelling me headfirst into the world of writing at 24 as you were when I was a mere 15 and had never even attempted it before.

I'm filled with a sense of sadness as I lay you down, knowing that this is the very last work of yours that I have the privilege to read in this world.

Now, more than ever, I find myself longing for you and wishing with all my heart that you hadn't made that tragic decision of putting your beautiful little head in that oven.

I yearn for more of your words, your wisdom, and your unique perspective.

You will always remain an inspiration to me, Sylvia.

The ending of this short story is a bit open for interpretation, I think. It leaves the readers with a sense of ambiguity and room for their own thoughts and speculations.

Perhaps the author intended to let the readers draw their own conclusions based on their own experiences and perspectives. Maybe there are multiple possible endings that could be inferred from the events and details presented in the story.

This kind of open-ended ending can be quite engaging and thought-provoking. It challenges the readers to think deeply about the story and its meaning, and to come up with their own interpretations.

It also allows for a more personal and subjective reading experience, as each reader may have a different understanding of what the ending implies.

In conclusion, the open-ended ending of this short story adds an interesting layer of complexity and depth to the overall narrative. It encourages the readers to actively participate in the story and to use their imagination and critical thinking skills to make sense of it.

Väldigt spännande med många bottnar om psykiatri och modernitet. Det här arbetet innehåller mängder av fascinerande insikter som väcker nyfikenhet och lockar läsaren att utforska djupare.

Kommer absolut att läsa hela volymen med Plaths efterlämnade noveller! Sylvia Plaths författarskap är känd för sin djupgående och känslosamma beskrivning av mänskliga känslor och erfarenheter.

Med dessa noveller får vi möjlighet att få en unik inblick i hennes tankar och värld. Det är säkert att varje novell kommer att vara en upplevelse i sig själv, fylld med intensitet och djup.

Jag kan knappt vänta med att dyka in i denna samling och upptäcka vad som väntar mig på varje sida.

Shelved as short stories - still reading

The title story is truly extraordinary. It vividly demonstrates what a remarkable writer Plath was, even when it comes to prose. It has a mesmeric quality, with certain tonal elements reminiscent of The Bell Jar but presented in a surreal key. So far, the other stories I've read have been a bit of a mixed bag. I'm still rather irked by Ted Hughes' somewhat condescending division of them into 'the more successful short stories' and 'other stories'. They are indeed an uneven mix. Nevertheless, Plath's themes of gender, mental health, the suffocating nature of women's lives, and moments of rebellion are all actively at play. After reading about 100 pages, I'm putting this on hold. Johnny Panic is definitely worth reading, but some of the others are really only for Plath superfans and completists.