I have written these haphazard and random paragraphs. Now I want you to rewrite them in proper order and flow in your own words without repeating ideas or words in a single idea essay using critical comments and references verbatim and in more polished, alluring, descriptive, coherent, consistent, and organized style using Complex vocabulary and sentence structures, including varied punctuation and transition words and Tone must be in active voice, informative and authoritative.

Similarly, Sylvia Plath’s semi-autobiographical novel, The Bell Jar (1963), is often regarded as a feminine counterpart to The Catcher in the Rye, focusing on the emotional turmoil and mental afflictions faced by its heroine, Esther Greenwood.

I saw my life branching out before me like the green fig tree in the story. From the tip of every branch, like a fat purple fig, a wonderful future beckoned and winked. {…} I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and, one by one, they plopped to the ground at my feet." (63)
in many ways, it captures the crux of Esther's depression in a single paragraph. She feels inadequate, paralyzed by indecision, and unsure of what she wants. She's starving to death and yet unable to reach out and pluck a fig, any fig, from her tree. She can see future happiness, but doesn't know how to grasp it. She's numb to her own life. 


Esther's discomfited feelings about her future are reflected in her perception of the fig tree: One fig was a husband and a happy home and children, and another fig was a famous poet and another fig was a brilliant professor, and another fig was Ee Gee, the amazing editor, and another fig was Europe and Africa and South America . . . and beyond and above these figs were many more figs I couldn't quite make out. I saw myself sitting in the crotch of this big tree, starving to death, just because I couldn't make up my mind which of the figs I would choose. (Plath 1971, pp. 62-63) Esther, being an intelligent college student "with fifteen years of straight A's" (p. 68), could easily choose any of these figs, but she finds herself increasingly incapable of choosing even one. Her sense of loss reveals not only her "neurotic" ambition of "wanting two mutually exclusive things at one and the same time" (p. 76), but also a sense of alienation as she holds herself against society and her possible future goals. Esther continues: I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and, one by one, they plopped to the ground at my feet. (p. 63)

Vacillating between the innocent, wholesome Betsy and the urbane, sexy Doreen, she finds herself unable to form a complete identification with either one, since she herself is divided, in a similar way, between conditioning and desire" (Barnard 1978, 25). 

The otherness that Esther feels derives from a sense of alienation and separation from social convention and from her desire. Gayle Whittier argues that social convention disables Esther's ability to integrate her ambition and her self-image as a woman: "According to her society's standards, 'an intellectual woman' is herself a cultural contradiction in terms, a disharmonious combination of biology and intelligence. It is in part from this sense of self as a living paradox that Esther grows increasingly depressed" (Whittier 1976, p 130)

In addition to the disharmony of her body and her sexuality, Esther's intellectual mind fails to function: She loses her ability to write. It is not a coincidence that she loses the sense of connection between language and meaning. Before her nervous breakdown, Esther tries to pronounce a word with a hundred letters in the "alphabet soup of letters," but "it sounded like a heavy wooden object falling downstairs boomp boomp boomp, step after step" (p. 102)

Esther is alienated from language. She can no longer write or read. Both her sexuality and language alienate her. The connection between Esther's failed body and language thus is not accidental. The otherness that Esther upholds for self- protection has become a cause of her physical as well as mental dysfunction. Esther becomes a woman without sexuality and a poet without language