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As a contemporary lady poet, Sylvia Plath played many roles in her artwork: she had been the delicate feminist, the confessional author, the literary innovator. As a girl, Plath found herself with one foot inside her past and another in an unclear future, her gift an often embarrassing mixture of both. She was at once a daughter desperate to make her parents proud and a spouse eager to please her husband; an overworked, gloomy adolescent and a lonely, sick mother; a child who lost her dad and an adult who lost her hope. Plath's confusion involving her memories and her fantasies produced the creative inspiration which spawned a lot of her job; the losses she suffered had the identical effect. The death of her father became a theme in her poetry where Plath would often spin her words. In the poem "Daddy," Plath uses vision to compare her father to some shoe, God and also a vampire, to establish similarities between her father and her husband and also to describe the lack of communication between her and her father. "You do not do, you don't do/Anymore, black shoe," proclaims Plath at the opening lines of "Daddy" (222), introducing the world for her father, ominous in the colour black and constant in their own inability to "do" anything for Plath "anymore." This depiction of their father as an shoe rather than a guy also presents Plath's deft use of vision to color the character of her father, now with the color of a black shoe. This picture makes the dad seem "stifling" ("Slayer" 1). The vision of the black shoe can also be powerful in describing the nature of Plath's posthumous connection with her dad. Shoes generally protect the foot, provide warmth for this (Goelzhaeuser 1). Shoes in the bible, however, do not invoke the sheltering, caring.