In Sylvia Plath’s poetic landscape, the Moon is mother and Madonna; nurse and midwife. The presence of the moon as a figure of femininity, death, and witchcraft looms large in Plath’s imaginary, characterised as a bald and wild woman, merciless yet luminous, overseeing the creation of life and the transition to death, and as such, is both inherently and overtly Gothic, as evidenced in “The Moon and the Yew Tree”: “The yew tree points up. It has a Gothic shape./The eyes lift after it and find the moon”. Despite Plath’s use of the Gothic throughout her published and unpublished works, there is little scholarship that explicitly argues for her inclusion in the canon as a Gothic writer. Plath creates her own “Moon language”, which transcends word classes in Plath’s lexis: “moon” becomes prefix, suffix, noun and adjective, a colour, a verb, and an emotion. This usage, alongside her recurrent use of Gothic imagery and tropes, creates its own mythology—one in which the Moon is the Mother-Maiden-Crone archetype rolled into one—firmly establishing her work within the Gothic mode. This chapter will focus on the presence of the Moon in three of Plath’s late poems, “The Moon and the Yew Tree”, “The Rival”, and “Edge”, the last poem she wrote before her suicide in 1963. Although throughout Plath’s oeuvre the Moon is impeccable, steely, plague-pitted, generous, indefatigable, and a liar, in these poems specifically, the Moon is a “beautiful, but annihilating” (“The Rival”) “mother”, who “is not sweet like Mary” (“The Moon and the Yew Tree”); she is, arguably, Death herself, as Plath wrote in “Edge”: “The moon has nothing to be sad about,/Staring from her hood of bone”. I argue there is a narrative thread within this sampling of poems in which the Moon is characterised and active in the context of the themes of anxiety, darkness, and grief that Plath explored in her poems, and that Plath uses an “imagined” horror to communicate the real-life horrors she wrote about and experienced as a mentally ill and domestically abused woman in the twentieth century, one who, like her Moon, “is used to this sort of thing./Her blacks crackle and drag”.