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Answers the question, 'how does one read an author', by undertaking an experiment in critical biography. This book provides an original way of reading, one that captures with variety and subtlety the personality that exists only in Woolf's works and in the minds of her readers
Mrs Dalloway, Virginia Woolf's fourth novel, offers the reader an impression of a single June day in London in 1923. Clarissa Dalloway, the wife of a Conservative member of parliament, is preparing to give an evening party, while the shell-shocked Septimus Warren Smith hears the birds in Regent's Park chattering in Greek. There seems to be nothing, except perhaps London, to link Clarissa and Septimus. She is middle-aged and prosperous, with a sheltered happy life behind her; Smith is young, poor, and driven to hatred of himself and the whole human race. Yet both share a terror of existence, and sense the pull of death. The world of Mrs Dalloway is evoked in Woolf's famous stream of consciousness style, in a lyrical and haunting language which has made this, from its publication in 1925, one of her most popular novels.
Virginia Woolf's playful exploration of a satirical »Oxbridge« became one of the world's most groundbreaking writings on women, writing, fiction, and gender. A Room of One's Own [1929] can be read as one or as six different essays, narrated from an intimate first-person perspective. Actual history blends with narrative and memoir. But perhaps most revolutionary was its address: the book is written by a woman for women. Male readers are compelled to read through women's eyes in a total inversion of the traditional male gaze. VIRGINIA WOOLF [1882–1941] was an English author. With novels like Jacob’s Room [1922], Mrs Dalloway [1925], To the Lighthouse [1927], and Orlando [1928], she became a leading figure of modernism and is considered one of the most important English-language authors of the 20th century. As a thinker, with essays like A Room of One’s Own [1929], Woolf has influenced the women’s movement in many countries.
A wise, lyrical memoir about the power of literature to help us read our own lives—and see clearly the people we love most. “Transcendent.”—The Washington Post • “You’d be hard put to find a more moving appreciation of Woolf’s work.”—The Wall Street Journal NAMED ONE OF THE BEST BOOKS OF THE YEAR BY TOWN & COUNTRY Katharine Smyth was a student at Oxford when she first read Virginia Woolf’s modernist masterpiece To the Lighthouse in the comfort of an English sitting room, and in the companionable silence she shared with her father. After his death—a calamity that claimed her favorite person—she returned to that beloved novel as a way of wrestling with his memory and understanding her own grief. Smyth’s story moves between the New England of her childhood and Woolf’s Cornish shores and Bloomsbury squares, exploring universal questions about family, loss, and homecoming. Through her inventive, highly personal reading of To the Lighthouse, and her artful adaptation of its groundbreaking structure, Smyth guides us toward a new vision of Woolf’s most demanding and rewarding novel—and crafts an elegant reminder of literature’s ability to clarify and console. Braiding memoir, literary criticism, and biography, All the Lives We Ever Lived is a wholly original debut: a love letter from a daughter to her father, and from a reader to her most cherished author. Praise for All the Lives We Ever Lived “This searching memoir pays homage to To the Lighthouse, while recounting the author’s fraught relationship with her beloved father, a vibrant figure afflicted with alcoholism and cancer. . . . Smyth’s writing is evocative and incisive.”—The New Yorker “Like H Is for Hawk, Smyth’s book is a memoir that’s not quite a memoir, using Woolf, and her obsession with Woolf, as a springboard to tell the story of her father’s vivid life and sad demise due to alcoholism and cancer. . . . An experiment in twenty-first century introspection that feels rooted in a modernist tradition and bracingly fresh.”—Vogue “Deeply moving – part memoir, part literary criticism, part outpouring of longing and grief… This is a beautiful book about the wildness of mortal life, and the tenuous consolations of art.”—The Times Literary Supplement “Blending analysis of a deeply literary novel with a personal story... gently entwining observations from Woolf's classic with her own layered experience. Smyth tells us of her love for her father, his profound alcoholism and the unpredictable course of the cancer that ultimately claimed his life.”—Time
Published years after her death, Moments of Being is Virginia Woolf's only autobiographical writing, considered by many to be her most important book. A collection of five memoir pieces written for different audiences spanning almost four decades, Moments of Being reveals the remarkable unity of Virginia Woolf's art, thought, and sensibility. "Reminiscences," written during her apprenticeship period, exposes the childhood shared by Woolf and her sister, Vanessa, while "A sketch of the Past" illuminates the relationship with her father, Leslie Stephens, who played a crucial role in her development as an individual a writer. Of the final three pieces, composed for the Memoir Club, which required absolute candor of its members, two show Woolf at the threshold of artistic maturity and one shows a confident writer poking fun at her own foibles.
Edited collection from acclaimed contemporary Woolf scholars, focusing on urban issues. These include addressing the ethical and political implications of Virginia Woolf’s work, a move that suggests new insights into Woolf as a “real world” social critic.
When Nina Collins entered her forties she found herself awash in a sea of hormones. As symptoms of perimenopause set in, she began to fear losing her health, looks, sexuality, sense of humor-perhaps all at once. Craving a place to discuss her questions and concerns, and finding none, Nina started a Facebook group with the ironic name, "What Would Virginia Woolf Do?," which has grown exponentially into a place where women-most with strong opinions and fierce senses of humor--have surprisingly candid, lively, and intimate conversations. Mid-life is a time when women want to think about purpose, about how to be their best selves, and how to love themselves as they enter the second half of life. They yearn to acknowledge the nostalgia and sadness that comes with aging, but also want to revel in their hard-earned wisdom. Part memoir and part resource on everything from fashion and skincare to sex and surviving the empty nest, What Would Virginia Woolf Do? is a frank and intimate conversation mixed with anecdotes and honesty, wrapped up in a literary joke. It's also a destination, a place where readers can nestle in and see what happens when women feel comfortable enough to get real with each other: defy the shame that the culture often throws their way, find solace and laugh out loud, and revel in this new phase of life.
More than 50 after her death, Virginia Woolf remains a haunting figure, a woman whose life was both brilliantly successful and profoundly tragic. This brilliant new biography weaves together diverse strands of Woolf's life and career, offering a dazzlingly complete portrait brimming with new revelations. 64 halftone illustrations.
In this amazing odyssey of two black women from the 1930s to the present, all the storytelling gifts of a brilliant Pulitzer Prize -- winning writer are abundantly displayed. When we first meet Baby, she's one of six black children abandoned by their parents during the Depression. They are roadwalkers -- homeless wanderers across the rural South, leading a dangerous, almost enchanted life. One by one they are saved, lost, or simply disappear, until only Baby and a brother are left, living off the land -- a primitive gypsy existence hauntingly described. Finally Baby is captured -- almost like a wild animal -- by the white farm manager of an old plantation where the children have been hiding. He sends her to an orphanage in New Orleans, where she guards the rich mythic content of her wandering against the invasive kindness of the nuns by covering the walls with strange, brilliant drawings of flowers and animals. We next see Baby decades later, through the eyes of her daughter, Nanda, who at thirty-six looks back at her own childhood. Baby and Nanda move into the middle class through Baby's eccentrically successful career -- first as a seamstress, then as a designer of dresses for rich white women. Raised a princess in the protective circle of Baby's magic, Nanda in her teens is suddenly catapulted into the white world when she is sent off to integrate a white Catholic girls' school in the East. Seeing herself as her mother saw herself -- alone in an alien place, Nanda finds an entirely different means of survival. A rich and wonderfully fresh -- often astonishing -- evocation of the black experience in the South, seen through the lives of two fascinating women.
First delivered as a speech to schoolgirls in Kent in 1926, this enchanting short essay by the towering Modernist writer Virginia Woolf celebrates the importance of the written word. With a measured but ardent tone, Woolf weaves together thought and quote, verse and prose into a moving tract on the power literature can have over its reader, in a way which still resounds with truth today. I have sometimes dreamt, at least, that when the Day of Judgement dawns and the great conquerors and lawyers and statesmen come to receive their rewards – their crowns, their laurels, their names carved indelibly upon imperishable marble – the Almighty will turn to Peter and will say, not without a certain envy when he sees us coming with our books under our arms, “Look, these need no reward. We have nothing to give them here. They have loved reading.”