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A full study of this major contemporary play, including an interview with Edward Albee.
Discover the stories behind the stories in this treasurable illustrated biography of Jane Austen. Enchanting illustrations and handwritten text featuring excerpts from Austen's personal letters outline the intimate details of the literary icon's life—her childhood on a farm, the writing of her first novella, her marital woes, the inspiration behind Sense and Sensibility and Pride and Prejudice, and more. Brimming with delightful details like the objects Austen kept on her desk and how much Emma originally sold for, this beautiful ebook is a lovely new way to celebrate Austen's legacy.
Agnes, as domineering and sarcastic as her husband Tobias is equivocating and guarded, finds her empty nest invaded by her alcoholic sister, their divorced daughter, and friends who are terrified of being alone for unknown reasons.
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
Virginia Woolf was not a religious person in any traditional sense, yet she lived and worked in an environment rich with religious thought, imagination, and debate. From her agnostic parents to her evangelical grandparents, an aunt who was a Quaker theologian, and her friendship with T. S. Eliot, Woolf’s personal circle was filled with atheists, agnostics, religious scholars, and Christian converts. In this book, Stephanie Paulsell considers how the religious milieu that Woolf inhabited shaped her writing in unexpected and innovative ways. Beginning with the religious forms and ideas that Woolf encountered in her family, friendships, travels, and reading, Paulsell explores the religious contexts of Woolf’s life. She shows that Woolf engaged with religion in many ways, by studying, reading, talking and debating, following controversies, and thinking about the relationship between religion and her own work. Paulsell examines the ideas about God that hover around Woolf’s writings and in the minds of her characters. She also considers how Woolf, drawing from religious language and themes in her novels and in her reflections on the practices of reading and writing, created a literature that did, and continues to do, a particular kind of religious work. A thought-provoking contribution to the literature on Woolf and religion, this book highlights Woolf’s relevance to our post-secular age. In addition to fans of Woolf, scholars and general readers interested in religious and literary studies will especially enjoy Paulsell’s well-researched narrative.
Virginia Woolf’s daring essay on how illness transforms our perception, plus an essay by Woolf’s mother from the caregiver’s perspective: “Revelatory.” —Booklist This new publication of “On Being Ill” with “Notes from Sick Rooms” presents Virginia Woolf and her mother, Julia Stephen, in textual conversation for the first time in literary history. In the poignant and humorous essay “On Being Ill,” Woolf observes that though illness is part of every human being’s experience, it is not celebrated as a subject of great literature in the way that love and war are embraced by writers and readers. We must, Woolf says, invent a new language to describe pain. Illness, she observes, enhances our perceptions and reduces self-consciousness; it is “the great confessional.” Woolf discusses the taboos associated with illness, and she explores how it changes our relationship to the world around us. “Notes from Sick Rooms,” meanwhile, addresses illness from the caregiver’s perspective. With clarity, humor, and pathos, Julia Stephen offers concrete information that remains useful to nurses and caregivers today. This edition also includes an introduction to “Notes from Sick Rooms” by Mark Hussey, founding editor of Woolf Studies Annual, and a poignant afterword by Rita Charon, MD, founder of the field of Narrative Medicine. In addition, Hermione Lee’s brilliant introduction to “On Being Ill” offers a superb overview of Woolf’s life and writing. “Woolf’s inquiry into illness and its impact on the mind is paired with her mother’s observations about caring for the body. Julia Stephen . . . had no professional training but took to heart Florence Nightingale’s precept that every woman is a nurse and emulated Nightingale’s best-selling Notes on Nursing with her own “Notes from Sick Rooms.” In this long-overlooked, precise, and piquant little manual, Stephen is compassionate and ironic, observing that everyone deserves to be tenderly nursed while addressing the small evil of crumbs in bed. This unprecedented literary reunion of mother and daughter is stunning on many fronts, but physician and literary scholar Rita Charon focuses on the essentials in her astute afterword, writing that Woolf’s perspective as a patient and Stephen’s as a nurse together illuminate the goal of care—to listen, to recognize, to imagine, to honor.” —Booklist “Woolf and Stephen will certainly change the way readers think of illness.” —Publishers Weekly
FOREWORD BY ALI SMITH WITH AN INTRODUCTION BY FRANCESCA WADE Who better to serve as a guide to great books and their authors than Virginia Woolf?
A Companion to Virginia Woolf is a thorough examination of her life, work, and multiple contexts in 33 essays written by leading scholars in the field. Contains insightful and provocative new scholarship and sketches out new directions for future research Approaches Woolf's writing from a variety of perspectives and disciplines, including modernism, post-colonialism, queer theory, animal studies, digital humanities, and the law Explores the multiple trajectories Woolf’s work travels around the world, from the Bloomsbury Group, and the Hogarth Press to India and Latin America Situates Woolf studies at the vanguard of contemporary literature scholarship and the new modernist studies
A sharp-witted parody of a celebrated American drama, EVERYONE’S FINE WITH VIRGINIA WOOLF is, in turns, loving homage and fierce feminist takedown. Kate Scelsa’s incisive and hilarious reinvention of Edward Albee’s classic Who’s Afraid of Virginia Woolf? slyly subverts the power dynamics of the original play’s not-so-happy couple. In the end, no one will be left unscathed by the ferocity of Martha’s revenge on an unsuspecting patriarchy.