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Virginia Woolf always stayed ahead of her time. Championing gender equality when women could not vote; publishing authors from Pakistan, France, Austria and other parts of the world, while nationalism in Britain was on the rise; and befriending outcasts and social pariahs. As such, what could have possibly interested her in the works of nineteenth-century Russian writers, austere and, at times, misogynistic thinkers preoccupied with peasants, priests, and paroxysms of the soul? This study explains the chronological and cultural paradox of how classic Russian fiction became crucial to Woolf’s vision of British modernism. We follow Woolf as she begins to learn Russian, invents a character for a story by Dostoevsky, ponders over Sophia Tolstoy’s suicide note, and proclaims Chekhov a truly ‘modern’ writer. The book also examines British modernists’ fascination with Russian art, looking at parallels between Roger Fry’s articles on Russian Post-Impressionists and Woolf’s essays on Chekhov, Dostoevsky, Tolstoy, and Turgenev.
This book brings together Virginia Woolf's essays and book reviews on Russian literature; her unpublished reading notes on Tolstoy, Dostoevsky, Chekhov, and Turgenev; and new and insightful scholarly commentary concerning her response to each of the major Russian writers.
Winner of the prestigious Prix Goncourt award for biography, this remarkable portrait sheds new light on Virginia Woolf's relationships with her family and friends and how they shaped her work. Forrester weaves a colorful, intense drama that forces readers to rethink their understanding of Woolf, her writing, and her world.
A legendary literary figure who initiated a one-man Beat Generation in his native Germany, Wolf Wondratschek “is eccentric, monomaniacal, romantic—his texts are imbued with a wonderful, reckless nonchalance.”* Now, he tells a story of a man looking back on his life in an honest Portrait of the Artist as an Old Man. Vienna is an uncanny, magical, and sometimes brutally alienating city. The past lives on in the cafes where lost souls come to kill time and hash over the bygone glories of the twentieth century—or maybe just a recent love affair. Here, in one of these cafes, an anonymous narrator meets a strange character, “like someone out of a novel”: a decrepit old Russian named Suvorin. A Soviet pianist of international renown, Suvorin committed career suicide when he developed a violent distaste for the sound of applause. This eccentric gentleman—sometimes charming, sometimes sulky, sometimes disconcertingly frank—knows the end of his life is approaching, and allows himself to be convinced to tell his life story. Over a series of coffee dates, punctuated by confessions, anecdotes, and rages—and by the narrator’s schemes to keep his quarry talking—a strained friendship develops between the two men, and it soon becomes difficult to tell who is more dependent on whom. Rhapsodic and melancholic, with shades of Vladimir Nabokov, W. G. Sebald, Hans Keilson, and Thomas Bernhard, Wolf Wondratschek's Self-Portrait with Russian Piano is a literary sonata circling the eternal question of whether beauty, music, and passion are worth the sacrifices some people are compelled to make for them. “A romantic in a madhouse. To let Wondratschek’s voice be drowned in the babble of today’s literature would be a colossal mistake.” —*Patrick Süskind, international bestselling author of Perfume: The Story of a Murderer
Russia haunted the British cultural imagination throughout the 20th century – whether as a romantic source of literary and political inspiration or as a warning of creeping totalitarianism. In this new book, Ira Nadel, charts the story of that influence through the work of some of the key figures in British literature across the century, including Joseph Conrad, Somerset Maugham, Jane Harrison, Virginia Woolf, and H.G. Wells. Framed by the story of two romantic encounters, between Walter Benjamin and the actress Asja Lacis in Moscow in 1926 and between Isaiah Berlin and Anna Akhmatova in 1945, Love and Russian Literature casts a vivid new light on the ways in which responses to Russia shaped the history of British modernism.
Longlisted for the PEN/Robert W. Bingham Prize for Debut Short Story Collection Winner of the Raz/Shumaker Prairie Schooner Book Prize in Fiction, the stories in What Isn't Remembered explore the burden, the power, and the nature of love between people who often feel misplaced and estranged from their deepest selves and the world, where they cannot find a home. The characters yearn not only to redefine themselves and rebuild their relationships but also to recover lost loves--a parent, a child, a friend, a spouse, a partner. A young man longs for his mother's love while grieving the loss of his older brother. A mother's affair sabotages her relationship with her daughter, causing a lifelong feud between the two. A divorced man struggles to come to terms with his failed marriage and his family's genocidal past while trying to persuade his father to start cancer treatments. A high school girl feels responsible for the death of her best friend, and the guilt continues to haunt her decades later. Evocative and lyrical, the tales in What Isn't Remembered uncover complex events and emotions, as well as the unpredictable ways in which people adapt to what happens in their lives, finding solace from the most surprising and unexpected sources.
Anti-Portraits: Poetics of the Face in Modern English, Polish and Russian Literature (1835-1965) is a study of a-physiognomic descriptions of the face. It demonstrates that writers such as George Eliot, Leo Tolstoy, Edgar Allan Poe, Nicolay Gogol, Virginia Woolf and Witold Gombrowicz vigorously resisted the belief that facial features reflect character. While other studies tend to focus on descriptions which affirm physiognomy, this book examines portraits which question popular face-reading systems and contravene their common premise – the surface-depth principle. Such portraits reveal that physiognomic formula is a cultural construct, invented to abridge, organise and regulate legibility of the human face. Most importantly, strange and ‘unreadable’ fictional faces frequently expose the connection between physiognomic judgement and stereotyping, prejudice and racism.
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.
NEW YORK TIMES BESTSELLER • From the Booker Prize–winning author of Lincoln in the Bardo and Tenth of December comes a literary master class on what makes great stories work and what they can tell us about ourselves—and our world today. LONGLISTED FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD • ONE OF THE BEST BOOKS OF THE YEAR: The Washington Post, NPR, Time, San Francisco Chronicle, Esquire, Milwaukee Journal Sentinel, Town & Country, The Rumpus, Electric Lit, Thrillist, BookPage • “[A] worship song to writers and readers.”—Oprah Daily For the last twenty years, George Saunders has been teaching a class on the Russian short story to his MFA students at Syracuse University. In A Swim in a Pond in the Rain, he shares a version of that class with us, offering some of what he and his students have discovered together over the years. Paired with iconic short stories by Chekhov, Turgenev, Tolstoy, and Gogol, the seven essays in this book are intended for anyone interested in how fiction works and why it’s more relevant than ever in these turbulent times. In his introduction, Saunders writes, “We’re going to enter seven fastidiously constructed scale models of the world, made for a specific purpose that our time maybe doesn’t fully endorse but that these writers accepted implicitly as the aim of art—namely, to ask the big questions, questions like, How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it?” He approaches the stories technically yet accessibly, and through them explains how narrative functions; why we stay immersed in a story and why we resist it; and the bedrock virtues a writer must foster. The process of writing, Saunders reminds us, is a technical craft, but also a way of training oneself to see the world with new openness and curiosity. A Swim in a Pond in the Rain is a deep exploration not just of how great writing works but of how the mind itself works while reading, and of how the reading and writing of stories make genuine connection possible.
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.