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Posts Tagged ‘Bloomsbury Group’

Gloomsbury, a series on the BBC’s Radio 4, is a spoof of the Bloomsbury Group that follows the fortunes ofGloomsbury Vera Sackcloth-Vest, a writer, gardener and transvestite.

Its second season, which will air later this month, features the last performances of the late actor Roger Lloyd Pack who died nearly two months ago of pancreatic cancer. He plays the amorous gardener Gosling and long-suffering husband Lionel Fox.

 

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BloomsburyCookbook_title_26523A Bloomsbury cookbook promising a combination of food, life, love and art, will be available in hardcover on April 22.

The Bloomsbury Cookbook: Recipes for Life, Love and Art by Jans Ondaatje Rolls offers more than 180 recipes — some handwritten and never before published — from Frances Partridge, Helen Anrep and David and Angelica Garnett. The recipes, according to publisher Thames & Hudson, promise to “take us into the very heart” the world of the Bloomsbury Group by recreating mealtime atmospheres at locations such as Monk’s House, Charleston Farmhouse and Gordon Square.

The publisher is billing the book as more than a cookbook. Its photographs, letters, journals and paintings will contribute a social history angle as well. It is priced at £24.95.

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The Bloomsbury Group’s Memoir Club met around 60 times over the course of 45 years. During that time, 9781137360366_largethe group read about 125 memoirs, and around 80 of those have survived, a quarter of them unpublished. The Bloomsbury Group Memoir Club by the late S.P. Rosenbaum shares these details and sketches a history of the club, along with its impact on the work of its participants.

Rosenbaum, a leading scholar of Virginia Woolf and the Bloomsbury Group,  left more than five completed chapters of the volume before he died in the spring of 2012. In them, he explains the origins of the club, details its original members and their contributions, and explores the impact of club meetings on the members’ individual work. He also links the authors and their writing with the politics and history of the early 20th century.

Chapter one in the volume introduces the Memoir Club, talks about its meeting schedule, and discusses the meaning of the term “memoir.” More significantly, it explores the significance of World War I on its members and their work, even though no one in the club was a combatant. Rosenbaum details the war-related writing of members that were relevant to their later memoirs — from Lytton Strachey’s Eminent Victorians to Maynard Keynes’ The Economic Consequences of the Peace.

In chapter two, Rosenbaum explains the literary and discursive traditions that shaped the formation of the club after the Great War had dispersed the Bloomsbury friends. These range from the life-writing of their English tradition, such as Ruskin and Gosse to the life-writing of family members, such as Leslie Stephen and Edward Fry.

Membership in the club was exclusive and began with a personal invitation, according to chapter three, titled “Beginnings.” All 25 members were either related in some way or were undergraduate friends of the Cambridge Apostles. Membership changed over time, from Old Bloomsbury before World War I to Later Bloomsbury from the 1920s through the 1930s. This chapter also details the memoirs shared by its members, describes the reactions of listeners, and ties them to the members’ work.

Chapter four, “Private and Public Affairs: 1921-1922,” covers Clive Bell’s, Maynard Keynes’,  E.M. Forster’s and Strachey’s memoirs, which dealt with the recent present and moved from impersonal childhood memories to “intimately private or controversially public affairs.” This chapter summarizes the memoirs and describes the reaction of club members to them. It also discusses the readings done by Duncan Grant and Vanessa Bell, which Leonard Woolf described as “‘a fantastic narrative of a labyrinthine domestic crisis’.”

The last complete chapter written by Rosenbaum documents the club’s hiatus — from 1922 to 1927 — during which time The Charleston Bulletin was published. The family newspaper founded by Woolf’s nephews, Quentin and Julian Bell, included memoir writing of its own — a life of Vanessa Bell written by Woolf, anecdotes about Duncan Grant, the life of Clive Bell, and the life and adventures of the Keynes.

Rosenbaum’s work, published by Palgrave Macmillan this month, stops just before Woolf’s reading of “Old Bloomsbury,” meaning that some of Woolf’s and other members’ most significant work was yet to come. As editor James M. Haule notes in his Introduction, the task of finishing the volume “now falls on us.”

Read a review in The Independent.

 

 

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A couple of Woolf hunters have offered a recently discovered painting by Roger Fry for sale.

Scene

A newly discovered landscape by Roger Fry (circa 1913-1919) is now being offered for sale by Jon S. Richardson Rare Books.

Known as “Scene,” this untitled impressionist rendering of a farmhouse alongside a river was discovered to be a work of Fry when the painting was cleaned and repaired by a professional art restoration firm, according to an email the seller, Jon S Richardson Rare Books of Concord, Mass., sent Blogging Woolf.

About the Fry painting

The oil on canvas measures 20 inches by 24 inches, is circa 1913 to 1919 and has an original label from the Omega Workshops, 33 Fitzroy Square, on its reverse side. Dominant colors, which are mainly subdued, are green with brown-orange and blue-grey clouds. Fry’s signature appears in the lower left corner.

Research done by Richardson Rare Books includes the following facts to help date and locate the painting:

  • in 1916 Roger Fry was writing Vanessa Bell that he had returned to landscapes free of “the impressionism you infected me with.” (RF Letters #381- Spalding, Roger Fry .., p. 186)
  • In May, 1916, Fry was at Bo Peep Farm in Alciston (now a B&B near Berwick) painting landscapes (RF Letters #378), evidence that the painting is a Sussex scene and quite possibly a farmstead along the Cuckmere River.

About the painting’s history

The painting’s acquisition by the rare books company led it “to the informed speculation that the painting was one sold in New York City by Sunwise Turn, the Manhattan bookshop which dealt in Omega goods,” according to Richardson.

“While originally Sunwise was thought to deal in textiles only, from a photograph we handled several years ago advertising an Omega screen, it is clear they dealt in other Omega goods as well; any purchaser from Sunwise would have encountered the 1929 stock market crash followed by the Great Depression which no doubt caused the painting to be dispersed into the used goods market and lost in obscurity,” Richardson wrote.

“The signature, even on cleaning, is only visible with sharp light tightly focused, thus it does not show in a photograph with general flash nor upon routine visible inspection. Only upon cleaning did the signature achieve any visibility. Any Roger Fry oil painting from the Omega Period is rare and, with the Omega provenance, this is perhaps unique.”

About the Woolf hunters

According to “Woolf Hunters,” a 2010 article in the Harvard Magazine, Richardson founders Jon and harbor books screenshotMargaret Richardson have made hunting down the works of Virginia Woolf and the Bloomsbury Group their mission since opening York Harbor Books in Maine more than 20 years ago.

Their focus has been successful, Jon Richardson explains in the article, “because Woolf and her companions are `still taught, still collected, and many of the people who study the group end up as collectors.’” So successful that the shop publishes a major printed catalog each summer.

To contact Jon S. Richardson Rare Books, email Yorkharborbooks@aol.com.

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Readers of Virginia Woolf and fans of Downton Abbey have a double treat in store for them when the new season of the PBS Masterpiece series begins. Woolf will make a cameo appearance on the show.DOWNTON-WOOLFE_2668530c-1

Christina Carty, who starred in Belonging to Laura and The Vessel, will play the part.

Speculation is that middle sister Edith will draw the famous author into the story in her role as budding journalist. While venturing into a “bohemian lifestyle” and experiencing the “thrill of rebellion,” Edith will encounter Woolf at a glamorous house party with her Bloomsbury friends.

Woolf’s appearance will mark just the second time the series has included an actual historical character. The other is the appearance of Dame Nellie Melba, an Australian opera singer, played by Dame Kiri Te Kanawa this season.

Inserting Woolf and the Bloomsbury Group into the storyline helps the show focus on the culture of the 1920s, which is creator Julian Fellowes‘ goal.

As he told the London Telegraph: “The fourth [season] is more about getting into the ’20s: what young people wanted, the changes in music, the arrival of the movies, cars, transport and all of that stuff.”

Season four of Downton premieres Sept. 22 in the UK and Jan. 5, 2014, in the U.S. The storyline picks up four months after end of season three. And producers are promising no more deaths!

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Scholars and readers shared reminiscences of their first encounter with Virginia Woolf via the VWoolf Listserv recently.

The discussion thread was started by J.J. Wilson, one of the founding members of the International Virginia Woolf Society. She is represented on the oral history preserved at the IVWS Collection at the University of Toronto.

Their memories, as sent to the list, are copied below. Blogging Woolf adds recollections as they come in.

Feel free, dear reader, to share yours in the Comments section below this post. Scroll to the bottom of the comments to type in your first encounter of a Woolf kind.

Bonnie Kime Scott

Bonnie Kime Scott

“I was aware of Edward Albee’s Who’s Afraid of Virginia Woolf,  and during my freshman year in college I decided on a rainy afternoon to check her out in the library.  I pulled To the Lighthouse off the shelf, sank down on the floor and began reading. Before I knew it the bell for the library closing was going off. My roommate was sure that something dire had happened to me, not just because I barely made curfew, but because I returned in a slightly dazed condition. I did my honors thesis in Woolf and Joyce, a combination I’ve never turned from.”
- Bonnie Kime Scott

Alice Lowe

Alice Lowe

“Time to weigh in on behalf of the diaries. I knew Woolf’s work only slightly when I went to England on a 6-month exchange in 1990. There I was in a Devon village, free of all responsibility, between careers, seeking new direction, open & curious. My host’s bookshelves were dominated by economic history (his specialization), and old seafaring tales (his passion), but there among them was A Writer’s Diary. I took it off the shelf & sat down with it — that was the start of everything. I went from there to the novels, diaries & letters & more, but to this day I always come back to A Writer’s Diary for inspiration and renewed energy – the language, the observations, the insights, oh my! I wrote about my experience, “Discovering England – Discovering Virginia Woolf,” for the first encounters feature in the VW Bulletin mentioned earlier in this exchange. I’ve enjoyed all of the accounts about how people came to Woolf.”
- Alice Lowe

Eleanor  McNees

Eleanor McNees

“I’ve been reading these responses with interest as I think they would be great to share with students we’re currently teaching. I honestly can’t recall the first work by Woolf that I read, but I do remember that I decided not to take a course on the Bloomsbury Group my first year in college in 1969 because I had never heard of that group! I know I began teaching Woolf first in the 1970s, specifically To the Lighthouse, because I took high school students on a literary tour of the U.K., and we spent two nights in St. Ives. The characters in that novel and in her other works have remained with me for decades as I’ve aged and gained new perspectives on them. That E.M. Forster questioned her ability to create truly vital characters has always puzzled me.”
- Eleanor McNees

To the Lighthouse was also my first introduction to Virginia Woolf, and I think it’s a good place for people to start. I wanted to say on Forster, though, and his view of Woolf, that he was in the position of a competitor, and that might have influenced his assessment. And they of course wrote different types of novels. It might be that he didn’t understand the changes that were coming about, or simply disliked them.”
- William Bains

“As a non-academic Common Reader, my path to Woolf has been somewhat more circuitous than themrs-dalloway many venerable scholars on this listserv … When I read Mrs. Dalloway I had never read anything quite like it before. I was never a good student.  I loved to read, but I am not a fast reader and I almost never read books that were assigned reading throughout my years of schooling. Being from a conventional, working-class family, I also had a prejudice against literature or movies or theatre or art of any kind that didn’t tell a straight-forward story in a conventional form … For some reason I remember seeming to fly through the pages of Mrs. Dalloway. There seemed to be a rhythm to the prose and I had learned enough by this time to recognize the grace and elegance of the writing. Beautifully composed sentences with marvelous imagery and the narrative passed from one character’s point of view to another’s and then to another’s and then back again.
- Mark Scott

“The summer of 1969, I was assigned to read To the Lighthouse for my freshman comp class at Bryn Mawr. Looking back at the history of Woolf studies, that was really quite advanced since in ’69, not many people were teaching her. Recently I gave a “last lecture” on the occasion of my retirement. Here’s an excerpt on my relationship with Woolf:

Elisa Kay Sparks

Elisa Kay Sparks

‘So how did I come to Virginia Woolf? I started writing down quotes from To The Lighthouse in volume two of my Black Books, in May of 1969. I had been assigned to read Woolf for my freshman seminar. The quotations I wrote down all had to do with states of consciousness, with Mrs. Ramsey being alone. (I was very intense and introspective at the time) I remember that Quentin Bell’s biography came out near the end of my time in college, and I have a very early edition, so I must have bought it then. But in those days women writers weren’t read much. As far as I can remember, Virginia Woolf was the only woman writer I studied in undergraduate school (at a women’s university where?unknown to me? Kate Millet was teaching? in the Sociology department!!) My next encounter with Woolf was ten years later, in the summer of 1979, which I was spending in Athens, Greece with my friend Alice Donohue, a classical archeologist finishing up the research for her dissertation. For some reason, I was moved to buy Woolf’s Moments of Being in an English language bookstore. I remember reading her at the same time as I was reading Dodd’s The Greeks and the Irrational. An odd but serendipitous mix. I fell in love then with “Sketch of the Past” in particular. Woolf floated back into my consciousness again in the summer of in 1982 in a post-dic NEH at Stanford where I read Room of One’s Own along with Cixous and again in 1984 when I took a post-doctoral seminar on `Tradition and the Female Talent’ at the School of Criticism and Theory with Sandra Gilbert. The essay I contributed to the volume we edited from that seminar was Old Father Nile: T.S. Eliot and Harold Bloom on the Creative Process as Spontaneous Generation,’ and Woolf peremptorily interrupted that essays as an expression of the female presence missing from both critics? masculinized metaphors for creativity. My full re-discovery of Woolf came in 1992. I was going through a very hard time emotionally. My best friend was up for tenure. I was on the Personnel Committee and in the end, in all good conscience, I had to vote against him. None of had realized how far he’d fallen into alcoholism. I had turned, as I often did, to reading Art History for therapy. For some reason I was devouring a biography of Georgia O’Keeffe. I think there was some kind of health and wholeness in her use of color and flower imagery that I found healing. (I have done some research on this and she did in fact ascribe to certain aspects of color therapy). As I looked at images of her work, I kept remembering passages from Woolf’s autobiographical writings, especially “A Sketch of the Past.” And then I saw for a call for Papers for the Third Annual International Conference on Virginia Woolf. SO I sent in a proposal for a paper on Woolf and O’Keeffe. They accepted it, and then I had to write it. Well to make a long story short. I fell in love. With an academic community. I had never met such a vital, quirky, friendly, supportive, passionate group of people. On the three-hour bus ride out to Jefferson City, Missouri, I watched Bonnie Kime Scott take four grad students (all total strangers to her) meticulously though their dissertation projects and provide them with detailed lists of which special collections they needed to access at which libraries, complete with names of librarians. Barbara Christian decided she’d known me in a previous life, and we spent lots of the conference crouched outside under overhangs, smoking illicit cigarettes. Throughout the conference I saw people treat each other humanely, differentiate easily between undergraduates, graduate students, new and experienced scholars, and question and advise each at the appropriate level. I met people whose books I’d read, and they were just as nice as people who were only starting out. I remember Mark’s speech about the call for papers when he said we should not quote extensively from Woolf because everyone at the conference had everything she’d ever said memorized, which made me ambitious to read everything. And I remember standing in the back of the auditorium during Barbra Christian’s keynote speech about Woolf and Toni Morrison, tearing up over the brilliance, joy, and love in that talk and thinking about what Virginia would have made of it all. The more Woolf I read, the more she opened up to my interests: in consciousness, in visual arts, in color, in gardens, in flowers. And so, I’ve never looked back.'”
- Elisa Kay Sparks

“I have so enjoyed reading of all these first encounters.  I think mine was in 1988, when I took a class A Room of One's Owncalled Images of Women as an undergrad. We read A Room of One’s Own.  I cannot recall what exactly caught me, but I do know that after the class was over, I asked the professor for names of writers that influenced Woolf or that she may have influenced. I don’t know if my list was accurate when I left that day, but it was full of wonderful and diverse women writers whose work I went on to read.  In 1989, I read Mrs. Dalloway in a 20th-cenntury Brit lit class, and I knew then that I would probably go on to study Woolf more, even though I had no idea at that time that I’d pursue doctoral work.  That summer, while traveling, I finally read To the Lighthouse.  It was the loveliest thing I had ever read and may still be.”
- Andrea Adolph

“I first read Virginia Woolf in my first year English class, called `Reading,’ at Amherst College in the fall of 1978. We were assigned A Room of One’s Own. It was the first time I read something and thought `I want to write like that.’ Of course, I could never “write like that” but my professor did say that my short essay on A Room was `Woolfesque’ or something to that effect. I loved the combination of humor, sarcasm, lyricism, intensity–and of course was electrified by the subject matter. I think Woolf’s is probably still the most enlivening prose I’ve ever read. I have a feeling, but don’t know for sure, that A Room was put on the common reading list for all the first year English class sections by one of the new, young, women faculty, at least one of whom was denied tenure later and the other went on to someplace else at some point. In my junior year, I got permission to write about Mrs. Dalloway in one of my English courses even though it was not on the syllabus. After college, reading Three Guineas helped me decide whether and how to go to graduate school, to join that “procession of educated men.”
- Diana Swanson

Vara Neverow and Kristen Czarnecki

Vara Neverow and Kristen Czarnecki

“OK, I’ll jump in! Although my house was full of Virginia Woolf’s works as I was growing up (many of my paperback copies are inscribed with my mother’s or sister’s name), I never read her until I was nearly one year out of college, living in Mannheim, Germany, for the year. I joined the library there and checked out To the Lighthouse one day, along with a stack of other things. In my tiny one-room `apartment,’ I read the entire book from start to finish in one sitting–mesmerized, intrigued, confused; I had never read anything like it before. When I finished, I turned it over and began again and was hooked from then on. As Diana says, thank you, Virginia.”
- Kristen Czarnecki

AnneMarie Bantzinger

AnneMarie Bantzinger

“Having read most classic novels in English, German, and French as part of my secondary school education I found myself on my own in 1966, i.e., no teachers who tell you what to read. My English teacher had instilled in me the love of the English language  –  from then on it was only English literature I read.  The Bronte sisters, George Elliot were my favorites, their work limited.

Then in 1970 The Voyage Out crossed my path, a book by Virginia Woolf who meant nothing to me. I liked it, in a way it reminded me of the more old-fashioned style novels of her predecessors. What a pleasure to find out she wrote another novel, Night and Day which I liked even better. She had written yet another book Jacob’s Room which I totally fell in love with. Forget everything you have read before. This is the way I like a novel to be. I found it breathtaking, inspiring and fascinating. The book hit something inside me which has stayed with me ever since. Mrs. Dalloway, equally, almost painfully, beautiful. What that is? Dare I say, a recognition? A soul mate? What? So, eventually I read all the books and other works and every single one of them I love. I always think myself lucky that I read her novels in the `right order,’ which I think is a bonus. The publication of her Letters, Diaries and eventually the biographies deepened my affection. The work of all the academics out there gave her work background. The different layers exposed, each decade opened up another angle.

It is so easy to write this all down, what it doesn’t say how much trouble it took  to find her work and later everything about the Bloomsbury before the Internet age. To figure out what was published and by whom. Where to order, how to pay? First thing I usually turned to was the bibliography of a book to see which titles I didn’t have yet. We travelled to London a lot which helped me build up my library which is rather extensive.

Still, I was on my own with my `hobby.’ The arrival of the first Miscellany was an indescribable pleasure and helped me extend my VW world. Of course I was aware of the conferences of which I faithfully bought and devoured the proceedings, but I felt there was no room for me there. Was there a place for a common reader among all those academics?

It was Natalya Reinhold who got me out of my room and into her symposium in Moscow. (2003) There I met some VW persons who were all so kind and friendly and encouraging and helpful. That gave me the confidence to attend the London conference where the same thing happened. I?m tempted to drop some names here but I won’t. (* I do have to mention two more i.e. Vara Neverow who together with Susan Wegener helped me prepare a special Miscellany on Leonard Woolf! ) Everybody was very, very kind. There were neither ranks, nor hierarchy. From then on I was hooked. It is such a pleasure and so rewarding to be in touch not only during the conferences but all year long with people who
share your enthusiasm.

It has been a long and rewarding road since 1970. I’ve learnt so much, all thanks to the hard and loving work of you all out there! Thank you. And Jacob who will stay with me always as he does for others.”
- AnneMarie Bantzinger, Bilthoven, The Netherlands

Karen Levenback

Karen Levenback

“You know, I must say that so many of the first encounters ring a bell with me.  And, in some ways, with the recollections of the founding members of the Virginia Woolf Society who participated in an oral history with Merry Pawlowski and Eileen Barrett in 1993 (now in the IVWS Archive).

But, I have yet to hear any mention of Quentin Bell’s Virginia Woolf, which was my first actual encounter with Virginia Woolf, though I remember seeing her books on the shelf at the public library (in the adult section) for years. Even after getting my adult card, I never took out a book written by her. It was her extraordinary life that led me to read her–though not immediately after reading the biography because I was doing a master’s degree in a different century, master’s thesis on Shakespeare, first publication on Paradise Lost (though not in that order).It was only after beginning doctoral work at Cornell that I did an independent readings on Woolf–and read her from beginning to end. And, like the rest of you, I never did stop–and not only taught classes on Woolf, but saw my husband through his own independent readings of Woolf–from beginning to end.  Aren’t we lucky–those who discovered her independently–and those who discovered her in class. Aren’t we lucky that we are thus united and thus privileged to share her bounty. Cheers to us all.
- Karen Levenback

“Thanks, Karen and Vara, but if I am going to `get credit’ I should have some skin in the game (gee, am I mixing metaphors here?) and tell my little (but of course earthshaking to me) story: growing up in the horrible l950s, I had never heard of V. Woolf until, seeking relief from my secretarial job at the Bank of America by taking a creative writing course at night, I got a note on the bottom of one of my leaden Dickensian short stories from Professor Foff: `You might want to read some Virginia Woolf so that you can see that prose can be winged too.’ (Alas, he committed suicide so I could never thank him for his advice.) It was difficult in those benighted days even to find her books, but at the Discovery Bookstore in North Beach I did find a used copy of the paperback containing both Jacob’s Room and The Waves, a perfect pairing for me. As one consequence, I left the secretarial position (paying `pin money’ of $350 a month!) and entered graduate school in literature (my undergraduate degree had been in political science). As another, I never tried to write another short story!”
- J.J. Wilson

“Like many of you, I never encountered Woolf’s writings in a college English literature course; she simply wasn’t widely taught. Rather, midway through my senior year in college, in 1969-1970, two housemates–one a psychology major, the other studying philosophy–were suddenly raving about a novel they’d just read for a philosophy course (I don’t recall which philosophy course). Since I was the English major in the house, they insisted I drop everything and read this novel too. It was To the Lighthouse. So, like many of you, I read it all in one day, in pretty much a single sitting, swept up and along by the powerful rhythms of Woolf’s prose. What I recall about finishing the book is a shiver, then tears, then a strong impression of a blur of green and blue, like moving water. I’m not sure I could have said then and there what the book was about; I only knew that I had had an extraordinary life-experience through written words.

I next read Woolf the following year as a graduate student in literature, but she was assigned only in a course on comparative fiction, as an English writer whose stylistic experiments influenced twentieth-century Continental novelists. I recall the professor almost apologizing for making us read   Mrs. Dalloway, as, in his view, Woolf was `a second-rate novelist.’ Compared to giants like Joyce and Tolstoy and Balzac, he maintained, Woolf was rather a poor hand at representing “the stuff of real life,” like war and its aftermath, politics, urban life, and human relationships. (Oh.) How good that we now see it otherwise. Thanks, Virginia!
- Marcia Day Childress

“This makes me realize how fortunate I was. I did a bachelor’s and a master’s at Leeds University in England, and encountered quite a lot of Woolf on the way. One of my teachers was Arnold Kettle, who has a chapter on To the Lighthouse in his book on the novel, so that may have helped to get it on the syllabus. We were also advised to look at the chapter on the same novel in Auerbach’s Mimesis, a chapter (and a book) that has more than stood the test of time. By the time I had finished my master’s I had read Mrs. Dalloway and The Waves as well. I suppose that the down side of starting in this way was that going on to Night and Day and The Years once I started teaching was something of an anti-climax. But Between the Acts I found wonderful. I think that some neglect of Woolf in the UK at this time may be related to Leavis’s lack of enthusiasm for her, but that can hardly explain the neglect in the US. It may be that a comparable lack of enthusiasm on E M Forster’s part (aimed especially at Woolf’s feminism) also deterred some readers and teachers.
- Jeremy Hawthorn

“These memories of encountering Woolf are fascinating. For some time now, The Virginia Woolf Society of Great Britain have published such memories in each Bulletin as ‘Discovering Virginia’. It would be good to submit to the Bulletin. The editors were very kind to publish my memory in Issue 13, May 2003:

‘It was, unjustly, a very hot summer the year my mother died, that summer when I first read Virginia Woolf’s To the Lighthouse. Sunbathing with my friends, my mother got in everywhere. My every word and movement was either a guilty pleasure, wrong to enjoy so soon after the funeral, or else carried a stinging similarity to my mother?s daily gestures. My mother also got into To the Lighthouse. Mrs.

Maggie Humm

Maggie Humm

Ramsay had a bodily presence, a voice, and a face like my mother’s. My mother died aged forty-nine when I was thirteen, the same ages as Julia Stephen and Virginia at Julia’s death. Scenes from To the Lighthouse and `A Sketch of the Past’ have an incredible resonance for me. But where, with my friends, I was haunted and depressed by my mother, when she turned into Mrs. Ramsay there was warmth and love and peace.

As Mary Jacobus argues, a mother’s early death means that she becomes the phantasmatic mother, that is a mother who exists only as an image in identificatory significations.[1] The figuration of the dead is a crucial trope in Woolf’s novels, most famously in the `Time Passes’ section of To the Lighthouse in which Woolf’s technique of prosopopoeia, or personification of the dead, keeps Mrs. Ramsay alive in the thoughts of others.

At age eighteen, Virginia’s Mrs. Ramsay, my mother’s image, helped me through `A’ levels. English Literature `A’ level examination papers used to contain unseen passages for comment and analysis. With amazing serendipity Mrs. Ramsay appeared again. The passage that year was from `Time Passes’. While `Time Passes’ is frequently praised as a masterpiece of description, for working class Newcastle secondary school pupils it was not an easy read. But for me the time of my mother?s death had never passed. `A’ level certificate in hand, I left Newcastle for university, the world of books and the chance to read even more Virginia Woolf’. - Maggie Humm

Jeanette E McVicker

Jeanette E McVicker

“I’ve been swept up in everyone’s reminiscences…. here is yet another. I first encountered Woolf in a 20th c British women writers course taught by Margaret M Rowe as a sophomore at Purdue: To the Lighthouse was part of the mix with Margaret Drabble, Olive Schreiner, Iris Murdoch, and many others I’d never heard of. I was transfixed by Woolf’s novel. In a women’s studies intro course, I read AROO which together with the activism of the campus women’s group, revealed how literature and politics connected. It led me to a chapter on Mrs Dalloway in grad school (with another on Beauvoir) and that brought me to this incredible group of scholars and friends, and a future career path I never could have imagined for myself back then. Teaching Woolf and Winterson this past spring and especially doing a unit on The Wavestransformed me yet again, watching my 20-something students find resonant connections so different from but deeply connected to what I was experiencing as their 50-something teacher. Felt like a bit of a circle closing, and reopening. To echo Diana, thank you Virginia.” - Jeanette E McVicker

Roberta Rubenstein

Roberta Rubenstein

“As an English major at the University of Colorado during the 1960s, I knew I wanted to attend graduate school but hadn’t been able to decide on which period to focus.  The first novel  I read by Virginia Woolf, Mrs. Dalloway,  assigned in a course on modern fiction, not only galvanized me but immediately answered my question about literary concentration: it had to be modernism, with an emphasis on Woolf. Mrs. Dalloway was by far the most illuminating and stylistically unique novel I had ever encountered.  As a twenty-year-old with limited literary or worldly experience, I couldn’t yet understand Septimus Warren Smith’s self-judged inability to feel as a painful manifestation of his feeling too much, but I knew that I wanted to better understand him, and Clarissa, and Peter, and that day in June, and Woolf’s method of expressing consciousness and time, and her lyrical language. I too, like several others who have offered their recollections here, was puzzled to discover that most people outside of my literature courses (and even some within them) had only heard of Virginia Woolf in connection with Albee’s “Who’s Afraid of Virginia Woolf.” No one, including me, seemed to be able to explain the obscure connection between the two writers.

Subsequently, I was fortunate enough to study Virginia Woolf, with a focus on her response to the Russian writers, at Birkbeck College, University of London. It was truly thrilling to read all of her fiction while living in Bloomsbury. I’ll never forget my first reading of The Waves­, with its tantalizingly-abstract characters and poetic language. Woolf’s expression of the arc of human experience over time struck me to my depths in a way no other novel had ever done. Yet the novel by Woolf to which I repeatedly return is To the Lighthouse, which I love for its profound representations of life and time and loss as well as its sublime poetic language. Every reading delivers something new.

While pursuing my doctoral degree on Woolf, I also had the good fortune to meet Leonard Woolf. The circumstance of conversing with him about Virginia Woolf’s life and fiction while sitting in the living room of Monk’s house left me, a very green graduate student, practically tongue-tied in awe. However, Leonard, who was 87 when I met him at the age of 23, was accessible and kind.  Over the course of the year and a half that I knew him before he died, he was exceptionally generous to me and to other scholars with an interest in his wife’s work.

I’ve remained enthralled with Virginia Woolf for my entire academic career. Her stream of consciousness has changed my consciousness. In the process of re-reading, teaching, writing, and thinking about her novels and essays over the course of more than four decades, I have come to know not only Woolf but myself. Thank you, Virginia Woolf, for what you have meant not only for my scholarly life but for my inner life. - Roberta Rubenstein

“It looks like Roberta and I were relatively unusual as students in the 1960s who first encountered Virginia Woolf in a college classroom; there I, too, met Mrs. Dalloway and wrote my first paper on

Joanne Frye

Joanne Frye

Woolf.  I can’t quite say it was love at first sight, as it apparently was for so many among us, but I was decidedly intrigued by the complexity of structure, the rendering of intersecting consciousnesses, the beautiful language.  Knowing that I wanted to continue to study modernist fiction, I went on to graduate school, took a seminar focused on Woolf, and wrote my dissertation on her novels, trying to rise to the difficult task of `analyzing’ the ineffable.  By then it was love, and Woolf has continued to haunt my consciousness for the 39 years since I completed that dissertation.

The classroom I most yearn to return to since retirement is the Woolf course that I taught every two or three years throughout my 33 years of teaching.  No matter how often I read, reread, and taught Woolf’s amazing novels, I felt a new excitement each time I entered that classroom. Students tell me that they hear her words in my voice (which both pleases and horrifies me) but I could never resist reading those beautiful flowing passages aloud, especially the endlessly resonant To the Lighthouse. And I loved seeing the novels in their ever-new complexities as students read them through their own lives and experiences, through loves of their own. I also took real pleasure in teaching Three Guineas in an upper level interdisciplinary seminar in Women’s Studies–probing the complex insights into the intersections of masculine power structures and a culture of war, hoping that students would join me in resisting the power structures in which we are all immersed.Most recently, when I wrote and published my memoir of those years ( Biting the Moon: A Memoir of Feminism and Motherhood), I continued to hear Woolf’s voice, echo her words, celebrate her luminous prose as best I could in my own struggles to find words for difficult meanings.  And I returned to the ongoing insight: throughout my life as student and as teacher, I have learned to see the world and to hear language in ever-new ways through my reading of Woolf. I join the chorus: thank you, Virginia. And thanks to the Woolf list for prompting so many wonderful reflections.”
- Joanne Frye

Catherine Hollis, Lois Gilmore and Barbara Lonnquist

Catherine Hollis, Lois Gilmore and Barbara Lonnquist

“Finally reading these! What a wonderful thread… thanks to whoever started it. Mrs. Dalloway was my first. I found her at St. Mark’s Books in NYC during the fall of 1985. Who was she? Why was she buying flowers? I began to buy myself flowers at the local Korean grocery to keep in my dorm room. I wrote a mash note to an indie rock guy making him guess who wrote “Mrs. Dalloway said she would buy the flowers herself.” He couldn’t. Then I wrote on the walls of my room in magic marker: “Pity, for the loss of roses.” I walked down 10th street in Greenwich Village looking up at the French windows, wishing I could burst them open and take the plunge myself into the early morning air (I had an 8:30 class). I was so disappointed to learn that Clarissa wasn’t me. But what a lark to read her as a girl of 18!”
- Catherine Hollis

“Oh, this is fun! I first encountered Woolf when I was a young kid; I found a box of 30 copies of A Room Of One’s Own and another 30 of `A Haunted House’ (and other stories) in our basement. I asked my dad, the English teacher, how this came to be, and was told that the high school had stopped teaching the books. He was hoping to bring at least one of them back into the curriculum. Well, he was the only “honors” English teacher for twelfth graders, so when I took his class, A Room of One’s Own did make it back into the syllabus! For a girl growing up in a rural small town, preparing to head to Barnard College in a year, it was a very big deal not only to read it, but to show my peers that my `crazy’ plan to go to this strange thing called a women’s college had, in fact, been quite unremarkable, for quite a long time. They still thought it was a crazy plan, but *in school* completely renewed my excitement about moving to a place where such conversations would be common place.” - Anne-Marie Lindsey

“This is the writing prompt I’ve been waiting for! After having studied German literature and somehow passed out of English course work at the College of William and Mary, I found myself working at a Catholic boys’ military school in Richmond, VA, teaching not only German but also American literature. Before my third year there, I was supposed to place a book on the summer reading list for the 11th graders. Not being all too familiar with Anglo-American teen-friendly literature, I asked my girlfriend for a recommendation. She thought Mrs. Dalloway might be a good choice. I had heard of Virginia Woolf (only from having heard the title of Albee’s play) and, having two Aunt Virginias myself, I figured she must also be American, if not also southern, as I was. So I put Mrs. Dalloway on the reading list.

Boy, was I surprised when I picked up a used copy to read a week before school was to begin! I read and re-read the first five pages of the book several times before giving up and calling my girlfriend for help. Being a bright Bryn Mawr graduate who loved the book and having friends from Brown and Swarthmore who were also more than willing to introduce me to the insights to be gained from the novel, she sat me down and, with her friends, taught me everything I needed to know about tunnel and phallic symbolism to get the boys interested in the big, bad Woolf. Or so we thought.

Just to be on the safe side, though, I read all the secondary literature on Woolf and Mrs. Dalloway to be found in the Richmond Public Library (this was 1988) and became enthralled by the many levels on which one could examine the novel. I had dealt with literature for many years and begun writing poetry and stories of my own, thus becoming aware of writing from the inside out. Teaching this book would be a challenge, but I thought I was up to it.

Unfortunately, 17-year-old boys are interested in only one thing, so I found myself dragging into the classroom a 6-foot grandfather’s clock which I found in the neighbor’s garbage. That phallic symbol, a constant reminder of Big Ben’s leaden circles, remained in the classroom — and in the boys’ memories — long after I stopped teaching there.That was my first experience reading and teaching the book.

The following year I moved to Germany and began studying English, where I took a course at the university on Woolf’s early novels. When we got to Mrs. Dalloway, I got to teach the class because I had taught it before and the professor hadn’t. I thoroughly enjoyed The Voyage Out, Jacob’s Room and To the Lighthouse as well as our discussions about life in London during the teens and twenties.

Soon after that seminar I taught it to three classes of elder German women in adult education classes. A few years later, after The Hours had just been published, I taught the two together in an Introduction to Literature course at the University of Education. I had hoped to be able to explore Cunningham’s work on a literary level as well but was disappointed to find out how lacking it was in the kind of depth and texture that I appreciated so much in Woolf’s work.

In the meantime, I had made the acquaintance of Isota Tucker Epps, who was a friend of my mother’s in Richmond. She was 80 and had just learned to paint because she wanted to do a series of paintings representing her visions of Virginia Woolf’s works. Her painting teacher was the father of one of the students from that high school in Richmond where I first taught Woolf. I gave her a paper I had written about impressionism in Woolf’s early works and she commented on it in her very thorough manner. She showed me her paintings and her first editions and we had a lovely talk about Woolf’s opus. Years later I would discover that there was an International Virginia Woolf Society and that she had once been the president of it.

I have since taught Mrs. Dalloway a few more times at various universities and studied it with small reading groups and several friends. Delving into it again is something I can always count on to spark my intellectual curiosity and put me in awe. I have just splurged for my own copy of Helen Wussow’s British Library Manuscript of The Hours and am working my way through it. It is like listening to early bootlegs of my favorite band, discovering ur-variations of future well-wrought melodies.

On a side note, last semester I visited a university seminar during which Mrs. Dalloway was being taught. I realized it was the first time I had ever heard it being taught at that level. The focus was on the novel’s narrative style, which bored and confused both the students and me. During the tutorial, I tried to encourage the students to pay attention to the lively prose and emotional situations within and among the characters so that they could enjoy the text as much as I did. I am very much looking forward to Anne Fernald’s annotated edition of Mrs. Dalloway, something I had always wanted to work on!”
- Jim Martin

“Michael Cunningham tends to get knocked around a lot on this list, but that’s where the interest in Woolf started for me.  While in college, I’d read bits of A Room of One’s Own in a literary theory The Hours filmanthology (where it was helpfully listed under “Feminism”), but very little else — no one else taught. In 1998, I read a rave review of The Hours in the gay magazine The Advocate a few months before it won the Pulitzer Prize, and I thought, “That sounds interesting.” I went straight to the bookstore, bought it, and read it in one sitting.  I knew at that instant that my life was now different. I walked over to my bookshelves — about a year earlier, I’d bought a book-club four-pack paperback set of the Bell biography, Mrs. Dalloway, To the Lighthouse, and A Room of One’s Own / Three Guineas which I’d not touched since.  I picked up the Bell biography, began reading, and have not stopped with Woolf since that moment.  As fortune would have it, I was beginning graduate school around that time, so I was free to make her the focus of my work and my writing.  So yes, all because of Cunningham.  I recognize his flaws, but it’s not all bad, folks.  I’ve had plenty of students over the years begin reading Woolf after reading The Hours, which I think was Cunningham’s point all along.” - Drew Shannon

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Charleston Bulletin SupplementsThe Charleston Bulletin Supplements, Virginia Woolf’s last known unpublished work, is being published by the British Library tomorrow, the first time the Supplements have been published since they were first written in the 1920s.

Announced earlier this year, the volume includes work, written or dictated by Woolf between 1923 and 1927 and published in The Charleston Bulletin’s Supplements in collaboration with her nephew, Quentin Bell. The pieces reveal a familiar, playful side of Woolf, as they describe incidents and individuals of her family and household, including servants and members of the Bloomsbury Group. Bell provided more than 40 illustrations.

David Bradshaw’s preface to the volume makes the connection between the Supplements, with their inside jokes and absurdities, and Woolf’s novels, such as Orlando. Claudia Olk, Chair of English and Comparative Literature at the Freie Universität Berlin, edited the project.

“We are delighted to share these childhood newspapers from the British Library’s archives with a wider audience in a new publication. The Supplements present fantastical narrative excursions into this illustrious family’s history, evoking imaginary details and building up fictional personalities. The writer and the illustrator, aunt and nephew, are united in their dislike of seriousness and boredom and they mercilessly target shallowness and hypocrisy,” Olk said.

The hardback volume is available for £12.99 from the British Library.

Read more about the Supplements:

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This season, Monk’s House is holding a number of events and workshops and a series of summer lectures for the first time.

Virginia Woolf's writing Lodge at Monk's House

Virginia Woolf’s writing Lodge at Monk’s House

Bookings for all events can be made by telephoning 01273 474760 or visiting the shop in Rodmell.

Dog Days

Dates: 5 dates between 16 June 2013 and 20 October 2013
Price: Free event (normal admission charges apply)

There’s no need to leave the dog at home today, this is a unique  opportunity for your four-legged friends to enjoy the gardens at Monk’s House. Whether Bassett or bulldog, they will have a fantastic time exploring the grounds.

Botanical Flower Painting

Dates: 19 June 2013 10 a.m.
Price: Adult 60 (inc. lunch and private access to Monk’s House)

Weather permitting, the course will start with sketching in Monk’s House Garden, followed by guidance on different painting techniques. Booking essential

Garden Tour

Dates: 5 dates between 20 June 2013 and 17 October 2013
Price: Free event (normal admission charges apply)

Leonard Woolf was a keen gardener, whilst Virginia took much inspiration from the garden for her works. Join a guided tour to find out more about the trees, plants, flowers and history of this beautiful Bloomsbury garden.

“Leonard and Virginia, as I Remember Them” by Cecil Woolf

Dates: 21 June 2013 7:30 p.m.
Price: Adult 10 (includes a glass of wine)

Among many other works, Cecil Woolf publishes the Bloomsbury monographs, which celebrate the life, work and times of the members of the Bloomsbury Group. He was fourteen when his Aunt Virginia died, and had paid a number of visits to the Woolfs at Rodmell and in London. In this talk he will reveal fascinating insights into his time spent at Monk’s House, and his childhood recollections of Leonard and Virginia. Booking Essential.

An Introduction to Virginia Woolf by Sarah M. Hall

Dates: 5 July 2013 7:30 p.m
Price: Adult 10 (includes a glass of wine)

Learn more about Rodmell’s most famous resident, with writer and editor Sarah M. Hall. Sarah is a prominent member of the Virginia Woolf Society of Great Britain, a regular contributor to the Virginia Woolf Bulletin, and author of Before Leonard: The Early Suitors of Virginia Woolf and The Bedside, Bathtub & Armchair Companion to Virginia Woolf and Bloomsbury. Booking Essential.

To the River by Olivia Laing

Dates: 19 July 2013 7:30 p.m.
Price: Adult 10 (includes a glass of wine)

Shortlisted for the Ondaatje Prize and the Dolman Travel Book of the Year, To the River is the story of the Ouse, the Sussex river in which Virginia Woolf drowned in 1941. Booking Essential.

Monk’s House Garden by Caroline Zoob

Dates: 2 August 2013 7:30 p.m.
Price: Adult 10 (includes a glass of wine)

Caroline Zoob, celebrated textile designer and embroiderer, and her husband Jonathan, were the last tenants at Monk’s House, where they spent 10 years caring for the beautiful garden. 2013 will see the publication of  Caroline’s book about the remarkable garden that Leonard Woolf created, and in this talk she will reveal fascinating insights into how it has changed  over the past 94 years. Booking Essential.

Kick-start your Writing with New Writing South

Dates: 7 August 2013 10 a.m.
Price: Adult 70 (inc. lunch and private access to Monk’s House)

Then Kick-start your writing, led by professional writer, Evlynn Sharp, is the perfect antidote. Taking inspiration from Monk’s House and its rich literary history, the day offers a wide range of creative ideas, getting you to put pen to paper. Booking Essential.

Garden Embroidery with Vintage Textiles

Dates: 4 September 2013 11 a.m.
Price: Adult 50 (inc. lunch and private access to Monk’s House)

Spend a day with celebrated textile designer and embroiderer Caroline Zoob, making a framed picture using vintage textiles and embroidery, inspired by the beautiful garden at Monk’s House. Booking Essential.

Botanical Vegetable Painting

Dates: 18 September 2013 10 a.m.
Price: Adult 60 (inc. lunch and private access to Monk’s House)

Weather permitting; the course will start with sketching in Monk’s House allotment, followed by instruction on different painting techniques, including wet on wet, dry brush, layering, and mixing colour. Inspired by Leonard Woolf’s vegetable garden, you will practise the painting skills on your chosen subject. Booking Essential

Volunteer at Monk’s House

Monk’s House is always looking for new volunteers. Anyone who would like to while away an afternoon in Virginia Woolf’s Sussex home or among the beautiful gardens may contact the house by phone at 01273 474760 or by e-mail at monkshouse@nationaltrust.org.uk.

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Virginia Woolf and Dutch biking trivia is Woolf sighting number one this week. Other sightings include a mention of Woolf’s writing lodge in the same breath as a UK Thinking Shed (3), an op-ed in the LA Times that includes three Woolf novels on a list of “Literature’s Greatest Hits,” and a quasi-mystical novel that connects Woolf to an imaginary Nazi win in World War II (6). Read on for more.

  1. A spin through a world where bicycles rule streetsLos Angeles TimesScreen Shot 2013-04-29 at 11.08.20 PM
    It seems just about any and every famous person who ever rode a bike in Amsterdam or who wrote about the city’s cycling scene earns a cameo, including Audrey Hepburn, Albert Camus and Virginia Woolf. In 1935, Woolf wrote in her diary that “the cyclists 
  2. Woolf’s Orlando on stage at USMThe Portland Phoenix
    With insights into both the masculine and the feminine, s/he is at the center of Virginia Woolf’s Orlando, a fabulist commentary on the fluidity of gender and sexual identity. Playwright Sarah Ruhl’s adaptation of the novel is on stage in a vivacious 
  3. The Diary: Inspiration? Here’s a shed load of ideasThe Star
    The Thinking Shed at Digital Media Centre Barnsley . By Colin Drury Published on 22/04/2013 09:40. THE shed: a humble environment which has inspired some of history’s most creative moments. Mark Twain, Virginia Woolf and Roald Dahl all wrote in theirs.
  4. A Golden Age Mood Board Based on Spring AltuzarraNew York Magazine
    He’s referring to the cinematic version of Virginia Woolf’s book, a gender bending time-warp with Tilda Swinton as its main character. One scene, with Moorish architecture and Ottoman fashion, served as inspiration for this heavily spangled look. And 
  5. Austin Peay State University’s Jill Franks to discuss new book at May 14th Clarksville Online
    A brilliant but melancholy young writer named Virginia Woolf often attended these salons, known as the Bloomsbury Group, and it seems fitting that her presence will again be evoked at 5:00pm on May 14th during the Austin Peay State University Center of 
  6. In House of Rumour, Ian Fleming and Aleister Crowley win World War II – io9io951emOSk-DZL._SL75_
    But in Jake Arnott’s novel House of Rumour it becomes the focal point for a secret history that’s stranger and more elaborate than just “What if the Nazis won?” Arnott weaves figures like L. Ron Hubbard and Virginia Woolf into a quasi-mystical tale.
  7. Daphne du Maurier and Her Sisters: The Hidden Lives of Piffy, Bird and Bing by The Guardian
    Her book belongs to the growing genre of what might be called Sisterly Feelings; Paula Byrne’s excellent recent The Real Jane Austen and Dunn’s own A Very Close Conspiracy: Vanessa Bell and Virginia Woolf are notable examples, though perhaps one of 
  8. ‘The Interestings,’ by Meg WolitzerWashington Post
    “The Interestings,” the new novel by Meg Wolitzer, arrives with an endorsement from the estimable author of “The Marriage Plot” and “Middlesex,” stating that, “Like Virginia Woolf in The Waves, Meg Wolitzer gives us the full picture here.” (Riverhead 
  9. `William and Judith’ takes on the Bard at the BrowncoatStarNewsOnline.com (blog)
    Photo courtesy of Richard Davis. Downtown Wilmington’s Browncoat Pub & Theatre opens its latest play April 19, “William & Judith,” an original work by Cody Diagle. It was inspired by this quote from the author Virginia Woolf: “Let me imagine, since the 
  10. Don’t Miss: April 19-26Wall Street Journal
     recalling Mr. Bennett’s working-class childhood in the north of England. An engaging treat, as we follow the gentle slope of the career he sums up as: “If you’re born in Barnsley and set your sights on being Virginia Woolf, it isn’t going to be ..
  11. To the Lighthouse: You Know, the One in San Francisco Hardly Anyone Seems The Atlantic Cities
    So I pose the question to you, dear reader, by way of Virginia Woolf: For how would you like to spend the night upon a private island the size of a tennis lawn in San Francisco Bay? For just a night or two, I reckon most of us — like Woolf’s young 
  12. Best Bets, April 19Austin American-Statesman
    Virginia Woolf’s and James Joyce’s studies of characters’ inner ramblings are a Modernist artifact for plenty of writers and readers today. But for Kelman, they remain a useful way to explore the depths of people often considered outsiders. His Booker 
  13. Entertainment calendarNews Sentinel
    IPFW’s Department of Theatre presents “Orlando,” the stage adaptation of Virginia Woolf’s novel by playwright Sarah Ruhl in its last weekend. Performances are at 8 p.m. today-Saturday and at 2 p.m. Sunday in Williams Theatre, 2101 Coliseum Blvd. E.
  14. ‘Orlando’ highlights role of Greek chorusYale Daily News (blog)
    “Orlando,” a play by Sarah Ruhl, a lecturer at the School of Drama and Theatre Studies Department, is a dramatic adaptation of Virginia Woolf’s novel “Orlando: A Biography.” Orlando is a young man born in Elizabethan England who lives in several 
  15. Tribeca Film Festival Will Honor Nora Ephron With an Annual Award to a Woman Slate Magazine (blog)
    But it’s a substantial cushion, an updated version of Virginia Woolf’s “money and a room of her own.” And unlike lots of people who are honored by Hollywood, Ephron’s a genuinely great role model, someone who made movies about and for women—but not
  16. On the Page: Willa Cather and Fiona MaazelNew York Observercather
    If Willa Cather isn’t the most well-known 20th century American writer, she’s certainly one of the most underrated, a direct descendent of Virginia Woolf and a clear precedent to the straight-laced social realism of Jonathan Franzen. The pressing 
  17. Sleeping with Tilda and QuentinHuffington Post
    In 1993, Tilda Swinton portrayed an English nobleman next to Quentin Crisp’s Queen Elizabeth in Sally Potter’s film adaptation of Virginia Woolf’s gender-bending novel, Orlando. In the film, Orlando, played by Swinton, subtly, surprisingly changes his 

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Roy Johnson of Mantex Information Design wrote Blogging Woolf to say he has added a new section to his site that is devoted to individual tutorials and study guides on Virginia Woolf’s short stories.

Cover of "Monday or Tuesday (Hesperus Cla...

Cover of Monday or Tuesday (Hesperus Classics)

Here is what he has added so far:

Visit the Virginia Woolf at Mantex page. Woolf study guides on the site include:

Find more Bloomsbury Group materials, as well as biographical notes, study guides and literary criticism on twentieth century authors, including Woolf and other Bloomsbury Group members.

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