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Archive for the ‘Anne Fernald’ Category

Virginia Woolf scholar and Fordham University professor Anne Fernald is featured in an article in the fall issue of Matters Magazine. Infernald “Woolf at the Door: Finding a Home and a Room of Her Own in South Orange,” Fernald discusses her scholarly, aesthetic and personal interest in Woolf.

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Take a living colored look at 1927 London in this video, which I found on the web page for Anne Fernald’s  essay, “Mrs. Dalloway at 88” on The Awl website.

In her essay, Fernald notes that the traffic problem at Piccadilly Circus that Richard Dalloway mutters about under his breath was an ongoing problem of the time, as cars, horse-drawn vehicles, hand-pushed carts and pedestrians “all competed to cross streets at a time when traffic signals still had to be changed manually by a traffic officer.”

This video gives one a sense of the traffic Woolf describes in her 1925 novel. 

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I missed Mrs. Dalloway’s birthday two months ago. May 14 marked 88 years sincedalloway Woolf’s 1925 novel was published, a fact I noticed when I came across Anne Fernald’s essay, “Mrs. Dalloway at 88” on The Awl website.

Fernald’s essay was also republished on the website of London Fictions.

In her piece, Fernald gives eight compelling reasons why the book still matters today:

  1. Woolf makes us care about a fancy middle-aged lady throwing a party.
  2. The characters have great names that have interesting histories.
  3. It’s a great example of a novel set on a single day.
  4. Woolf deploys allusions to Shakespeare like a master.
  5. It continues to inspire other works of art.
  6. It’s full of London history.
  7. Even the random details are not random.
  8. We still need to remember to take care of veterans and we still don’t do enough.

Fernald, Woolf scholar and passionate feminist, is always worth following.

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Anne Fernald, associate professor at Fordham University and the editor of a forthcoming edition of Mrs. Dalloway for Cambridge University Press, will give the first of four talks on Virginia Woolf at the Brooklyn Public Library, Aug. 22, from 3 – 5 p.m.

Fittingly, Fernald’s Aug. 22 talk will be on the topic of Mrs. Dalloway and will be held in the Central Library’s Reverend Elsie Smith Room.

The other three talks are:

Great Books: Virginia Woolf: To the Lighthouse
Date: Wednesday, Sept. 5, 3 p.m.

Great Books: Virginia Woolf: Between the Acts
Date: Wednesday, Sept. 19, 3 p.m.

Great Books: Virginia Woolf: Moments of Being
Date:
 Wednesday, Oct. 3, 3 p.m.

All talks in the series will be held in the Central Library, Reverend Elsie Smith Room, Brooklyn Public Library. The series is made possible through Brooklyn Public Library’s Fund for the Humanities, established through the support of the National Endowment for the Humanities.

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Just saw this exciting news on Facebook: Anne Fernald will be one of several writers and public figures who will speak about favorite Virginia Woolf novel To the Lighthouse on April 24 at 7 p.m. at McNally Jackson, 52 Prince St. in New York City.

The event is billed as part book club, part lecture, part show and part social occasion. Read more at Ask Me About…To The Lighthouse | McNally Jackson Books.

Fernald is associate professor and director of writing and composition and writing at Fordham University. She blogs at Fernham. She is the author of Virginia Woolf: Feminism and the Reader (Palgrave 2006) and recently completed a new annotated Cambridge edition of Mrs. Dalloway.

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The virtual public square featuring conversations about Virginia Woolf is a reality. Anne Fernald, writer in residence at The New York Public Library’s Wertheim Study last year, just posted this news on Facebook: The talk she gave at the NYPL in October is now available online as a free podcast.

Anne Fernald

“On Traffic Lights and Full Stops: Editing Mrs. Dalloway” focuses on her work preparing a textual edition of Virginia Woolf’s Mrs. Dalloway (1925) for Cambridge University Press. The 68-minute piece includes discussion of manuscript material housed in the Berg Collection of the New York Public Library.

Fernald is an associate professor of English at Fordham University where she also directs the first-year writing and composition program and is the author of Virginia Woolf: Feminism and the Reader (Palgrave 2006). She blogs at Fernham.

Other talks in the three-day Woolf lecture “festival” at the NYPL are available as free podcasts as well. They include:

Listen to more podcasts by or about Virginia Woolf.

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Lovely coincidences were a big part of the day when I saw Sara Ruhl’s stage adaptation of Virginia Woolf’s Orlando in New York City earlier this month.

The first coincidence was that I already had a one-day trip to New York City planned for the last weekend of the production. So while my traveling companions went off to see the Saturday matinee of Promises, Promises on Broadway, I headed to East 13th Street and the Classic Stage Company to see Orlando.

When I got there, I waited for the second lovely coincidence, which was the fact that I was attending the performance with Vinny Ciarlariello, a NYU graduate student with whom I had worked at the University of Akron’s student newspaper last year.

Vinny Ciarlariello outside the Classic Stage Company

But before Vinny arrived, the third lovely coincidence walked up. Anne Fernald, professor of English at Fordham, editor of the upcoming Cambridge University Press edition of Woolf’s Mrs. Dalloway and blogger over at Fernham, was there to see the show and headline a post-performance Q&A session.

Afterwards, it was no coincidence that Anne, Vinny and I agreed that Ruhl’s adaptation was absolutely brilliant.

Here’s what I loved about it:

  • The artful simplicity of the production, which used a lighted portable model to depict Orlando’s huge estate and a huge billowing square of white cloth to simulate the frozen Thames.
  • The fantastic huge gilt-framed mirror that hung above the stage, reflecting the performance below and offering a unique perspective of it as well.

    Anne Fernald after her Q&A

  • The insightful performance of Francesca Faridany in the title role and her perfect blend of humor and intensity.
  • The lyrical dialogue, which was 90 percent Woolf.
  • The simple all-white costumes, which managed to convey the gender changes of Orlando and the actors who played multiple roles.
  • The fun of the golden wedding band hoop skirt that Orlando wore over her regular costume when the Victorian urge to marry overtook her.
  • The artful “skating” of Annika Boras, who played Sasha. And her gorgeous wine velvet costume, complete with soft-soled flat suede boots.
  • The venue, which was intimate and immediate.
  • The fact that when it was over, I wanted to see the entire performance again.

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