Recently in the Charleston Attic, in amongst a box full of bold charcoal studies and painted designs, we found a book cover without a book.

Source: Judging a Book by its Cover | The Charleston Attic

This video, an interview with Leonard Woolf regarding Maynard Keynes, is making its way around social media. It is less than a minute long, but it’s still wonderful to see him on film speaking.

At one time, there was another video of Leonard posted on YouTube. In it, he spoke about Virginia and the Bloomsbury Group. That video has been taken down due to permission problems.

If you’d like to listen to more about Leonard, download the podcasts from the Leonard Woolf Symposium held in 2012 at the University of Oxford.

Eleanor Crook created a life-sized Virginia Woolf that was presented, fully dressed, inside a room of her own — a wooden wardrobe — on Oct. 21.

The finished wax work Woolf was placed in the foyer of the newly refurbished Virginia Woolf building at 22 Kingsway at King’s College, London. Woolf was a student at the former King’s Ladies’ Department where she took classes in Greek, Latin, history and German between 1897 and 1902.

To find out more about the unveiling, scroll down for the tweets posted on Twitter.



The Charleston Attic blog asks: Can art transport one back to childhood? Read on to find out how a discovery at Charleston helps answer the question.

This week in the gift we discovered a collection of childhood drawings by Angelica Garnett; immersed in their whimsical world of elaborately dressed dowagers, fugitive pets and fairy princesses.

Source: Child’s Play | The Charleston Attic

The proceedings of the 2013 conference of the French Virginia Woolf Society, Société d’Etudes Woolfiennes — with its theme of Outlanding Woolf — have just been published in the online journal Ebc (Etudes britanniques contemporaines).couv_ebc_48_2015_1-small275
This issue of Études britanniques contemporaines is divided into two sections that are both distinct and connected.
  • The first section— ‘Crossing into Otherness’ —turns to the poetics of crossing in contemporary English literature, in order to understand how the physical experience of ‘crossing into’ entails an ethical experience of alteration.
  • The second section — ‘Outlanding Woolf’  — follows up and inflects the theme by turning to the way Woolf invents a poetics of the ‘outlandish’ and is in turn displaced and transformed by her reception.

Artist Ruth Dent has created a handpainted scarf to commemorate the 100th anniversary of Virginia Woolf’s first novel The Voyage Out.

You can purchase The Voyage Out Centenary Scarf online through her IndieGoGo campaign. Printed digitally on silk, only 100 are available.


Virginia Woolf and Heritage: The 26th Annual Conference on Virginia Woolf

Location: Leeds Trinity University, UK
Dates: June 16-19, 2016

Virginia Woolf was deeply interested in the past – whether literary, intellectual, cultural, political or social – and herwoolf & heritage writings interrogate it repeatedly. She was also a great tourist and explorer of heritage sites in England and abroad. As the first Annual Virginia Woolf Conference to be hosted in England for 10 years, and located in Yorkshire, an area rich in cultural links for Woolf (not least the Brontë Parsonage at Haworth, the subject of her first published article), this conference will explore how Woolf engaged with heritage, how she understood and represented it, and how she has been represented by the heritage industry.

Papers are invited on topics including (but not limited to):

  • Woolf’s representations and constructions of the past and her responses to her own heritage, such as:
    • intellectual traditions and the history of ideas
    • feminist readings of history
    • queer and lesbian histories
    • the literary past
    • family histories
    • her responses to the Victorian and/or Edwardian eras
    • Englishness and national identity
  • Woolf’s experiences of the heritage industry, for example: her use of libraries, museums, art galleries, authors’ houses, artists’ houses, stately homes, gardens, London’s heritage sites, and tourist sites in Britain and abroad.
  • Ways in which Woolf has been represented and/or appropriated by the heritage industry and the creative and cultural industries, for example in:
    • virtual and physical exhibitions and digital archives
    • libraries, archives and collections
    • plaques, memorials, and statues
    • National Trust properties and other sites, including Monk’s House, Knole, and Talland House
    • film, television, radio, poetry and fiction, theatre, dance, multimedia and performance
  • Woolf’s legacy to future generations in a wide range of cultural settings. This may include approaches from translation studies, reception history, comparative literature, editorial scholarship, pedagogy and literary theory.

For individual papers, send a 250-word proposal. For panels of three or four people, please send a proposed panel title and a 250-word proposal for each paper.

Please e-mail the proposal in a Word document to woolf2016@leedstrinity.ac.uk by 25thJanuary 2016. Proposals should be anonymous, but please provide names, affiliations and contact details for speaker(s) in the e-mail message.

View the call for papers on the conference website: Virginia Woolf and Heritage, which is now updated to include accommodations information and more.


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