Content | LEAF

<?xml version="1.0" encoding="UTF-8"?><?xml-model href="https://cwrc.ca/schemas/orlando_entry.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="https://cwrc.ca/templates/css/orlando.css"?><ENTRY xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" ID="woolvi" PERSON="BRWWRITER"><ORLANDOHEADER><FILEDESC><TITLESTMT><DOCTITLE>Virginia Woolf</DOCTITLE></TITLESTMT><PUBLICATIONSTMT><AUTHORITY>Orlando Project</AUTHORITY></PUBLICATIONSTMT><SOURCEDESC>Created from original research by members of the Orlando Project</SOURCEDESC></FILEDESC><XENODATA><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"/></XENODATA><REVISIONDESC TYPE="LEGACY"><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-04-20">20 April 1998</DATE><ITEM>Initial document given to tagger.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-04-20">20 April 1998</DATE><ITEM>Begun with JoAnn Wallace notes</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-04-20">20 April 1998</DATE><ITEM>Initial document given to tagger.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-04-22">22 April 1998</DATE><ITEM>Adding entries from JoAnn Wallace's chronology work. Did not yet add textscopes because there are no bibliographic entries for it to point to yet--will need to be added later when the whole document is shaped.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-04-22">22 April 1998</DATE><ITEM>chron only</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-04-23">23 April 1998</DATE><ITEM>I am leaving everything quite granular so that it can be rearranged and restructured as the document becomes larger. Added in information from the Feminist Companion to flesh out the chronology.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="1998-04-23">23 April 1998</DATE><ITEM>img: revised.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-04-23">23 April 1998</DATE><ITEM>img rev</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-04-28">28 April 1998</DATE><ITEM>I think the skeletal chronology may be done.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-04-28">28 April 1998</DATE><ITEM>Begun with JoAnn Wallace notes; skeletal chron done</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-04-28">28 April 1998</DATE><ITEM>kdc rev</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="REV" WORKVALUE="P"><DATE VALUE="1998-05-04">4 May 1998</DATE><ITEM>img:revs</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-05-04">4 May 1998</DATE><ITEM>img rev; kdc rev</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-05-04">4 May 1998</DATE><ITEM>img rev; kdc rev</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="HJM" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-05-15">15 May 1998</DATE><ITEM>hjm: deleted space</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-05-22">22 May 1998</DATE><ITEM>revisions</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="JSC" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="1998-05-23">23 May 1998</DATE><ITEM>jsc: mtr rev</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-05-23">23 May 1998</DATE><ITEM>revisions</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="JSC" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="1998-05-23">23 May 1998</DATE><ITEM>jsc: mtr revisions</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="JSC" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="1998-05-23">23 May 1998</DATE><ITEM>jsc: mtr revisions</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="JSC" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="1998-05-23">23 May 1998</DATE><ITEM>jsc: mtr revisions</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="PDC" WORKSTATUS="RWT" WORKVALUE="C"><DATE VALUE="1998-10-06">6 October 1998</DATE><ITEM>Updated for Sept 1998 Audit</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="PDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="1998-10-06">6 October 1998</DATE><ITEM>Updated for Sept 1998 Audit</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SRF" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="1998-12-08">8 December 1998</DATE><ITEM>fixed spacing problems</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="1999-01-25">25 January 1999</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="1999-03-01">1 March 1999</DATE><ITEM>cleared tGenreForm</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KNT" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="1999-07-22">22 July 1999</DATE><ITEM>knt: fixed dates</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="1999-12-21">21 December 1999</DATE><ITEM>BATCH CHANGE: primarily orgName and bibCit cleanup</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="1999-12-21">21 December 1999</DATE><ITEM>BATCH CHANGE: primarily orgName and bibCit cleanup</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="2000-04-25">25 April 2000</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="2000-11-14">14 November 2000</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2000-11-14">14 November 2000</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="2000-11-21">21 November 2000</DATE><ITEM>fixed rs</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="DRG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2001-02-01">1 February 2001</DATE><ITEM>converted textual apostrophes and quotation marks to entity references</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="DRG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2001-02-01">1 February 2001</DATE><ITEM>converted textual apostrophes and quotation marks to entity references</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="RSC" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="2001-08-21">21 August 2001</DATE><ITEM>added topic tag</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2001-12-16">16 December 2001</DATE><ITEM>added Waves as dance.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KLH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2002-04-01">1 April 2002</DATE><ITEM>klh: added Huxley's response to Orlando and started Fict. Treatments section at end.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KLH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2002-04-04">4 April 2002</DATE><ITEM>klh: made additions to Friends and Acquaintances</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="2002-05-11">11 May 2002</DATE><ITEM>Added from Alison Light.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="2002-07-29">29 July 2002</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2002-10-15">15 October 2002</DATE><ITEM>fixed name(s)</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2002-10-17">17 October 2002</DATE><ITEM>fixed name(s)</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="PDC" WORKSTATUS="RBV" WORKVALUE="I"><DATE VALUE="2002-10-17">17 October 2002</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2002-10-18">18 October 2002</DATE><ITEM>fixed name(s)</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2002-10-24">24 October 2002</DATE><ITEM>fixed name(s)</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2002-10-29">29 October 2002</DATE><ITEM>fixed name(s) fixed NAME</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KLH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2002-11-08">8 November 2002</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2002-11-22">22 November 2002</DATE><ITEM>removed title tag(s) from workscited</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KLH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2002-11-26">26 November 2002</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KLH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2002-11-29">29 November 2002</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KLH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2002-12-01">1 December 2002</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KLH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2002-12-05">5 December 2002</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KLH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2002-12-09">9 December 2002</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KLH" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2002-12-11">11 December 2002</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-01-06">6 January 2003</DATE><ITEM> fixed PLACE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-01-06">6 January 2003</DATE><ITEM> fixed PLACE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-01-08">8 January 2003</DATE><ITEM> fixed PLACE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-01-09">9 January 2003</DATE><ITEM> fixed PLACE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-01-13">13 January 2003</DATE><ITEM> fixed PLACE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KLH" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="2003-01-14">14 January 2003</DATE><ITEM>KLH: made revisions as per PDC</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-01-15">15 January 2003</DATE><ITEM> fixed PLACE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-03-12">12 March 2003</DATE><ITEM> fixed PLACE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2003-04-14">14 April 2003</DATE><ITEM>BATCH CHANGE: primarily PLACE cleanup</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2003-04-14">14 April 2003</DATE><ITEM>BATCH CHANGE: primarily PLACE cleanup</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-04-17">17 April 2003</DATE><ITEM> fixed PLACE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-05-01">1 May 2003</DATE><ITEM> fixed PLACE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-05-01">1 May 2003</DATE><ITEM> fixed PLACE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2003-06-16">16 June 2003</DATE><ITEM>BATCH CHANGE: primarily TGENRENAME cleanup, BIBCIT following P moved before P, BIBCITS TAG added</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2003-06-16">16 June 2003</DATE><ITEM>BATCH CHANGE: primarily TGENRENAME cleanup, BIBCIT following P moved before P, BIBCITS TAG added</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2003-09-19">19 September 2003</DATE><ITEM> fixed DATE</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="CFB" WORKVALUE="I"><DATE VALUE="2004-02-23">23 February 2004</DATE><ITEM>altered incorrect bibcit dbref</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2004-03-22">22 March 2004</DATE><ITEM>changed position to birth position</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2005-04-08">08 April 2005</DATE><ITEM>BATCH CHANGE: March 2005 Specifications. Mainly tag/attribute name changes</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SYS" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2005-04-08">08 April 2005</DATE><ITEM>BATCH CHANGE: March 2005 Specifications. Mainly tag/attribute name changes</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2005-09-27">27 September 2005</DATE><ITEM>checking in for pdc</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2005-09-27">27 September 2005</DATE><ITEM>checking in for pdc</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="PDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2005-11-12">12 November 2005</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="PDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2005-11-13">13 November 2005</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="PDC" WORKSTATUS="RWT" WORKVALUE="P"><DATE VALUE="2005-11-16">16 November 2005</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="REV" WORKVALUE="P"><DATE VALUE="2005-11-17">17 November 2005</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="PDC" WORKSTATUS="REV" WORKVALUE="P"><DATE VALUE="2005-11-17">17 November 2005</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="PDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2005-11-17">17 November 2005</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="PDC" WORKSTATUS="REV" WORKVALUE="P"><DATE VALUE="2005-11-19">19 November 2005</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="PDC" WORKSTATUS="RWT" WORKVALUE="I"><DATE VALUE="2005-11-19">19 November 2005</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="REV" WORKVALUE="P"><DATE VALUE="2005-12-14">14 December 2005</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RWT" WORKVALUE="P"><DATE VALUE="2005-12-14">14 December 2005</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="RWT" WORKVALUE="C"><DATE VALUE="2005-12-18">18 December 2005</DATE><ITEM>rwt c, ready for cas, cft, rbv</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="RWT" WORKVALUE="P"><DATE VALUE="2005-12-18">18 December 2005</DATE><ITEM>rwt c, ready for cas, cft, rbv</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2005-12-19">19 December 2005</DATE><ITEM>standard names, doctitles changed to allow placeholder docs to be inserted into delivery</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2005-12-19">19 December 2005</DATE><ITEM>standard names, doctitles changed to allow placeholder docs to be inserted into delivery</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="AGH" WORKSTATUS="CAS" WORKVALUE="I"><DATE VALUE="2005-12-21">21 December 2005</DATE><ITEM>checked Froula</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="AGH" WORKSTATUS="CAS" WORKVALUE="I"><DATE VALUE="2005-12-21">21 December 2005</DATE><ITEM>Checked Froula</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="AGH" WORKSTATUS="CAS" WORKVALUE="I"><DATE VALUE="2006-01-09">9 January 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="AGH" WORKSTATUS="CAS" WORKVALUE="P"><DATE VALUE="2006-01-11">11 January 2006</DATE><ITEM>Waiting on Hussey. Changed all Lee bibcits to London ed., and double-checked references.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="AGH" WORKSTATUS="CAS" WORKVALUE="I"><DATE VALUE="2006-01-17">17 January 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="AGH" WORKSTATUS="CAS" WORKVALUE="C"><DATE VALUE="2006-01-23">23 January 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="AGH" WORKSTATUS="CAS" WORKVALUE="C"><DATE VALUE="2006-01-24">24 January 2006</DATE><ITEM>cas-c!</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="AGH" WORKSTATUS="CAS" WORKVALUE="C"><DATE VALUE="2006-01-24">24 January 2006</DATE><ITEM>Changed Lee bibcits to London ed.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-01-25">25 January 2006</DATE><ITEM>rev since cas</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-01-25">25 January 2006</DATE><ITEM>rev since cas</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KGS" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2006-02-10">10 February 2006</DATE><ITEM>cft-i</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-02-13">13 February 2006</DATE><ITEM>cft i concerns dealt with</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="AGH" WORKSTATUS="CAS" WORKVALUE="P"><DATE VALUE="2006-02-13">13 February 2006</DATE><ITEM>Fixed misplaced bibcits</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KDC" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2006-02-15">15 February 2006</DATE><ITEM>checked for tagging</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-02-15">15 February 2006</DATE><ITEM>cft c concerns addressed</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KGS" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2006-02-15">15 February 2006</DATE><ITEM>cft-i. ready for cft-c</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KDC" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2006-02-20">20 February 2006</DATE><ITEM>checked for tagging</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-02-20">20 February 2006</DATE><ITEM>cft concerns dealt with</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="PDC" WORKSTATUS="RBV" WORKVALUE="C"><DATE VALUE="2006-02-22">22 February 2006</DATE><ITEM>rbv-p</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="PDC" WORKSTATUS="RBV" WORKVALUE="P"><DATE VALUE="2006-02-23">23 February 2006</DATE><ITEM>Isobel suggests best to do tag cleanup later. Tnx.</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="CFB" WORKVALUE="I"><DATE VALUE="2006-02-23">23 February 2006</DATE><ITEM>cfb begun</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2006-02-24">24 February 2006</DATE><ITEM>tag cleanup in progress</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="PUB" WORKVALUE="C"><DATE VALUE="2006-02-24">24 February 2006</DATE><ITEM>made pub-c for update</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="CFB" WORKVALUE="I"><DATE VALUE="2006-02-24">24 February 2006</DATE><ITEM>cfb in progress</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="I"><DATE VALUE="2006-02-24">24 February 2006</DATE><ITEM>tag cleanup in progress</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="PUB" WORKVALUE="C"><DATE VALUE="2006-02-24">24 February 2006</DATE><ITEM>made pub-c for update</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="CFB" WORKVALUE="C"><DATE VALUE="2006-04-08">8 April 2006</DATE><ITEM>cfb done</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="JAH" WORKSTATUS="PUB" WORKVALUE="C"><DATE VALUE="2006-04-09">9 April 2006</DATE><ITEM>cfb done</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="JAH" WORKSTATUS="CFB" WORKVALUE="C"><DATE VALUE="2006-04-09">9 April 2006</DATE><ITEM>fixed title</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2006-04-11">11 April 2006</DATE><ITEM>tag cleanup complete</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2006-04-11">11 April 2006</DATE><ITEM>tag cleanup complete</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="PDC" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-05-14">14 May 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-05-14">14 May 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="PDC" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="2006-05-14">14 May 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="PUB" WORKVALUE="I"><DATE VALUE="2006-05-15">15 May 2006</DATE><ITEM>pub i</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KGS" WORKSTATUS="CAS" WORKVALUE="P"><DATE VALUE="2006-05-15">15 May 2006</DATE><ITEM>cas-p. checked new additions except Hussey</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="PDC" WORKSTATUS="REV" WORKVALUE="I"><DATE VALUE="2006-05-15">15 May 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="PDC" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-05-15">15 May 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="P"><DATE VALUE="2006-05-15">15 May 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KGS" WORKSTATUS="CAS" WORKVALUE="I"><DATE VALUE="2006-05-15">15 May 2006</DATE><ITEM>cas-i</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-05-15">15 May 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="PDC" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-05-16">16 May 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KGS" WORKSTATUS="CAS" WORKVALUE="I"><DATE VALUE="2006-05-16">16 May 2006</DATE><ITEM>cas-i</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM>tag cleanup complete</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KGS" WORKSTATUS="CAS" WORKVALUE="I"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM>cas-i</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="PUB" WORKVALUE="I"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM>pub i</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="KGS" WORKSTATUS="CAS" WORKVALUE="C"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM>cas-i</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="PUB" WORKVALUE="I"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM>tag cleanup complete</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="PUB" WORKVALUE="I"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM>pub i reading part done</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="KGS" WORKSTATUS="CAS" WORKVALUE="C"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM>cas-c</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="PUB" WORKVALUE="I"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM>pub i complete, angel to come</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="PDC" WORKSTATUS="PUB" WORKVALUE="I"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-05-17">17 May 2006</DATE><ITEM>angel in house checked. Both docs final readthrough</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-07-14">14 July 2006</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-08-28">28 August 2006</DATE><ITEM>added from Crit Her</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2006-11-01">1 November 2006</DATE><ITEM>added multimedia Waves</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-01-09">9 January 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-01-25">25 January 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-01-26">26 January 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-01-29">29 January 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-01-31">31 January 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-02-21">21 February 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-03-20">20 March 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-03-20">20 March 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-03-23">23 March 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-03-28">28 March 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-06-25">25 June 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-07-11">11 July 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-09-03">3 September 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-09-04">4 September 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2007-10-28">28 October 2007</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2008-01-15">15 January 2008</DATE><ITEM>fixed dates</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"><DATE VALUE="2008-01-31">31 January 2008</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="SLB" WORKSTATUS="CFT" WORKVALUE="C"><DATE VALUE="2008-05-27">27 May 2008</DATE><ITEM>fixed rrecognitionname reg</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"><DATE VALUE="2010-01-23">23 January 2010</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"><DATE VALUE="2010-03-23">23 March 2010</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="CSK" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2010-08-24">24 August 2010</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"><DATE VALUE="2010-12-13">13 December 2010</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"><DATE VALUE="2010-12-17">17 December 2010</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"><DATE VALUE="2011-03-22">22 March 2011</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"><DATE VALUE="2011-03-29">29 March 2011</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"><DATE VALUE="2011-05-31">31 May 2011</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="MKD" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2011-06-08">8 June 2011</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"><DATE VALUE="2011-06-13">13 June 2011</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="MKD" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2011-08-24">24 August 2011</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="LSW" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2011-09-06">6 September 2011</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="ENH" WORKVALUE="C"><DATE VALUE="2011-10-31">31 October 2011</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="MKD" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2011-11-07">7 November 2011</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="MKD" WORKSTATUS="CFC" WORKVALUE="C"><DATE VALUE="2012-05-14">14 May 2012</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2012-05-29">29 May 2012</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" RESP="IMG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2012-06-06">6 June 2012</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" RESP="MDG" WORKSTATUS="REV" WORKVALUE="C"><DATE VALUE="2012-07-11">11 July 2012</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" WORKSTATUS="REV" RESP="IMG" WORKVALUE="C"><DATE VALUE="2013-05-04">4 May 2013</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" WORKSTATUS="REV" RESP="AGL" WORKVALUE="C"><DATE VALUE="2013-11-17">17 November 2013</DATE><ITEM>orgname cleanup</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="REV" RESP="IMG" WORKVALUE="C"><DATE VALUE="2014-06-10">10 June 2014</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="REV" RESP="IMG" WORKVALUE="C"><DATE VALUE="2014-06-12">12 June 2014</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="ENH" RESP="IMG" WORKVALUE="C"><DATE VALUE="2015-04-18">18 April 2015</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="ENH" RESP="IMG" WORKVALUE="C"><DATE VALUE="2015-04-26">26 April 2015</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="ENH" RESP="IMG" WORKVALUE="C"><DATE VALUE="2015-05-19">19 May 2015</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="ENH" RESP="IMG" WORKVALUE="C"><DATE VALUE="2016-04-25">25 April 2016</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" WORKSTATUS="REV" RESP="IMG" WORKVALUE="C"><DATE VALUE="2016-09-14">14 September 2016</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="REV" RESP="IMG" WORKVALUE="C"><DATE VALUE="2016-09-14">14 September 2016</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="ENH" RESP="IMG" WORKVALUE="C"><DATE VALUE="2016-11-16">16 November 2016</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" WORKSTATUS="CAS" RESP="AGL" WORKVALUE="I"><DATE VALUE="2017-05-08">8 May 2017</DATE><ITEM>checking in for training purposes</ITEM></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" WORKSTATUS="REV" RESP="IMG" WORKVALUE="C"><DATE VALUE="2017-05-22">22 May 2017</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="REV" RESP="IMG" WORKVALUE="C"><DATE VALUE="2017-05-23">23 May 2017</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="ENH" RESP="IMG" WORKVALUE="C"><DATE VALUE="2019-03-14">14 March 2019</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="WRITING" WORKSTATUS="REV" RESP="IMG" WORKVALUE="C"><DATE VALUE="2019-03-17">17 March 2019</DATE><ITEM/></RESPONSIBILITY><RESPONSIBILITY TARGET="BIOGRAPHY" WORKSTATUS="REV" RESP="TBS" WORKVALUE="C"><DATE VALUE="2019-07-02">2 July 2019</DATE><ITEM/></RESPONSIBILITY></REVISIONDESC></ORLANDOHEADER><DIV0><STANDARD REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Woolf, Virginia</STANDARD><AUTHORSUMMARY>Thousands of readers over three or four generations have known that Virginia Woolf was—by a beadle—denied access to the library of a great university. They may have known, too, that she was a leading intellect of the twentieth century. If they are feminist readers they will know that she <QUOTE DIRECT="Y">thought . . . back through her mothers</QUOTE> and also <QUOTE DIRECT="Y">sideways through her sisters</QUOTE> and that she contributed more than any other in the twentieth century to the recovery of women's writing.<BIBCITS><BIBCIT PLACEHOLDER="Marcus, Intro xiv" DBREF="40665" REF="https://commons.cwrc.ca/orlando:0bec030f-7beb-4248-8c02-54504219db69">xiv</BIBCIT></BIBCITS> Educated <QUOTE DIRECT="Y">in her father's library</QUOTE> and in a far more than usually demanding school of life, she radically altered the course not only of the English tradition but also of the several traditions of literature in English.<BIBCITS><BIBCIT PLACEHOLDER="Froula 2" DBREF="38086" REF="https://commons.cwrc.ca/orlando:b8347c31-3626-4210-b324-092d70e70b95">2</BIBCIT></BIBCITS> <EXTENTOFOEUVRE><GENERICRANGE>She wrote prodigiously—nine published <TGENRE GENRENAME="NOVEL">novel</TGENRE>s, as well as <TGENRE GENRENAME="SHORTSTORY">stories</TGENRE>, <TGENRE GENRENAME="ESSAY">essay</TGENRE>s (including two crucial books on <TGENRE GENRENAME="FEMINISTTHEORY">feminism</TGENRE>, its relation to education and to war), <TGENRE GENRENAME="DIARY">diaries</TGENRE>, <TGENRE GENRENAME="LETTER">letter</TGENRE>s, <TGENRE GENRENAME="BIOGRAPHY">biographies</TGENRE> (both serious and <TGENRE GENRENAME="MOCKFORMS">burlesque</TGENRE>), and <TGENRE GENRENAME="LITERARYCRITICISM">criticism</TGENRE>. As a literary journalist in a wide range of forums, she addressed the major social issues of her time in more than a million words.<BIBCITS><BIBCIT PLACEHOLDER="McNeillie ix" DBREF="38111" REF="https://commons.cwrc.ca/orlando:3a6d7c50-bf8e-4b54-887f-7baf2e82d416">ix</BIBCIT></BIBCITS></GENERICRANGE></EXTENTOFOEUVRE> She left a richly documented life in words, inventing a <SOCALLED>modern</SOCALLED> fiction, theorising modernity, writing the woman into the picture. She built this outstandingly influential work, which has had its impact on both writing and life, on her personal experience, and her fictions emerge to a striking degree from her life, her gender, and her moment in history. In a sketch of her career written to <NAME STANDARD="Smyth, Ethel" REF="https://commons.cwrc.ca/orlando:bb2555cb-6507-44f1-a979-dadd82a6ee37">Ethel Smyth</NAME> she said that a short story called <TITLE TITLETYPE="ANALYTIC">An Unwritten Novel</TITLE> <QUOTE DIRECT="Y">was the great discovery . . . . That—again in one second—showed me how I could embody all my deposit of experience in a shape that fitted it.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 231" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 231</BIBCIT></BIBCITS></AUTHORSUMMARY><BIOGRAPHY><HEADING>Biography</HEADING><DIV1><PERSONNAME><DIV2><DATASTRUCT><DATAITEM><BIRTHNAME WROTEORPUBLISHEDAS="WROTEPUBLISHEDASYES" REG="Stephen, Virginia"><GIVEN>Adeline</GIVEN> <GIVEN>Virginia</GIVEN> <SURNAME>Stephen</SURNAME></BIRTHNAME></DATAITEM><DATAITEM><NICKNAME NAMETYPE="FAMILIAR">Ginia</NICKNAME></DATAITEM><DATAITEM><MARRIED WROTEORPUBLISHEDAS="WROTEPUBLISHEDASYES" REG="Woolf, Virginia">Woolf</MARRIED></DATAITEM></DATASTRUCT><SHORTPROSE>Her first Christian name, never used, was given in memory of her mother's sister, who died shortly before Virginia's birth.<BIBCITS><BIBCIT PLACEHOLDER="Lee 99" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">99</BIBCIT></BIBCITS> <SOCALLED>Ginia</SOCALLED> was her earliest family nickname. She later gave herself many more, using different names with different people. Many were animal names: Sparrow, Wallaby, Billy, Ape, Goat, Mandril, and Marmoset. They were elastic, generative: Goat developed into Goatus Esq., or Capra. At fifteen she named herself Miss Jan. Biographer <NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> sees this as her first construction of herself as an author.<BIBCITS><BIBCIT PLACEHOLDER="Lee 111-12" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">111-12</BIBCIT></BIBCITS></SHORTPROSE></DIV2></PERSONNAME></DIV1><DIV1><HEADING>Birth and Background</HEADING><BIRTH><DIV2><CHRONSTRUCT RELEVANCE="SELECTIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1882-01-25">25 January 1882</DATE> <CHRONPROSE><BIRTHPOSITION>Adeline Virginia Stephen, later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>, was born at <PLACE><ADDRESS><ADDRLINE>22 Hyde Park Gate</ADDRLINE></ADDRESS>, <SETTLEMENT CURRENT="London">Kensington</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>, <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>, the third of the four children of <NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">Sir Leslie Stephen</NAME> and <NAME STANDARD="Stephen, Julia" REF="https://commons.cwrc.ca/orlando:3c546ede-7aa0-4bda-8b21-f9a0576f267c">Julia Prinsep Stephen</NAME>.</BIRTHPOSITION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 104, 35" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">104, 35</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>The year of her birth was the first year of her father's work on the <TITLE TITLETYPE="MONOGRAPHIC">Dictionary of National Biography</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 72, 376" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">72, 376</BIBCIT></BIBCITS></SHORTPROSE></DIV2></BIRTH></DIV1><DIV1><CULTURALFORMATION><GENDER GENDERIDENTITY="WOMAN"/><DIV2><HEADING>Inheritance, Ancestresses</HEADING><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was the daughter not only <QUOTE DIRECT="Y">of an educated man,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Three Guineas 10" DBREF="14793" REF="https://commons.cwrc.ca/orlando:e6162fe1-db19-4d87-ac04-60021d1dce5d">10</BIBCIT></BIBCITS> but of one of the most influential intellectuals in late Victorian England. Her family on both sides was part of the <CLASS SOCIALRANK="PROFESSIONAL" SELF-DEFINED="SELFYES"><QUOTE DIRECT="Y">intellectual ascendancy</QUOTE>.</CLASS> <BIBCITS><BIBCIT PLACEHOLDER="Annan 3" DBREF="335" REF="https://commons.cwrc.ca/orlando:dfdca409-69df-49fd-bd26-2c6b66e9a286">3</BIBCIT></BIBCITS> Though many of her forebears were <DENOMINATION REG="Society of Friends"><ORGNAME REG="Quakers" STANDARD="Society of Friends" REF="https://commons.cwrc.ca/orlando:1776f32b-ecac-4b49-a366-2fa64b72b497">Quakers</ORGNAME></DENOMINATION> or <DENOMINATION>Evangelical</DENOMINATION>s, both parents had become <DENOMINATION>agnostic</DENOMINATION>. In her own account of her class and intellectual inheritance, she wrote that she was born <QUOTE DIRECT="Y">not of rich parents, but of well-to-do parents . . . into a very communicative, literate, letter-writing, visiting, articulate, late nineteenth-century world.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 65" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">65</BIBCIT></BIBCITS> She was vividly aware of <QUOTE DIRECT="Y">thousands of ancestresses in the past</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 69" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">69</BIBCIT></BIBCITS>—<QUOTE DIRECT="Y">Note <QUOTE DIRECT="N">ancestresses</QUOTE>,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 51" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">51</BIBCIT></BIBCITS> writes Hermione Lee—and her work is preoccupied by moments and figures that are unacknowledged by patriarchal culture and by exploration of <QUOTE DIRECT="Y">states of mind so muted that they almost defied expression.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Gordon 95" DBREF="16051" REF="https://commons.cwrc.ca/orlando:9846a647-4032-4c55-bb84-2540290054ff">95</BIBCIT></BIBCITS></SHORTPROSE></DIV2><NATIONALITYISSUE><DIV2><SHORTPROSE>In her forties, after watching a village wedding, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote: <QUOTE DIRECT="Y">We dont belong to any <SOCALLED>class</SOCALLED>; we thinkers: might as well be French or German. Yet I am <NATIONALITY>English</NATIONALITY> in some way.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 198" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 198</BIBCIT></BIBCITS> Her calling herself an <SOCALLED>Outsider</SOCALLED> is famous, and so is her statement: <QUOTE DIRECT="Y">in fact, as a woman, I have no country. As a woman I want no country. As a woman my country is the whole world.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Three Guineas 1938 197" DBREF="38248" REF="https://commons.cwrc.ca/orlando:37cddb69-3210-42f8-a0f0-831944e2ace3">197</BIBCIT></BIBCITS> But this statement is set (into <TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE>) as part of a less-known passage. It continues: <QUOTE DIRECT="Y">And if, when reason has said its say, still some obstinate emotion remains, some love of England dropped into a child's ears by the cawing of rooks in an elm tree, by the splash of waves on a beach, or by English voices murmuring nursery rhymes, this drop of pure, if irrational, emotion she will make serve her to give to England first what she desires of peace and freedom for the whole world.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Three Guineas 1938 197-8" DBREF="38248" REF="https://commons.cwrc.ca/orlando:37cddb69-3210-42f8-a0f0-831944e2ace3">197-8</BIBCIT></BIBCITS></QUOTE> <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s work is everywhere full of that <SOCALLED>obstinate emotion</SOCALLED>, whether in Clarissa Dalloway's morning lark, buying the flowers herself, or in Jacob Flanders at about twenty lying in a field of buttercups, or in the flight of the <QUOTE DIRECT="Y">swallows—or martins were they?—</QUOTE> in <TITLE TITLETYPE="MONOGRAPHIC">Between the Acts</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="VW, Between the Acts, 1981, 213" DBREF="40668" REF="https://commons.cwrc.ca/orlando:1209955a-86e1-42ea-9118-6ee0a8c37d26">213</BIBCIT></BIBCITS></SHORTPROSE></DIV2></NATIONALITYISSUE><SEXUALITY><DIV2><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s childhood sexual experience was painful, humiliating, and formative, and her adult sexuality has been much discussed since publication of <TITLE TITLETYPE="ANALYTIC">A Sketch of the Past</TITLE>, <TITLE TITLETYPE="ANALYTIC">22 Hyde Park Gate</TITLE>, and <TITLE TITLETYPE="ANALYTIC">Old Bloomsbury</TITLE> in <TITLE TITLETYPE="MONOGRAPHIC" REG="Moments of Being">Moments of Being: Unpublished Autobiographical Writings</TITLE>, 1976.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments of Being" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb"/></BIBCITS> She later shared the principled objections of her Bloomsbury friends to the Victorian social management of sexuality, which they saw as based on possessiveness, jealousy, and exploitation. Her own erotic relationships were <SEXUALIDENTITY SELF-DEFINED="SELFYES" REG="bisexual">with individuals of both sexes</SEXUALIDENTITY>.</SHORTPROSE></DIV2></SEXUALITY></CULTURALFORMATION></DIV1><DIV1><FAMILY><MEMBER RELATION="MOTHER"><DIV2><HEADING>Mother</HEADING><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s mother, née <NAME STANDARD="Stephen, Julia" REF="https://commons.cwrc.ca/orlando:3c546ede-7aa0-4bda-8b21-f9a0576f267c">Julia Prinsep Jackson</NAME> (<DATERANGE FROM="1846" TO="1895">1846-95</DATERANGE>), was born in India and brought to England as a toddler.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 267" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">267</BIBCIT></BIBCITS> She was a favourite niece (and subject) of photographer <NAME STANDARD="Cameron, Julia Margaret" REF="https://commons.cwrc.ca/orlando:1b7562e1-3a9b-42a1-8870-2006dc63d55a">Julia Margaret Cameron</NAME>, on whom she published an entry in the <TITLE TITLETYPE="MONOGRAPHIC">Dictionary of National Biography</TITLE>. She grew up in Pre-Raphaelite circles and was admired by, among others, <NAME STANDARD="Robins, Elizabeth" REF="https://commons.cwrc.ca/orlando:352b2264-6d4f-43f6-97c3-12bc9169cfdd">Elizabeth Robins</NAME>, <NAME STANDARD="Watts, George Frederic" REF="https://commons.cwrc.ca/orlando:c409469d-0fec-471f-b6e9-e6ce9000405d">G. F. Watts</NAME>, <NAME STANDARD="Burne-Jones, Sir Edward Coley" REF="https://commons.cwrc.ca/orlando:b429d131-5b11-4639-b765-bbf6fb3d3681">Edward Burne-Jones</NAME>, and <NAME STANDARD="Hunt, William Holman" REF="https://commons.cwrc.ca/orlando:423dac8b-526f-4c5b-a517-5df4186e3c36">William Holman Hunt</NAME> (who proposed to her).<BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/> <BIBCIT PLACEHOLDER="Lee 83, 86-7, 89" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">83, 86-7, 89</BIBCIT></BIBCITS> She married <NAME STANDARD="Duckworth, Herbert" REF="https://commons.cwrc.ca/orlando:edbd9914-1bf8-4a07-9a51-571b82e8f64a">Herbert Duckworth</NAME> in <DATE VALUE="1867">1867</DATE>, but was suddenly widowed in <DATE VALUE="1870">1870</DATE>, while pregnant with Gerald, their third child (whose birth followed those of George and Stella). After Herbert's death, Julia lost her faith and <QUOTE DIRECT="Y">found much of interest in the essays of Leslie Stephen on religion and agnosticism.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 267" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">267</BIBCIT></BIBCITS> She married Leslie Stephen eight years later (on <DATE VALUE="1878-03-26">26 March 1878</DATE>), and the four Stephen children (Vanessa, Thoby, Virginia, and Adrian) followed in quick succession. She taught the children herself, at the dining-room table.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 267" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">267</BIBCIT> <BIBCIT PLACEHOLDER="Gordon 19, 21" DBREF="16051" REF="https://commons.cwrc.ca/orlando:9846a647-4032-4c55-bb84-2540290054ff">19, 21</BIBCIT></BIBCITS>Julia Stephen was known for her beauty, melancholy, and <SIGNIFICANTACTIVITY PHILANTHROPYVOLUNTEER="PHILANTHROPYVOLUNTEERYES" REG="charitable worker">charitable good works</SIGNIFICANTACTIVITY>. <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s biographer Hermione Lee remarks that she <QUOTE DIRECT="Y">seems to have fully endorsed the Victorian models for female behaviour.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 85" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">85</BIBCIT></BIBCITS> Like her husband, she had a sombre mien, and with him she <QUOTE DIRECT="Y">shared a view of life as work.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 94" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">94</BIBCIT></BIBCITS> She had a Victorian devotion to the ill and poor, and she was especially passionate about <SIGNIFICANTACTIVITY PHILANTHROPYVOLUNTEER="PHILANTHROPYVOLUNTEERYES" REG="nurse">nursing</SIGNIFICANTACTIVITY>. (She <SIGNIFICANTACTIVITY REG="writer">published an essay</SIGNIFICANTACTIVITY> on it—<TITLE TITLETYPE="MONOGRAPHIC">Notes from Sick Rooms</TITLE>—in <DATE VALUE="1883">1883</DATE>.) In June 1889 she was a signatory (one of 103) to Mary Augusta Ward's <TITLE TITLETYPE="ANALYTIC">An Appeal Against Female Suffrage</TITLE> in <TITLE TITLETYPE="JOURNAL">Nineteenth Century</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 83" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">83</BIBCIT></BIBCITS><SIGNIFICANTACTIVITY REG="children's writer">Julia Stephen wrote stories—<QUOTE DIRECT="Y">family tales with a message</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 83-4" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">83-4</BIBCIT></BIBCITS>—for her children,</SIGNIFICANTACTIVITY> and she was the most valued reader of their family newspaper, the <TITLE TITLETYPE="UNPUBLISHED">Hyde Park Gate News</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 84" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">84</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1895-05-05">5 May 1895</DATE> <CHRONPROSE><NAME STANDARD="Stephen, Julia" REF="https://commons.cwrc.ca/orlando:3c546ede-7aa0-4bda-8b21-f9a0576f267c">Julia Stephen</NAME>, Leslie Stephen's wife and <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s mother, died at the age of forty-nine from either influenza or rheumatic fever, a condition exacerbated by overwork.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 1" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">1</BIBCIT> <BIBCIT PLACEHOLDER="Lee 128" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">128</BIBCIT> <BIBCIT PLACEHOLDER="Hussey 267-8" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">267-8</BIBCIT><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS></CHRONSTRUCT><SHORTPROSE>Julia's death plunged her husband into overwhelming grief.</SHORTPROSE></DIV2></MEMBER></FAMILY></DIV1><DIV1><HEALTH ISSUE="MENTAL"><DIV2><SHORTPROSE>Virginia was thirteen: this death ended her childhood and provoked her first nervous breakdown. She said later that her mother's death was <QUOTE DIRECT="Y">the greatest disaster that could happen,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 40" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">40</BIBCIT></BIBCITS> and she remained preoccupied by her lost mother until she wrote her into Mrs Ramsay of <TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE>. <NAME STANDARD="Rose, Phyllis" REF="https://commons.cwrc.ca/orlando:3423db60-73a3-4e9b-9ce8-81c6576e2284">Phyllis Rose</NAME> observes that <QUOTE DIRECT="Y">the natural adolescent process of detachment from her mother ended catastrophically,</QUOTE> leaving her hungry for affection and mentally haunted by her mother,<BIBCITS><BIBCIT PLACEHOLDER="Rose 115" DBREF="38168" REF="https://commons.cwrc.ca/orlando:3ce4d628-bb4d-4fa2-b6a5-1e4066df828d">115</BIBCIT></BIBCITS> and <NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> believes that <QUOTE DIRECT="Y">coming to terms with</QUOTE> Julia's death and <QUOTE DIRECT="Y">laying this ghost to rest, is one of the secret plots of Virginia Woolf's existence.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 79" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">79</BIBCIT></BIBCITS>Years later, looking back, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> attached to this time a shift in her creative development, the sharpening of her sensations and thoughts. She met her brother <NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby</NAME> at <PLACE><PLACENAME>Paddington Station</PLACENAME><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> when he came to Julia's funeral. Her view of the sunset there sparked her belief that <QUOTE DIRECT="Y">my mother's death unveiled and intensified; made me suddenly develop perceptions, as if a burning glass had been laid over what was shaded and dormant.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 93" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">93</BIBCIT></BIBCITS></SHORTPROSE></DIV2></HEALTH></DIV1><DIV1><FAMILY><MEMBER RELATION="FATHER"><DIV2><HEADING>Father</HEADING><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s father, <NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">Sir Leslie Stephen</NAME> (1832-1904), was <QUOTE DIRECT="Y">a Victorian <JOB>philosopher</JOB> and <JOB REG="writer">historian</JOB> of ideas . . . <JOB REG="writer">literary historian</JOB> and <JOB>critic</JOB>, and—perhaps most important—a <JOB>biographer</JOB>.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Rosenbaum 36" DBREF="37709" REF="https://commons.cwrc.ca/orlando:5ee6cbfd-f44d-4830-a91a-7a0a6b1aeee3">36</BIBCIT></BIBCITS> Mark Hussey writes that he was, <QUOTE DIRECT="Y">after <NAME STANDARD="Arnold, Matthew" REF="https://commons.cwrc.ca/orlando:54b2485a-44df-4a2d-b2c1-3b461366da51">Matthew Arnold</NAME>, the most important late-Victorian <JOB REG="writer">man of letters</JOB>.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 270" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">270</BIBCIT></BIBCITS> He was also a passionate <SIGNIFICANTACTIVITY REG="hiker">walker and hiker</SIGNIFICANTACTIVITY>. Educated at <ORGNAME REG="Eton College" STANDARD="Eton College" REF="https://commons.cwrc.ca/orlando:c871a86f-f3de-425c-a02a-583594e92777">Eton</ORGNAME> and <ORGNAME REG="Trinity Hall,, Cambridge University" STANDARD="Trinity Hall,, Cambridge University" REF="https://commons.cwrc.ca/orlando:de4f1059-af5a-483b-bb32-82e331fd5963">Trinity Hall</ORGNAME>, Cambridge, he returned there as a <JOB REG="academic">junior tutor</JOB> in <DATE VALUE="1856">1856</DATE>, after serving the Church first as a deacon, then as a <JOB REG="clergyman">parson</JOB>. But like many contemporaries, Stephen lost his faith—<QUOTE DIRECT="Y">rather painlessly . . . over the problem of evil,</QUOTE> according to S. P. Rosenbaum, who quotes him: <QUOTE DIRECT="Y">The potter has no right to be angry with his pots. . . . If he wanted them different, he should have made them different. The consistent theologian must choose between the Creator and the Judge.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Rosenbaum 36" DBREF="37709" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:5ee6cbfd-f44d-4830-a91a-7a0a6b1aeee3">36</BIBCIT></BIBCITS> As an agnostic, Stephen could no longer discharge his duties in good faith, so he resigned his tutorship in 1860, and finally left Cambridge (still officially an Anglican institution) in 1864. On 23 March 1875 he formally renounced his priesthood in the company of <NAME STANDARD="Hardy, Thomas" REF="https://commons.cwrc.ca/orlando:77c44657-07fa-42b2-849a-948a74185ed5">Thomas Hardy</NAME>, whom he had asked to witness his signature.<BIBCITS><BIBCIT PLACEHOLDER="Rosenbaum 36" DBREF="37709" REF="https://commons.cwrc.ca/orlando:5ee6cbfd-f44d-4830-a91a-7a0a6b1aeee3">36</BIBCIT></BIBCITS> A passionate free-thinker, Stephen attacked religion <QUOTE DIRECT="Y">as the breeding ground of intolerance and hypocrisy.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 71" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">71</BIBCIT></BIBCITS>He was immensely influential. As editor of the <TITLE TITLETYPE="JOURNAL">Cornhill Magazine</TITLE> from <DATERANGE FROM="1871" TO="1882" EXACT="BOTH">1871 to 1882</DATERANGE>, he published <NAME STANDARD="James, Henry" REF="https://commons.cwrc.ca/orlando:6695041d-35b1-45ba-b37d-f328ecee9471">Henry James</NAME>, <NAME STANDARD="Hardy, Thomas" REF="https://commons.cwrc.ca/orlando:77c44657-07fa-42b2-849a-948a74185ed5">Thomas Hardy</NAME>, <NAME STANDARD="Arnold, Matthew" REF="https://commons.cwrc.ca/orlando:54b2485a-44df-4a2d-b2c1-3b461366da51">Matthew Arnold</NAME>, <NAME STANDARD="Browning, Robert" REF="https://commons.cwrc.ca/orlando:6315e747-c757-448c-be99-8f4a8ca854ad">Robert Browning</NAME>, and <NAME STANDARD="Meredith, George" REF="https://commons.cwrc.ca/orlando:5b26aa77-7cfa-4573-84b6-0f3f5d53e43b">George Meredith</NAME>, among others.<BIBCITS><BIBCIT PLACEHOLDER="Rosenbaum 34" DBREF="37709" REF="https://commons.cwrc.ca/orlando:5ee6cbfd-f44d-4830-a91a-7a0a6b1aeee3">34</BIBCIT></BIBCITS> He was the first editor of the <TITLE TITLETYPE="MONOGRAPHIC">Dictionary of National Biography</TITLE>, for which he edited the first twenty-six volumes and wrote many entries himself, giving up this work in <DATE VALUE="1890">1890</DATE> only because of exhaustion.<SCHOLARNOTE>When it was completed, the original <TITLE TITLETYPE="MONOGRAPHIC">Dictionary of National Biography</TITLE> consisted of sixty-three volumes and 29,120 biographical entries.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 72" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">72</BIBCIT></BIBCITS></SCHOLARNOTE> Stephen also wrote what Hermione Lee calls <QUOTE DIRECT="Y">vigorous lives</QUOTE> of <NAME STANDARD="Johnson, Samuel" REF="https://commons.cwrc.ca/orlando:6453330b-80b2-4de6-ae99-e284dc22dd75">Johnson</NAME>, <NAME STANDARD="Pope, Alexander" REF="https://commons.cwrc.ca/orlando:7bd29feb-f197-4fb5-bf53-8dd3f6574d59">Pope</NAME>, <NAME STANDARD="Swift, Jonathan" REF="https://commons.cwrc.ca/orlando:abbc23e2-04e3-4a8b-9882-b2babf75f0c0">Swift</NAME>, <NAME STANDARD="Hobbes, Thomas" REF="https://commons.cwrc.ca/orlando:9babf1db-2d21-4818-bb74-2cc45bdc176f">Hobbes</NAME>, and <NAME STANDARD="Eliot, George" REF="https://commons.cwrc.ca/orlando:dca30947-feee-44db-820e-bbcc21038396">George Eliot</NAME> for <NAME STANDARD="Morley, John" REF="https://commons.cwrc.ca/orlando:86ada37d-5158-4c6a-bba2-e1fa9a2c6779">John Morley</NAME>'s <TITLE TITLETYPE="SERIES">English Men of Letters</TITLE> series, as well as a series of essays published in the <TITLE TITLETYPE="JOURNAL" REG="Cornhill Magazine">Cornhill</TITLE> as <TITLE TITLETYPE="SERIES">Hours in a Library</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 70" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">70</BIBCIT> <BIBCIT PLACEHOLDER="ODNB under Leslie Stephen" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e">under Leslie Stephen</BIBCIT></BIBCITS> His work in biography (which he believed was an essential ingredient of history) had a powerfully formative influence in his daughter's development as a writer, and so did his intellectual courage. S. P. Rosenbaum, who writes that she <QUOTE DIRECT="Y">was, after all, the writer-father's writer-daughter,</QUOTE> also sees Leslie Stephen as <QUOTE DIRECT="Y">the father of that extended family of writers and artists which formed around his children and is now known as the Bloomsbury Group.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Rosenbaum 35" DBREF="37709" REF="https://commons.cwrc.ca/orlando:5ee6cbfd-f44d-4830-a91a-7a0a6b1aeee3">35</BIBCIT></BIBCITS> <NAME STANDARD="Gordon, Lyndall" REF="https://commons.cwrc.ca/orlando:2a7f45fb-915e-44ad-a99a-b50a64c2928b">Lyndall Gordon</NAME> (in her entry on Woolf in the <TITLE TITLETYPE="MONOGRAPHIC">Oxford Dictionary of National Biography</TITLE>) voices the suspicion that his <QUOTE DIRECT="Y">unorthodox tramps</QUOTE>, walks taken not on the path but across uncharted country, may have had even deeper influence.<BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS>Notwithstanding his great intellectual influence and major achievements—the <TITLE TITLETYPE="MONOGRAPHIC">Dictionary of National Biography</TITLE> is a lasting monument—Stephen thought himself a failure. He was morose and needy, plagued by an <QUOTE DIRECT="Y">obsession with his <SOCALLED>genius</SOCALLED> and his reputation.</QUOTE> His friend Henry James referred to his <QUOTE DIRECT="Y">ineffable and impossible taciturnity and dreariness.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 72, 94" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">72, 94</BIBCIT></BIBCITS>Stephen's sombre attitude was a consequence in part of his sad marital history. He married his first wife, <NAME STANDARD="Stephen, Harriet" REF="https://commons.cwrc.ca/orlando:6aac8b22-8e2a-453c-a004-77bbe05d624f">Harriet Marian (Minny) Thackeray</NAME> (younger daughter of <NAME STANDARD="Thackeray, William Makepeace" REF="https://commons.cwrc.ca/orlando:71a8743a-4705-4d4e-8ede-df06c173487f">William Makepeace Thackeray</NAME>, sister of Anne Thackeray Ritchie) in 1867. She bore him a daughter, <NAME STANDARD="Stephen, Laura" REF="https://commons.cwrc.ca/orlando:a45dc2e6-8982-4d35-85df-b13348edb6b9">Laura</NAME>, in <DATE VALUE="1870">1870</DATE>, but died in premature childbirth in <DATE VALUE="1875">1875</DATE>. Julia, whom he married in 1878, died in 1895.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 270" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">270</BIBCIT></BIBCITS><NAME STANDARD="Bell, Quentin" REF="https://commons.cwrc.ca/orlando:1898063e-bfed-48ec-9b81-067fc14d8651">Quentin Bell</NAME> writes that Stephen saw himself as <QUOTE DIRECT="Y">a skinless man, so nothing was to touch him save [Julia's] soothing and healing hand.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 1: 38" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">1: 38</BIBCIT></BIBCITS> Julia's children felt that <QUOTE DIRECT="Y">he wore her out with his demands for support.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 93" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">93</BIBCIT></BIBCITS> After her death, he demanded that Stella step into Julia's role in the household. He was <QUOTE DIRECT="Y">extortionate, melodramatic.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 132" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">132</BIBCIT></BIBCITS> When Stella married Jack Hills, he transferred his expectation of support to his next daughter. This permanently alienated Vanessa, but Virginia's feelings for him <QUOTE DIRECT="Y">survived the worst outrages of his performance as a widower.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 146" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">146</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="SELECTIVE1"><DATE VALUE="1904-02-22">22 February 1904</DATE> <CHRONPROSE><NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">Leslie Stephen</NAME>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s father, died of bowel cancer. He had become ill in 1900, and his slow decline was very hard on his children; Virginia's second serious bout of mental illness followed shortly afterwards.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 377" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">377</BIBCIT> <BIBCIT PLACEHOLDER="Lee 172" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">172</BIBCIT></BIBCITS></CHRONSTRUCT></DIV2></MEMBER><MEMBER RELATION="AUNT"><DIV2><SHORTPROSE>Of Leslie Stephen's relations, Virginia was closest to the writer <NAME STANDARD="Ritchie, Anne Thackeray" REF="https://commons.cwrc.ca/orlando:5f0f5485-d14f-4c47-8ee2-6493336c5cb7">Anne Thackeray Ritchie</NAME> (Minny Stephen's sister), and to <NAME STANDARD="Stephen, Caroline Emelia" REF="https://commons.cwrc.ca/orlando:678cb682-0896-4609-826f-dcdd695b8d08">Caroline Emelia Stephen</NAME> (Leslie's sister).<BIBCITS><BIBCIT PLACEHOLDER="Lee 66-8, 75-8" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">66-8, 75-8</BIBCIT></BIBCITS></SHORTPROSE></DIV2></MEMBER><MEMBER RELATION="SISTER"><DIV2><HEADING>Vanessa</HEADING><SHORTPROSE>Virginia and <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa</NAME> (<DATERANGE FROM="1879" TO="1961">1879-1961</DATERANGE>, the eldest of Leslie and Julia Stephen's children), were close to one another throughout their lives. In <TITLE TITLETYPE="ANALYTIC">A Sketch of the Past</TITLE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> recalls that after the death of their stepsister <NAME STANDARD="Duckworth, Stella" REF="https://commons.cwrc.ca/orlando:248b708f-15c8-437a-81be-567339ecb593">Stella</NAME> in <DATE VALUE="1897">1897</DATE> they became a <QUOTE DIRECT="Y">very close conspiracy. In that world of many men, coming and going, we formed our private nucleus.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 123" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">123</BIBCIT></BIBCITS> Growing up, both wished for independent artistic careers. In <DATE VALUE="1901">1901</DATE> Vanessa was admitted to the Painting School of the <ORGNAME REG="Royal Academy" STANDARD="Royal Academy" REF="https://commons.cwrc.ca/orlando:19674026-14d1-4bd4-ab86-a2341de937ec">Royal Academy of Arts</ORGNAME>; in <DATE VALUE="1905">1905</DATE> she <JOB REG="painter">exhibited for the first time</JOB> and also founded the <ORGNAME STANDARD="Friday Club" REF="https://commons.cwrc.ca/orlando:e435f424-71db-46fb-83e8-668cf879d1af">Friday Club</ORGNAME>, <QUOTE DIRECT="Y">a disparate group of artists, mainly women, for the purpose of discussion and exhibition of the members' work.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 22" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">22</BIBCIT></BIBCITS> In 1906, two days after her brother Thoby's death from typhoid fever, she agreed to marry <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME>. Their first child, <NAME STANDARD="Bell, Julian,, 1908 - 1937" REF="https://commons.cwrc.ca/orlando:69af7417-5078-4267-8023-9743eda824a9">Julian Thoby Bell</NAME>, was born in <DATE VALUE="1908">1908</DATE>, their second, <NAME STANDARD="Bell, Quentin" REF="https://commons.cwrc.ca/orlando:1898063e-bfed-48ec-9b81-067fc14d8651">Quentin</NAME>, in <DATE VALUE="1910">1910</DATE>. In <DATE VALUE="1912">1912</DATE> Vanessa exhibited at the second Post-Impressionist Exhibition, and a year later became, with <NAME STANDARD="Fry, Roger" REF="https://commons.cwrc.ca/orlando:497e19ff-a249-42db-9c66-32a00759ed93">Roger Fry</NAME> and <NAME STANDARD="Grant, Duncan" REF="https://commons.cwrc.ca/orlando:20a5e999-ebbc-49a7-954a-c04841ebe7d6">Duncan Grant</NAME>, a director of the <ORGNAME STANDARD="Omega Workshops" REF="https://commons.cwrc.ca/orlando:d4c5b01b-63d1-4dcf-a5b7-2d4ab701b2ec">Omega Workshops</ORGNAME>. In <DATE VALUE="1916">1916</DATE> she moved to <PLACE><PLACENAME REG="Charleston Farmhouse">Charleston</PLACENAME><SETTLEMENT REG="Charleston"/> in <REGION>Sussex</REGION><GEOG REG="England"/></PLACE> to live with Duncan Grant and <NAME STANDARD="Garnett, David" REF="https://commons.cwrc.ca/orlando:e051949f-7d8c-470b-8fc0-391c48702b1b">David Garnett</NAME>. <NAME STANDARD="Bell, Angelica" REF="https://commons.cwrc.ca/orlando:3310c271-959b-4b2b-aa6d-48068dfb19d2">Angelica</NAME>, her third child (with Grant, though her husband, Clive Bell, was represented as the father), was born in <DATE VALUE="1918">1918</DATE>.The two sisters were artistic collaborators: Vanessa designed the dustjackets for all of Woolf's books after <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE> in 1922 except <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE> and <TITLE TITLETYPE="MONOGRAPHIC">A Letter to a Young Poet</TITLE>, and for many other books besides.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 23" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">23</BIBCIT></BIBCITS>Though Virginia loved her sister deeply and longed for her acceptance and approval, she was at some level envious of Vanessa's marriage and motherhood. She began an intense flirtation with Clive Bell after Julian was born, beginning in <DATE VALUE="1908-02">February 1908</DATE>.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 17, 23" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">17, 23</BIBCIT></BIBCITS></SHORTPROSE></DIV2></MEMBER><MEMBER RELATION="BROTHER"><DIV2><HEADING>Thoby</HEADING><SHORTPROSE>Virginia's elder brother, Thoby (1880-1906), was confident, talented, charming, and very important to her. At <ORGNAME REG="Trinity College,, Cambridge University" STANDARD="Trinity College,, Cambridge University" REF="https://commons.cwrc.ca/orlando:4bea16a2-9823-426a-9262-b588e2731387">Trinity College, Cambridge</ORGNAME>, he developed a circle of friends who were to be the core of the Bloomsbury Group. These included Leonard Woolf, whom Virginia met through him. <NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby</NAME> died of typhoid fever in <DATE VALUE="1906-11-20">November 1906</DATE>. In <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE>, 1922, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> movingly evokes his memory and merges her personal loss of her brother with the wider loss of thousands of young men in the First World War. Her memories of Thoby also went into the creation of Percival in <TITLE TITLETYPE="MONOGRAPHIC">The Waves</TITLE>, 1931. When Vanessa read this novel, she wrote to Virginia: <QUOTE DIRECT="Y">if you wouldn't think me foolish I should say that you have found the <QUOTE DIRECT="N">lullaby capable of singing him to rest.</QUOTE></QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 273" DBREF="14649" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">273</BIBCIT></BIBCITS></SHORTPROSE></DIV2></MEMBER><MEMBER RELATION="BROTHER"><DIV2><HEADING>Adrian</HEADING><SHORTPROSE><NAME STANDARD="Stephen, Adrian" REF="https://commons.cwrc.ca/orlando:b0c6f0c6-b1a1-48d3-b7fb-693f69cba8d9">Adrian</NAME> (1883-1948) was the youngest Stephen child. After Vanessa's marriage he lived with Virginia at 29 Fitzroy Square, then moved with her to 38 Brunswick Square. Like Thoby, he studied at <ORGNAME REG="Trinity College,, Cambridge University" STANDARD="Trinity College,, Cambridge University" REF="https://commons.cwrc.ca/orlando:4bea16a2-9823-426a-9262-b588e2731387">Trinity College, Cambridge</ORGNAME>, where he read law. He later studied medicine and in <DATE VALUE="1926">1926</DATE> qualified as a <JOB>psychiatrist</JOB>. It was he who, with <NAME STANDARD="Cole, Horace" REF="https://commons.cwrc.ca/orlando:f6a2deaa-f521-4363-bf2c-3144d4026bc1">Horace Cole</NAME>, concocted the <RS TYPE="ship">Dreadnought</RS> Hoax. During the First World War, he argued (unsuccessfully) on behalf of the conscientious objectors <NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME>, <NAME STANDARD="Grant, Duncan" REF="https://commons.cwrc.ca/orlando:20a5e999-ebbc-49a7-954a-c04841ebe7d6">Duncan Grant</NAME>, and <NAME STANDARD="Garnett, David" REF="https://commons.cwrc.ca/orlando:e051949f-7d8c-470b-8fc0-391c48702b1b">David Garnett</NAME>. He was a <SIGNIFICANTACTIVITY REG="pacifist">politically active pacifist</SIGNIFICANTACTIVITY> who worked in the <ORGNAME STANDARD="No-Conscription Fellowship" REF="https://commons.cwrc.ca/orlando:7676bb6b-757a-460c-b31d-80ee5e644861">No-Conscription Fellowship</ORGNAME> and the <ORGNAME STANDARD="National Council for Civil Liberties" REG="Liberty" REF="https://commons.cwrc.ca/orlando:5631a9e4-e088-482f-87fd-72e8bd0fb1e9">National Council for Civil Liberties</ORGNAME>. Before the Second World War he was actively <SIGNIFICANTACTIVITY REG="political activist">anti-fascist</SIGNIFICANTACTIVITY>, and Hussey reports that <QUOTE DIRECT="Y">he alerted the Woolfs to the savagery of the <ORGNAME REG="Nazis" STANDARD="Nazis" REF="https://commons.cwrc.ca/orlando:c2d38310-aef8-4e7e-b169-5b0745abd411">Nazis</ORGNAME> and provided them with enough morphine for suicide should the Nazis invade England.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 263-4" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">263-4</BIBCIT></BIBCITS></SHORTPROSE></DIV2></MEMBER><MEMBER RELATION="NEPHEW"><DIV2><HEADING>Quentin Bell</HEADING><SHORTPROSE><NAME STANDARD="Bell, Quentin" REF="https://commons.cwrc.ca/orlando:1898063e-bfed-48ec-9b81-067fc14d8651">Quentin Bell</NAME>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s younger nephew, many years later became his aunt's biographer and editor. In a preface to a general-interest booklet, he wrote that among his <QUOTE DIRECT="Y">fairly large collection of aunts and uncles,</QUOTE> many of them a pleasure for him and his brother to visit, the Woolfs were special. <QUOTE DIRECT="Y">Hogarth House was a treat</QUOTE> for schoolboys, where Leonard's dry humour and Virginia's <QUOTE DIRECT="Y">fantastic sallies</QUOTE>, perfect foils to each other, provided <QUOTE DIRECT="Y">enchantment of a more splendid kind</QUOTE> than the cinema.<BIBCITS><BIBCIT PLACEHOLDER="Bell, preface 1991, 3" DBREF="37805" REF="https://commons.cwrc.ca/orlando:034d8d34-a0e7-424e-a762-47d7f47713fd">3</BIBCIT></BIBCITS> Bell continued: <QUOTE DIRECT="Y">The person who called Bloomsbury <SOCALLED>Gloomsbury</SOCALLED> cannot have known Virginia. Her laughter made a paradise of Richmond.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Bell, preface 1991, 4" DBREF="37805" REF="https://commons.cwrc.ca/orlando:034d8d34-a0e7-424e-a762-47d7f47713fd">4</BIBCIT></BIBCITS></SHORTPROSE></DIV2></MEMBER><DIV2><HEADING>Step-siblings</HEADING><SHORTPROSE><NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">Leslie Stephen</NAME>'s daughter from his previous marriage, <NAME STANDARD="Stephen, Laura" REF="https://commons.cwrc.ca/orlando:a45dc2e6-8982-4d35-85df-b13348edb6b9">Laura</NAME> (<DATERANGE FROM="1868" TO="1934">1868-1934</DATERANGE>), suffered from some form of mental disability and lived most of her life in institutions.<BIBCITS><BIBCIT PLACEHOLDER="Lee 74" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">74</BIBCIT></BIBCITS> <NAME STANDARD="Stephen, Julia" REF="https://commons.cwrc.ca/orlando:3c546ede-7aa0-4bda-8b21-f9a0576f267c">Julia Stephen</NAME> had three children from her first marriage: George, Stella, and Gerald Duckworth. Both Duckworth brothers were educated at <ORGNAME REG="Eton College" STANDARD="Eton College" REF="https://commons.cwrc.ca/orlando:c871a86f-f3de-425c-a02a-583594e92777">Eton</ORGNAME> and <ORGNAME REG="Cambridge University" STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge</ORGNAME>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 120-1" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">120-1</BIBCIT></BIBCITS></SHORTPROSE></DIV2><MEMBER RELATION="STEPSISTER"><DIV2><HEADING>Stella</HEADING><SHORTPROSE>Virginia and Vanessa had deep affection for their half-sister <NAME STANDARD="Duckworth, Stella" REF="https://commons.cwrc.ca/orlando:248b708f-15c8-437a-81be-567339ecb593">Stella</NAME> (<DATERANGE FROM="1869" TO="1897">1869-97</DATERANGE>), who seems not to have shared her brothers' fixation on <SOCALLED>society</SOCALLED> and who was closely attached to her mother. After Julia's death, Stella, then twenty-six, assumed the maternal role in relation to the Stephen children and faithfully looked after the extravagantly grieving Leslie. Lyndall Gordon calls her <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <QUOTE DIRECT="Y">half-sister and surrogate mother.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> When she accepted a proposal of marriage from John Waller Hills in 1896, Leslie made it clear that he felt abandoned. Stella died three months after her marriage.<BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> <SCHOLARNOTE>The cause of her death is uncertain. She had been diagnosed with peritonitis, but other conditions have been suggested.<BIBCITS><BIBCIT PLACEHOLDER="Lee 139" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">139</BIBCIT></BIBCITS> Lyndall Gordon says she was pregnant.</SCHOLARNOTE> Lee writes that Virginia and Vanessa thought of Stella's sad life <QUOTE DIRECT="Y">as the epitome of <QUOTE DIRECT="N">all the old abuses</QUOTE> and vices of the family system.</QUOTE> It became <QUOTE DIRECT="Y">the basis for Virginia Woolf's analysis of the tyranny and hypocrisy of the Victorian fathers.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 136, 138" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">136, 138</BIBCIT></BIBCITS></SHORTPROSE></DIV2></MEMBER><MEMBER RELATION="STEPBROTHER"><DIV2><HEADING>George</HEADING><SHORTPROSE>The eldest of Julia's children from her first marriage, <NAME STANDARD="Duckworth, George" REF="https://commons.cwrc.ca/orlando:e0e00419-a55d-44d3-ac2f-87cd59f87304">George Duckworth</NAME> (<DATERANGE FROM="1868" TO="1934">1868-1934</DATERANGE>), was ten when his mother married <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s father. He grew into a conservative young man and a social climber. After Julia's death, when Leslie Stephen was enacting <QUOTE DIRECT="Y">his pitiable histrionics</QUOTE>,<BIBCITS><BIBCIT PLACEHOLDER="Lee 133" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">133</BIBCIT></BIBCITS> George became the Stephen girls' <QUOTE DIRECT="Y">unofficial guardian</QUOTE>,<BIBCITS><BIBCIT PLACEHOLDER="Lee 151" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">151</BIBCIT></BIBCITS> responsible for their social education.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 75" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">75</BIBCIT></BIBCITS> He insisted on bringing Virginia and Vanessa into his <SOCALLED>fashionable</SOCALLED> London society. Virginia in particular was forced to endure unpleasant and humiliating social occasions for which she had no taste. Lyndall Gordon writes that at these events she <QUOTE DIRECT="Y">would know and speak to nobody all evening and would stand, crushed by the crowd, against the wall. On one occasion she managed to read Tennyson behind a curtain.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> Both Virginia and <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa</NAME> bitterly resented George for forcing on them his own values and lifestyle, and for his insensitivity about the financial difference between them. (During this period he had an annual income of £1,000 while they had annual allowances of £50 each.) In <TITLE TITLETYPE="ANALYTIC">A Sketch of the Past</TITLE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> calls this time the <QUOTE DIRECT="Y">Greek slave years</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 106" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">106</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Moments 131" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">131</BIBCIT></BIBCITS>George and his brother Gerald also abused Virginia sexually.</SHORTPROSE></DIV2></MEMBER></FAMILY></DIV1><DIV1><VIOLENCE><DIV2><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="IMG"><DATE VALUE="1900-01" CERTAINTY="AFTER">From about 1900</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> endured the sexual aggression of her half-brother <NAME STANDARD="Duckworth, George" REF="https://commons.cwrc.ca/orlando:e0e00419-a55d-44d3-ac2f-87cd59f87304">George Duckworth</NAME>. After returning from the <SOCALLED>fashionable</SOCALLED> balls and parties he escorted her to, he would pursue her into her bedroom and fondle her.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 153-4" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">153-4</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Moments 133" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">133</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>After Julia's and Stella's deaths, writes Lyndall Gordon, <QUOTE DIRECT="Y">there was no controlling George . . . who would prowl by night, and pounce.</QUOTE> At the same time: <QUOTE DIRECT="Y">Shame and Victorian proprieties forbade mention of this.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/> <BIBCIT PLACEHOLDER="Lee 158" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">158</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1903-09">September 1903</DATE> <CHRONPROSE>As <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME>'s <NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">father</NAME> was dying, Virginia's half-brother <NAME STANDARD="Duckworth, George" REF="https://commons.cwrc.ca/orlando:e0e00419-a55d-44d3-ac2f-87cd59f87304">George Duckworth</NAME> fondled her several times in a manner that amounted to sexual assault.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 3" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">3</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> described the incidents much later in <TITLE TITLETYPE="ANALYTIC">22 Hyde Park Gate</TITLE>, 1921, and <TITLE TITLETYPE="ANALYTIC">Old Bloomsbury</TITLE>, 1922, both talks prepared for her friends in the <ORGNAME STANDARD="Memoir Club" REF="https://commons.cwrc.ca/orlando:d778d29e-657c-48b7-baab-7cb6867d9d1b">Memoir Club</ORGNAME>. She also wrote about them to Vanessa.<BIBCITS><BIBCIT PLACEHOLDER="Lee 153-9" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">153-9</BIBCIT></BIBCITS>Mark Hussey writes that the <QUOTE DIRECT="Y">incest that Woolf suffered has been variously euphemized by several of her biographers and other critics.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 75" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">75</BIBCIT></BIBCITS> Hermione Lee, who sees George as one of the tyrants in <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s childhood, finds the evidence of sexual abuse both <QUOTE DIRECT="Y">strong</QUOTE> and <QUOTE DIRECT="Y">ambiguous</QUOTE>. Though the events remain hazy, <QUOTE DIRECT="Y">Virginia Woolf herself thought that what had been done to her was very damaging.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 158" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">158</BIBCIT></BIBCITS>Critic <NAME STANDARD="DeSalvo, Louise" REF="https://commons.cwrc.ca/orlando:f6f8f242-f6ab-4ac9-bc98-54696cb20de3">Louise DeSalvo</NAME> writes that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was <QUOTE DIRECT="Y">a sexually abused child; she was an incest survivor.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="DeSalvo, Impact 1" DBREF="38170" REF="https://commons.cwrc.ca/orlando:172c1bcb-91e1-45da-9718-a41b130e871a">1</BIBCIT></BIBCITS></SHORTPROSE></DIV2></VIOLENCE></DIV1><DIV1><FAMILY><MEMBER RELATION="STEPBROTHER"><DIV2><HEADING>Gerald</HEADING><SHORTPROSE><NAME STANDARD="Duckworth, Gerald" REF="https://commons.cwrc.ca/orlando:a790547e-89d4-4111-9513-dae24783c12e">Gerald Duckworth</NAME> (<DATERANGE FROM="1870" TO="1937">1870-1937</DATERANGE>) established the firm that became <ORGNAME REG="Duckworth" STANDARD="Duckworth" REF="https://commons.cwrc.ca/orlando:532f6241-c9bf-4178-8816-b97213738dc3">Duckworth &amp; Co.</ORGNAME>, publishers. He published <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s first two novels, <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE>, 1915, and <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE>, 1919.</SHORTPROSE></DIV2></MEMBER></FAMILY></DIV1><DIV1><VIOLENCE><DIV2><SHORTPROSE>In <TITLE TITLETYPE="ANALYTIC">A Sketch of the Past</TITLE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> describes Gerald molesting her as a very small child. He was, as Lee writes, <QUOTE DIRECT="Y">the first culprit in the distressing and contentious matter of Virginia Stephen's abuse as a child.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 124" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">124</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATESTRUCT CERTAINTY="C" VALUE="1888-07"><SEASON>Summer</SEASON> <YEAR>1888</YEAR></DATESTRUCT> <CHRONPROSE>The six-year-old <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) was sexually abused by her half-brother <NAME STANDARD="Duckworth, Gerald" REF="https://commons.cwrc.ca/orlando:a790547e-89d4-4111-9513-dae24783c12e">Gerald Duckworth</NAME>, who was then eighteen. He left her with lasting feelings of shame.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 125-6" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">125-6</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> did not discuss this incident specifically until the last years of her life. <NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME>, who considers the matter as fully as possible, argues that <QUOTE DIRECT="Y">it would be rash to ignore or belittle the damage done to her sense of herself, at this moment, by the much older half-brother's predatory intrusion.</QUOTE> She sees in <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s representations of childhood a recurrent <QUOTE DIRECT="Y">moment of fear or shame or panic, the image of a safe private world being invaded, often with the strong sense of sexual threat.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 127" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">127</BIBCIT></BIBCITS></SHORTPROSE></DIV2></VIOLENCE></DIV1><DIV1><HEADING>Childhood and the End of Childhood</HEADING><LOCATION RELATIONTO="VISITED"><DIV2><HEADING>First Places</HEADING><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s imagination attached richly to place. In a well-known passage of <TITLE TITLETYPE="ANALYTIC">A Sketch of the Past</TITLE>, she identifies her earliest memory of <PLACE><REGION>Cornwall</REGION><GEOG REG="England"/></PLACE> as the foundation of her consciousness. If life, she says, is <QUOTE DIRECT="Y">a bowl that one fills and fills and fills—then my bowl without a doubt stands upon this memory,</QUOTE> and with that memory of rich, sharp early consciousness, comes also <QUOTE DIRECT="Y">the purest ecstasy I can conceive.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 64-5" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">64-5</BIBCIT></BIBCITS> Leslie Stephen came upon <PLACE><PLACENAME>Talland House</PLACENAME> at <SETTLEMENT>St Ives</SETTLEMENT> in <REGION>Cornwall</REGION><GEOG REG="England"/></PLACE> while he was on a walking tour in <DATE VALUE="1882">1882</DATE>. It had <QUOTE DIRECT="Y">a perfect view across the sea to <PLACE><PLACENAME REG="Godrevy Lighthouse">Godrevy lighthouse</PLACENAME><SETTLEMENT REG="St Ives"/><REGION REG="Cornwall"/><GEOG REG="England"/></PLACE>.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> He rented it, and the family spent summer holidays there until the early 1890s.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 1" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">1</BIBCIT></BIBCITS> The house, the sea, and the lighthouse provide the setting for <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s best-known novel, <TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE>. <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> returned to Cornwall, physically and imaginatively, many times in her life.</SHORTPROSE></DIV2></LOCATION><LOCATION RELATIONTO="LIVED"><DIV2><SHORTPROSE>Virginia grew up in the house at 22 Hyde Park Gate. This is where the Stephen and Duckworth families lived together until Leslie Stephen's death. <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> remembered the tall, narrow house of her childhood as <QUOTE DIRECT="Y">tangled and matted with emotion.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 35" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">35</BIBCIT></BIBCITS></SHORTPROSE></DIV2></LOCATION></DIV1><DIV1><FAMILY><DIV2><HEADING>First Interests</HEADING><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s early childhood was full of interests and activities, most shared with her siblings. They played cricket and charades, did photography, swam, went moth hunting. These childhood entertainments return in VW's imaginative writing, which is built so substantially on memory. Moth-hunting, which she associated with Thoby, <QUOTE DIRECT="Y">most haunted her imagination,</QUOTE> writes Hermione Lee.<BIBCITS><BIBCIT PLACEHOLDER="Lee 31, 32" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">31, 32</BIBCIT></BIBCITS> At least equally important was Virginia's early story-telling and writing.</SHORTPROSE></DIV2></FAMILY></DIV1><DIV1><HEALTH ISSUE="MENTAL"><DIV2><HEADING>Early <SOCALLED>Breakdowns</SOCALLED></HEADING><SHORTPROSE>This childhood suffered a series of heavy blows. Virginia's early sexual molestation was followed by a series of terrible deaths: her mother's, when she was thirteen; Stella's, when she was fifteen. These losses, suffered when she was moving from childhood to adolescence, were followed, when she was in her early twenties, by her father's and Thoby's deaths. After her mother's death, Virginia had, by her own account in <TITLE TITLETYPE="UNPUBLISHED">Sketch made in summer 1939</TITLE>, <QUOTE DIRECT="Y">my first <SOCALLED>breakdown</SOCALLED></QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 178" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">178</BIBCIT></BIBCITS> She was troubled by a racing pulse and complex feelings of numbness, confusion, and anger; she spent two years in (again her own words) <QUOTE DIRECT="Y">a state of physical distress.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 178" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">178</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1897-07-19">19 July 1897</DATE> <CHRONPROSE>The recently married <NAME STANDARD="Duckworth, Stella" REF="https://commons.cwrc.ca/orlando:248b708f-15c8-437a-81be-567339ecb593">Stella Duckworth</NAME>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s half-sister, died at the age of twenty-eight.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 2" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">2</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE> Later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> felt that this loss was in some ways worse than her mother's. Lee writes that her <QUOTE DIRECT="Y">irritability in her 1897 journal, her nervousness and her attacks of the <SOCALLED>fidgets</SOCALLED>, can be read as symptoms of her illness.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 177" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">177</BIBCIT></BIBCITS>Shortly after the death of her <NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">father</NAME> in <DATE VALUE="1904-05">May 1904</DATE>, Virginia Stephen experienced a second and more serious nervous breakdown. She was nursed for nearly three months at the home of her friend <NAME STANDARD="Dickinson, Violet" REF="https://commons.cwrc.ca/orlando:45ef0a4f-a6b8-4238-aa7f-4274acd6e362">Violet Dickinson</NAME>, where she attempted suicide. The suicide attempt, this time jumping out of a window, was the first of several.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 4" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">4</BIBCIT> <BIBCIT PLACEHOLDER="Gordon 51" DBREF="16051" REF="https://commons.cwrc.ca/orlando:9846a647-4032-4c55-bb84-2540290054ff">51</BIBCIT> <BIBCIT PLACEHOLDER="Lee 178" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">178</BIBCIT></BIBCITS></SHORTPROSE></DIV2></HEALTH></DIV1><DIV1><EDUCATION MODE="DOMESTIC"><DIV2><HEADING>Education</HEADING><SHORTPROSE>Virginia Woolf was educated at home. As a very young girl, she was tutored by her <INSTRUCTOR><NAME STANDARD="Stephen, Julia" REF="https://commons.cwrc.ca/orlando:3c546ede-7aa0-4bda-8b21-f9a0576f267c">mother</NAME></INSTRUCTOR> in <SUBJECT>Latin</SUBJECT>, <SUBJECT>French</SUBJECT>, and <SUBJECT>history</SUBJECT>. When she was between thirteen and fifteen, her <INSTRUCTOR><NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">father</NAME></INSTRUCTOR> gave her lessons for two hours every day. She learned some <SUBJECT REG="mathematics">maths</SUBJECT> and <SUBJECT>German</SUBJECT> from him. Virginia and <COMPANION><NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa</NAME></COMPANION> also (unhappily) studied <SUBJECT>singing</SUBJECT>, <SUBJECT>dancing</SUBJECT>, <SUBJECT>piano</SUBJECT>, and <SOCALLED>graceful deportment</SOCALLED> with outside teachers.<BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/> <BIBCIT PLACEHOLDER="Rosenbaum 33, 32" DBREF="37709" REF="https://commons.cwrc.ca/orlando:5ee6cbfd-f44d-4830-a91a-7a0a6b1aeee3">33, 32</BIBCIT> <BIBCIT PLACEHOLDER="Bell 1: 26-8" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">1: 26-8</BIBCIT></BIBCITS></SHORTPROSE></DIV2></EDUCATION><EDUCATION MODE="SELF-TAUGHT"><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1897-01" CERTAINTY="BY">By January 1897</DATE> <CHRONPROSE>Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) was reading widely and almost without restriction in her <NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">father</NAME>'s library. This was to have a profound impact on her creative and critical work.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 1: 50-1" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">1: 50-1</BIBCIT> <BIBCIT PLACEHOLDER="Bishop 1" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">1</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Both Virginia and Vanessa felt that they were uneducated, and <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> <QUOTE DIRECT="Y">felt intellectually deprived,</QUOTE> regretting all her life that <QUOTE DIRECT="Y">she had never competed with other children.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Rosenbaum 32-3" DBREF="37709" REF="https://commons.cwrc.ca/orlando:5ee6cbfd-f44d-4830-a91a-7a0a6b1aeee3">32-3</BIBCIT></BIBCITS> She also, however, commented caustically on the <QUOTE DIRECT="Y">advantage</QUOTE> of the custom <QUOTE DIRECT="Y">which allows the daughter to educate herself at home, while the son is educated by others abroad.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 84" DBREF="14649" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">84</BIBCIT></BIBCITS> <SCHOLARNOTE>She wrote this in an unpublished review of <TITLE TITLETYPE="MONOGRAPHIC">Euphrosyne</TITLE>, privately printed in 1905, a collection of poems by her brother Thoby Stephen and various male friends. The review is printed in an appendix to the first volume of Quentin Bell, <TITLE TITLETYPE="MONOGRAPHIC">Virginia Woolf: A Biography</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 84" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">84</BIBCIT> <BIBCIT PLACEHOLDER="Bell 1: 205-6" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">1: 205-6</BIBCIT></BIBCITS></SCHOLARNOTE> <TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE> suggests how deeply ironic such comment was. <NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> is unequivocal about the reason why <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> did not go to school: <QUOTE DIRECT="Y">she was uneducated because [her father] did not want to spend the money on her.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 148" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">148</BIBCIT></BIBCITS> While the pounds went into Thoby's and Adrian's education funds, their sister constructed her own curriculum. Allowed uncensored access to her father's library, she made rich use of it. <NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">Leslie Stephen</NAME> once commented to himself that <QUOTE DIRECT="Y">Ginia is devouring books, almost faster than I like.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 1: 51" DBREF="16052" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">1: 51</BIBCIT></BIBCITS> Her habit of voracious reading, continued throughout her life, came from here, as did the foundation of an intellectual independence so powerful as to redefine not only modern fiction but also the conventions governing the literary representation of women. <NAME STANDARD="Gordon, Lyndall" REF="https://commons.cwrc.ca/orlando:2a7f45fb-915e-44ad-a99a-b50a64c2928b">Lyndall Gordon</NAME> observes that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <QUOTE DIRECT="Y">bookishness drew her closer to her father than his other children were.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS><DATERANGE FROM="1897-01-01" TO="1897-06-30" EXACT="BOTH">Between 1 January and 30 June 1897</DATERANGE>, her reading included but was not limited to the following: <TEXT><NAME STANDARD="Brontë, Charlotte" REF="https://commons.cwrc.ca/orlando:a017e41e-6e1c-4c16-a575-82d25f7ec038">Charlotte Brontë</NAME></TEXT>, <TEXT><NAME STANDARD="Barlow, Nora" REF="https://commons.cwrc.ca/orlando:3fc200ea-707b-4aa9-97d6-db4a32ce68b1">Lady Barlow</NAME></TEXT> (a commentator on <NAME STANDARD="Darwin, Charles" REF="https://commons.cwrc.ca/orlando:27138ed6-2764-42e6-83e4-29f4f0ba632b">Charles Darwin</NAME>), <TEXT><NAME STANDARD="Craik, Dinah Mulock" REF="https://commons.cwrc.ca/orlando:bc0b4602-079d-4493-a008-038bc1b9da8a">Dinah Mulock Craik</NAME></TEXT>, <TEXT><NAME STANDARD="Eliot, George" REF="https://commons.cwrc.ca/orlando:dca30947-feee-44db-820e-bbcc21038396">George Eliot</NAME></TEXT>, <TEXT><NAME STANDARD="Arnold, Thomas,, 1795 - 1842" REF="https://commons.cwrc.ca/orlando:3d557285-c08a-4729-9093-ebf32b1f9227">Thomas Arnold</NAME></TEXT>, <TEXT><NAME STANDARD="Carlyle, Thomas" REF="https://commons.cwrc.ca/orlando:6064afb9-0af9-4f06-b20c-2551813c1fe9">Thomas Carlyle</NAME></TEXT>, <TEXT><NAME STANDARD="Dickens, Charles" REF="https://commons.cwrc.ca/orlando:294ea13f-024b-461c-a598-011e649b35fa">Charles Dickens</NAME></TEXT>, <TEXT><NAME STANDARD="James, Henry" REF="https://commons.cwrc.ca/orlando:6695041d-35b1-45ba-b37d-f328ecee9471">Henry James</NAME></TEXT>, <TEXT><NAME STANDARD="Macaulay, Thomas Babington,,, first Baron" REF="https://commons.cwrc.ca/orlando:0e7b537a-3847-4959-af1c-6814a2986b18">Thomas Macaulay</NAME></TEXT>, <TEXT><NAME STANDARD="Pepys, Samuel" REF="https://commons.cwrc.ca/orlando:f6898547-02b0-4675-a7e4-8c027b0028c4">Samuel Pepys</NAME></TEXT>, <TEXT><NAME STANDARD="Thackeray, William Makepeace" REF="https://commons.cwrc.ca/orlando:71a8743a-4705-4d4e-8ede-df06c173487f">William Thackeray</NAME></TEXT>, and <TEXT><NAME STANDARD="Trollope, Anthony" REF="https://commons.cwrc.ca/orlando:7458edaa-ca8f-4926-b683-ac0254645c07">Anthony Trollope</NAME></TEXT>.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 1-2" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">1-2</BIBCIT></BIBCITS> She was also absorbed in <TEXT><NAME STANDARD="Hakluyt, Richard" REF="https://commons.cwrc.ca/orlando:c93e2e05-549a-4abf-bd04-51f60d409f73">Richard Hakluyt</NAME>'s Elizabethan adventure texts</TEXT> this year: this work would be back in her consciousness when she wrote <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 142, 404" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">142, 404</BIBCIT></BIBCITS></SHORTPROSE></DIV2></EDUCATION><EDUCATION MODE="INSTITUTIONAL"><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1897-10">October 1897</DATE> <CHRONPROSE>Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) began studying <SUBJECT>Latin</SUBJECT> and <SUBJECT>classics</SUBJECT> with Dr <INSTRUCTOR><NAME STANDARD="Warr, George" REF="https://commons.cwrc.ca/orlando:de0fd9a0-e62c-4927-acc9-4e7213c7736d">George Warr</NAME></INSTRUCTOR> at the <PLACE><SETTLEMENT CURRENT="London">Kensington</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> Ladies' Department of <SCHOOL STUDENTBODY="SINGLESEX" INSTITUTIONLEVEL="POST-SECONDARY" REG="King's College,, University of London"><ORGNAME STANDARD="King's College,, University of London" REG="King's College,, University of London" REF="https://commons.cwrc.ca/orlando:6d1cdfb9-7813-4a81-96bc-fa76e431b944">King's College, London</ORGNAME></SCHOOL>. She did not take the exams, however.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 2" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">2</BIBCIT> <BIBCIT PLACEHOLDER="Lee 143" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">143</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1898-09">September 1898</DATE> <CHRONPROSE>Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) began attending <SUBJECT>Latin</SUBJECT> classes taught by <INSTRUCTOR><NAME STANDARD="Pater, Clara" REF="https://commons.cwrc.ca/orlando:5199cc68-7550-4382-98d4-704a99417830">Clara Pater</NAME></INSTRUCTOR> (sister of <NAME STANDARD="Pater, Walter" REF="https://commons.cwrc.ca/orlando:545b772a-c106-4657-8e48-19416441512d">Walter</NAME>). They began on <SUBJECT>Greek</SUBJECT> in 1899, and it seems that the following year Virginia switched to private lessons.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Meisel 17 and n25" DBREF="37726" REF="https://commons.cwrc.ca/orlando:202e6fe2-2ed6-4c51-a8d3-c18835a84c7a">17 andn25</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Virginia read <TEXT><NAME STANDARD="Æschylus" REF="https://commons.cwrc.ca/orlando:ce31191a-8f79-41a7-b181-1347a974d99a">Aeschylus</NAME></TEXT>, <TEXT><NAME STANDARD="Homer" REF="https://commons.cwrc.ca/orlando:4f4ea353-9796-4001-bd7b-f674eaea6937">Homer</NAME></TEXT>, <TEXT><NAME STANDARD="Sophocles" REF="https://commons.cwrc.ca/orlando:caa3bc3f-e2e1-4d88-b814-1c6965fa5845">Sophocles</NAME></TEXT>, and <TEXT><NAME STANDARD="Plato" REF="https://commons.cwrc.ca/orlando:de53aa37-7bd8-40ee-8fc0-9a47ab615c77">Plato</NAME></TEXT>, among others, with Clara Pater. In 1902, however, the Cambridge-educated <INSTRUCTOR><NAME STANDARD="Case, Janet" REF="https://commons.cwrc.ca/orlando:763d21e4-12a5-4c1c-b66d-70e27b6fa67f">Janet Case</NAME></INSTRUCTOR>, who was a feminist as well as a classicist, took over as tutor, and with her Virginia learned to read difficult texts not only with great rigour but also with appreciation and pleasure.<BIBCITS><BIBCIT PLACEHOLDER="Meisel 21" DBREF="37726" REF="https://commons.cwrc.ca/orlando:202e6fe2-2ed6-4c51-a8d3-c18835a84c7a">21</BIBCIT> <BIBCIT PLACEHOLDER="Lee 143-4" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">143-4</BIBCIT></BIBCITS>Nevertheless, Virginia continued to feel her educational isolation, especially after her brother Thoby had gone up to Cambridge. <QUOTE DIRECT="Y">Theres nothing like talk as an educator I'm sure,</QUOTE> she wrote to him.<BIBCITS><BIBCIT PLACEHOLDER="Lee 145" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">145</BIBCIT></BIBCITS> <SCHOLARNOTE>In handwriting Woolf often omits apostrophes.</SCHOLARNOTE> Like many of her female contemporaries, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> longed to go to university. To a certain extent she participated in university life through Thoby, to whom she wrote about literary matters and who, she said in <TITLE TITLETYPE="MONOGRAPHIC">Moments of Being</TITLE>, <QUOTE DIRECT="Y">first told me—handing it on as something worth knowing—about the Greeks.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 108" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">108</BIBCIT></BIBCITS> She said later that the intense and rigorous talk of the early <ORGNAME STANDARD="Bloomsbury Group" REF="https://commons.cwrc.ca/orlando:ebe15f44-cc19-46d2-937d-8287edb20a7f">Bloomsbury Group</ORGNAME> meetings gave her an understanding of the experience of undergraduates. Nevertheless her exclusion from university later figured prominently in <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s writing, and she identified access to higher education and the professions as the necessary condition of women's development.</SHORTPROSE></DIV2></EDUCATION></DIV1><DIV1><HEADING>Early Women Friends</HEADING><FRIENDSASSOCIATES><DIV2><SHORTPROSE>Virginia's tutor <NAME STANDARD="Case, Janet" REF="https://commons.cwrc.ca/orlando:763d21e4-12a5-4c1c-b66d-70e27b6fa67f">Janet Case</NAME> became her lifelong friend.<BIBCITS><BIBCIT PLACEHOLDER="Lee 143-4" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">143-4</BIBCIT></BIBCITS> In her late teens she had an array of female friends of ten to twenty years older than herself: <NAME STANDARD="Dickinson, Violet" REF="https://commons.cwrc.ca/orlando:45ef0a4f-a6b8-4238-aa7f-4274acd6e362">Violet Dickinson</NAME>, philanthropic Quaker, <NAME STANDARD="Maxse, Kitty" REF="https://commons.cwrc.ca/orlando:8dc541ee-3723-45f4-8e17-225072a49eac">Kitty Maxse</NAME>, Kensington hostess, <NAME STANDARD="Cecil, Eleanor" REF="https://commons.cwrc.ca/orlando:6eca541f-758e-4c2d-b9f4-95b1d58700f5">Nelly (Lady Eleanor) Cecil</NAME>, aristocratic writer (officially known as <SOCALLED>Lady Robert Cecil</SOCALLED>), Virginia's cousin <NAME STANDARD="Vaughan, Emma" REF="https://commons.cwrc.ca/orlando:8b271908-bd35-4ec1-b61a-15408c0892e0">Emma Vaughan</NAME>, and Emma's sister-in-law <NAME STANDARD="Vaughan, Madge" REF="https://commons.cwrc.ca/orlando:7935e04f-2394-4153-9905-9f10e442dd59">Madge Vaughan</NAME> (who was daughter of the writer <NAME STANDARD="Symonds, John Addington,, 1840 - 1893" REF="https://commons.cwrc.ca/orlando:807dba0e-f197-4165-ac03-c7181ec215e7">John Addington Symonds</NAME> and mother of the college principal <NAME STANDARD="Vaughan, Dame Janet" REF="https://commons.cwrc.ca/orlando:6be2dc8a-dd1f-42eb-a061-ba4e86967a7c">Janet Vaughan</NAME>). Most were women of achievement, and with each the relationship was somewhat erotic. Generally, these friendships lapsed when the Bloomsbury years began, but they provided the developing author with crucial personal and intellectual nourishment in their time.<BIBCITS><BIBCIT PLACEHOLDER="Lee 160-9" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">160-9</BIBCIT></BIBCITS></SHORTPROSE></DIV2></FRIENDSASSOCIATES></DIV1><DIV1><HEADING>New Independence in Bloomsbury</HEADING><LOCATION RELATIONTO="MOVED"><DIV2><HEADING>Gordon Square</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="SOCIALCLIMATE1" RELEVANCE1="DECADE1"><DATE VALUE="1904-10">October 1904</DATE> <CHRONPROSE>After their father's death, the siblings of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) moved from <PLACE><ADDRESS><ADDRLINE>22 Hyde Park Gate</ADDRLINE></ADDRESS><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> to live independently at <PLACE><ADDRESS><ADDRLINE>46 Gordon Square</ADDRLINE></ADDRESS>, in then unfashionable <SETTLEMENT CURRENT="London">Bloomsbury</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>; she joined them there in <DATE VALUE="1905-01">January 1905</DATE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 1: 95-6" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">1: 95-6</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Because Virginia was recovering from her breakdown after her father's death, <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa</NAME> took the primary responsibility for settling the family into their newly independent life. Virginia instead spent some time out of London, staying with a succession of people including her aunt <NAME STANDARD="Stephen, Caroline Emelia" REF="https://commons.cwrc.ca/orlando:678cb682-0896-4609-826f-dcdd695b8d08">Caroline Emelia Stephen</NAME> at <PLACE><SETTLEMENT>Cambridge</SETTLEMENT><REGION REG="Cambridgeshire"/><GEOG REG="England"/></PLACE>. She was deeply frustrated by the lingering restrictions imposed on her after her spell of illness, and by not having a room of her own.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 4" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">4</BIBCIT> <BIBCIT PLACEHOLDER="Lee 203-4" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">203-4</BIBCIT></BIBCITS> At Gordon Square permanently by December 1904, she began the <SOCALLED>street haunting</SOCALLED> (preferably at dusk in winter for <QUOTE DIRECT="Y">the champagne brightness of the air and the sociability of the streets</QUOTE>),<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 4: 480" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">4: 480</BIBCIT></BIBCITS> which she was to continue all her life and to publish an essay on in 1927.<BIBCITS><BIBCIT PLACEHOLDER="Lee 206-7" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">206-7</BIBCIT></BIBCITS></SHORTPROSE></DIV2></LOCATION></DIV1><DIV1><OCCUPATION><DIV2><HEADING>Work</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1905-01-14">14 January 1905</DATE> <CHRONPROSE>Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) began <SIGNIFICANTACTIVITY PHILANTHROPYVOLUNTEER="PHILANTHROPYVOLUNTEERYES" REG="teacher">giving weekly classes</SIGNIFICANTACTIVITY> at <ORGNAME STANDARD="Morley College" REF="https://commons.cwrc.ca/orlando:3fca6707-41da-4531-9278-3679ce06f838">Morley College</ORGNAME> in <PLACE><SETTLEMENT CURRENT="London">Lambeth</SETTLEMENT><REGION REG="Surrey"/><GEOG REG="England"/></PLACE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 5" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">5</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>This college, founded in 1885, offered evening classes to working women and men. <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> lectured and led discussions on English Literature, English History, and Composition until <DATE VALUE="1907-12">December 1907</DATE>.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 5, 13" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">5, 13</BIBCIT> <BIBCIT PLACEHOLDER="Lee 222-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">222-3</BIBCIT></BIBCITS> Her work there began at a time when her professional career as a <JOB>writer</JOB> and <JOB>reviewer</JOB> was also just getting under way. <NAME STANDARD="Gordon, Lyndall" REF="https://commons.cwrc.ca/orlando:2a7f45fb-915e-44ad-a99a-b50a64c2928b">Lyndall Gordon</NAME> writes that she was at this time <QUOTE DIRECT="Y">self-disciplined, professional, prolific, and courageous.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS></SHORTPROSE></DIV2></OCCUPATION></DIV1><DIV1><FRIENDSASSOCIATES><DIV2><HEADING>The Group</HEADING><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="DECADE1"><DATE VALUE="1905-02-16">16 February 1905</DATE> <CHRONPROSE><NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby Stephen</NAME>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s brother, started <SOCALLED>Thursday Evenings</SOCALLED> at <PLACE><ADDRESS><ADDRLINE>46 Gordon Square</ADDRLINE></ADDRESS><SETTLEMENT CURRENT="London" REG="Bloomsbury"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>, mainly so that he could keep in touch with his <ORGNAME STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge University</ORGNAME> friends. These gatherings marked the beginning of what came to be called the <SOCALLED><ORGNAME STANDARD="Bloomsbury Group" REF="https://commons.cwrc.ca/orlando:ebe15f44-cc19-46d2-937d-8287edb20a7f">Bloomsbury Group</ORGNAME></SOCALLED>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 1: 97" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">1: 97</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><RESEARCHNOTE>pc to file: move this to topics when we have them.</RESEARCHNOTE>(Vanessa launched a parallel meeting for artists on Fridays: the <ORGNAME STANDARD="Friday Club" REF="https://commons.cwrc.ca/orlando:e435f424-71db-46fb-83e8-668cf879d1af">Friday Club</ORGNAME>.) <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote that the Thursday evenings were <QUOTE DIRECT="Y">the germ</QUOTE> of <QUOTE DIRECT="Y">all that has since come to be called—in newspapers, in novels, in Germany, in France—even, I daresay, in Turkey and Timbuktu—by the name of Bloomsbury.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 164" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">164</BIBCIT></BIBCITS> <NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> writes that the three words <SOCALLED>the Bloomsbury group</SOCALLED> <QUOTE DIRECT="Y">have been so much used as to have become almost unusable—and, to some, almost unbearable.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 262" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">262</BIBCIT></BIBCITS> <SCHOLARNOTE>Those who have discussed the Group include <NAME STANDARD="Rosenbaum, S. P." REF="https://commons.cwrc.ca/orlando:35d23007-65fa-4ff3-9cff-66c1f351d90c">S. P. Rosenbaum</NAME> in <TITLE TITLETYPE="ANALYTIC">An Educated Man's Daughter</TITLE>, 1983, and <NAME STANDARD="Froula, Christine" REF="https://commons.cwrc.ca/orlando:850210a8-eb16-4509-871b-94b561533cf5">Christine Froula</NAME> in <TITLE TITLETYPE="MONOGRAPHIC">Virginia Woolf and the Bloomsbury Avant-Garde</TITLE>, 2005.</SCHOLARNOTE> Scholar <NAME STANDARD="Hussey, Mark" REF="https://commons.cwrc.ca/orlando:e059df63-d572-46d1-8fa3-715335590838">Mark Hussey</NAME>, who offers a succinct account of the group's complexities and transformations, notes that its definition <QUOTE DIRECT="Y">depends on whose account is consulted.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 34" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">34</BIBCIT></BIBCITS> What is certain is that the group began as a cluster of friends—artists, writers, thinkers—and that they participated fully in the broader, accelerating social and cultural change of the years before and after the First World War and in many ways helped to define that change. Personal transitions in the lives of the group members coincided with change in the broader sphere, from the time Leslie Stephen's children began to live newly independent lives when he died in 1904.Early members of what <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> called <TITLE TITLETYPE="ANALYTIC">Old Bloomsbury</TITLE> (to distinguish the original members of the group from later additions) included Virginia and <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Stephen</NAME>, <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME>, <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME>, <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME>, <NAME STANDARD="Fry, Roger" REF="https://commons.cwrc.ca/orlando:497e19ff-a249-42db-9c66-32a00759ed93">Roger Fry</NAME>, <NAME STANDARD="Grant, Duncan" REF="https://commons.cwrc.ca/orlando:20a5e999-ebbc-49a7-954a-c04841ebe7d6">Duncan Grant</NAME>, <NAME STANDARD="Keynes, John Maynard,,, Baron" REF="https://commons.cwrc.ca/orlando:408fb143-4ce7-45df-b42c-3a7633d15f7c">John Maynard Keynes</NAME>, <NAME STANDARD="MacCarthy, Mary" REF="https://commons.cwrc.ca/orlando:549e4771-8f67-4c47-846e-148b94334a01">Molly</NAME> and <NAME STANDARD="MacCarthy, Desmond" REF="https://commons.cwrc.ca/orlando:6335c7f7-c198-47d6-bb4d-779120e7b2fe">Desmond MacCarthy</NAME>, <NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME>, <NAME STANDARD="Stephen, Adrian" REF="https://commons.cwrc.ca/orlando:b0c6f0c6-b1a1-48d3-b7fb-693f69cba8d9">Adrian Stephen</NAME>, and <NAME STANDARD="Sydney-Turner, Saxon" REF="https://commons.cwrc.ca/orlando:5b790ac3-047e-43f4-992e-9f5e8eae4442">Saxon Sydney-Turner</NAME>. Over time, the group expanded to include other friends and younger members (such as the Bell children, <NAME STANDARD="Bell, Julian,, 1908 - 1937" REF="https://commons.cwrc.ca/orlando:69af7417-5078-4267-8023-9743eda824a9">Julian Bell</NAME>, <NAME STANDARD="Bell, Quentin" REF="https://commons.cwrc.ca/orlando:1898063e-bfed-48ec-9b81-067fc14d8651">Quentin</NAME> and <NAME STANDARD="Bell, Angelica" REF="https://commons.cwrc.ca/orlando:3310c271-959b-4b2b-aa6d-48068dfb19d2">Angelica</NAME>, and <NAME STANDARD="Garnett, David" REF="https://commons.cwrc.ca/orlando:e051949f-7d8c-470b-8fc0-391c48702b1b">David Garnett</NAME>), and, in what Quentin Bell called <QUOTE DIRECT="Y">almost a second generation of Bloomsbury,</QUOTE> <NAME STANDARD="Brooke, Rupert" REF="https://commons.cwrc.ca/orlando:1591bdef-f3ed-4ee9-be4c-bc6197ea2764">Rupert Brooke</NAME>, <NAME STANDARD="Cox, Ka" REF="https://commons.cwrc.ca/orlando:6df513d1-f786-451c-991e-76a6d55813a1">Katherine Cox</NAME>, <NAME STANDARD="Raverat, Jacques" REF="https://commons.cwrc.ca/orlando:c9c42c0a-8a65-40db-83eb-d63994a38821">Jacques Raverat</NAME> (husband of <NAME STANDARD="Raverat, Gwen" REF="https://commons.cwrc.ca/orlando:fdd7af05-6958-4e6d-afe2-8b65d1bac8da">Gwen Raverat</NAME>), <NAME STANDARD="Cornford, Frances" REF="https://commons.cwrc.ca/orlando:3d736add-e0e0-4601-aaa6-a36b44634cd1">Frances Darwin</NAME> (later Cornford), and others.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 36" DBREF="14649" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">36</BIBCIT></BIBCITS> Other figures who though not of Bloomsbury are sometimes associated with it include: <NAME STANDARD="Carrington, Dora" REF="https://commons.cwrc.ca/orlando:6c2c2c05-0038-4556-8975-e856ab905d10">Carrington</NAME>, <NAME STANDARD="Morrell, Lady Ottoline" REF="https://commons.cwrc.ca/orlando:dcdcf7f0-89c2-4266-b575-18831c029e0e">Lady Ottoline Morrell</NAME>, and <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME>.The group's name, derived from the area of London in which several of its members lived (the area that includes the <ORGNAME STANDARD="University of London" REF="https://commons.cwrc.ca/orlando:69b61d1a-7ca7-4c22-a33b-43feca49f6bb">University of London</ORGNAME>) flags a key feature: it met in personal spaces and was drawn and held together over the years by personal relationships and shared interests. As time passed, <SOCALLED>Bloomsbury</SOCALLED> migrated to a variety of locations: after Vanessa married Clive Bell, in 1907, Adrian and Virginia moved to <PLACE><ADDRESS><ADDRLINE>29 Fitzroy Square</ADDRLINE></ADDRESS><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>, and continued the meetings there; during the war it met in a club in <PLACE><SETTLEMENT CURRENT="London">Soho</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>;<BIBCITS><BIBCIT PLACEHOLDER="Lee 263" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">263</BIBCIT></BIBCITS> after the war <QUOTE DIRECT="Y">outposts such as <PLACE><PLACENAME REG="Charleston Farmhouse">Charleston</PLACENAME><SETTLEMENT REG="Charleston"/><REGION REG="Sussex"/><GEOG REG="England"/></PLACE>, where Vanessa, Grant and Garnett had moved in 1916, and the Woolfs' Sussex home, <PLACE><PLACENAME>Monk's House</PLACENAME><SETTLEMENT REG="Rodmell"/><REGION REG="Sussex"/><GEOG REG="England"/></PLACE>, became new centers of Bloomsbury activity.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 36" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">36</BIBCIT></BIBCITS>The cultural production of members of <SOCALLED>Bloomsbury</SOCALLED> was prodigious, embracing the imaginative, critical, and political writing of Virginia and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME>, <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME>, and <NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME>, the economic theories of <NAME STANDARD="Keynes, John Maynard,,, Baron" REF="https://commons.cwrc.ca/orlando:408fb143-4ce7-45df-b42c-3a7633d15f7c">Maynard Keynes</NAME>, the painting of <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Bell</NAME>, and <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME>'s art criticism (especially <TITLE TITLETYPE="MONOGRAPHIC">Art</TITLE>, <DATE VALUE="1914">1914</DATE>, which theorised modern painting). <NAME STANDARD="Fry, Roger" REF="https://commons.cwrc.ca/orlando:497e19ff-a249-42db-9c66-32a00759ed93">Roger Fry</NAME>'s <ORGNAME STANDARD="Grafton Gallery" REF="https://commons.cwrc.ca/orlando:d7882ecc-c470-4d7f-b9d6-e73ad57386da">Grafton Gallery</ORGNAME> exhibition, <TITLE TITLETYPE="MONOGRAPHIC">Manet and the Post-Impressionists</TITLE>, which opened on <DATE VALUE="1910-11-06">6 November 1910</DATE>, had major cultural impact, and so did his establishment with Vanessa Bell and <NAME STANDARD="Grant, Duncan" REF="https://commons.cwrc.ca/orlando:20a5e999-ebbc-49a7-954a-c04841ebe7d6">Duncan Grant</NAME> of the <ORGNAME STANDARD="Omega Workshops" REF="https://commons.cwrc.ca/orlando:d4c5b01b-63d1-4dcf-a5b7-2d4ab701b2ec">Omega Workshops</ORGNAME>, which opened at 33 Fitzroy Square on <DATE VALUE="1913-07-08">8 July 1913</DATE>.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 195" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">195</BIBCIT></BIBCITS><SOCALLED>Bloomsbury</SOCALLED> came to designate a new sensibility in philosophy, literature, art, and politics, and its growth has been linked with <QUOTE DIRECT="Y">the crucial break between the <SOCALLED>Edwardians</SOCALLED> and the <SOCALLED>Georgians</SOCALLED>, the point when <QUOTE DIRECT="N">human character changed</QUOTE></QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 263" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">263</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Essays 3: 421" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">3: 421</BIBCIT></BIBCITS> (as <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote famously in her essay <TITLE TITLETYPE="ANALYTIC">Mr. Bennett and Mrs. Brown</TITLE>). In 1910 (the year Woolf named as representing the break with the past), political, social, and aesthetic change was everywhere. <NAME STANDARD="Edward VII, King" REF="https://commons.cwrc.ca/orlando:29f822c6-52e8-4bc9-9eed-d2c8cb1bf4bf">King Edward VII</NAME> died (on <DATE VALUE="1910-05-06">6 May</DATE>); there was a constitutional crisis over the powers of the <ORGNAME STANDARD="House of Lords" REF="https://commons.cwrc.ca/orlando:6a22e9e8-9a53-42b7-b0b6-3caa66630943">House of Lords</ORGNAME> in relation to financial decisions of the <ORGNAME STANDARD="House of Commons" REF="https://commons.cwrc.ca/orlando:d671ff1a-87af-485c-b0f2-fda90ee8260a">House of Commons</ORGNAME>; Women's Suffrage politics were at their most heated (with 119 suffragists arrested on <SOCALLED>Black Friday</SOCALLED> <RESEARCHNOTE>kgs: link to # 11956?</RESEARCHNOTE>, <DATE VALUE="1910-11-18">18 November</DATE>, for marching on the House of Commons); the <ORGNAME REG="Liberal Party" STANDARD="Liberal Party" REF="https://commons.cwrc.ca/orlando:c3f1b41e-0be8-477c-a3ac-2a8f137e2c11">Liberal</ORGNAME> Government of Prime Minister <NAME STANDARD="Asquith, Herbert Henry" REF="https://commons.cwrc.ca/orlando:6a347c65-f795-4f95-b541-e6b04883d611">Asquith</NAME> held shakily to its authority. In a book analysing the forces at work in this year of change, <NAME STANDARD="Stansky, Peter" REF="https://commons.cwrc.ca/orlando:2bb85c8c-7c08-4460-b11f-ac1be9c53a6d">Peter Stansky</NAME> writes that there was <QUOTE DIRECT="Y">a sense of living in parlous times.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Stansky 154" DBREF="37725" REF="https://commons.cwrc.ca/orlando:37da6ca9-c434-46dc-8288-f0555343e1d5">154</BIBCIT></BIBCITS>In an atmosphere of social, political, and artistic upheaval, art and politics merged in the public mind, and <SOCALLED>Bloomsbury</SOCALLED> was perceived as politically and aesthetically revolutionary. Stansky quotes a critic writing in the <TITLE TITLETYPE="JOURNAL">Daily Herald</TITLE>, a <ORGNAME REG="Labour Party" STANDARD="Labour Party" REF="https://commons.cwrc.ca/orlando:04acd7f8-0656-4ad3-b2a3-ded97644a6f4">Labour</ORGNAME> paper: <QUOTE DIRECT="Y">The Post-Impressionists are in the company of the Great Rebels of the World. In politics the only movements worth considering are Woman Suffrage and Socialism. They are both Post-Impressionist in their desire to scrap old decaying forms and find for themselves a new working ideal.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Stansky 7" DBREF="37725" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:37da6ca9-c434-46dc-8288-f0555343e1d5">7</BIBCIT></BIBCITS>Later, however, Bloomsbury was attacked as an arrogant, self-regarding, immoral, upper-class clique. <NAME STANDARD="Lawrence, D. H." REF="https://commons.cwrc.ca/orlando:2e311818-3f6a-465a-b26d-e6cd59f3ef71">D. H. Lawrence</NAME> said Keynes and his friends were <QUOTE DIRECT="Y">black beetles</QUOTE>, and in <TITLE TITLETYPE="MONOGRAPHIC">Women in Love</TITLE> he attacked the group's aesthetic in general and <NAME STANDARD="Morrell, Lady Ottoline" REF="https://commons.cwrc.ca/orlando:dcdcf7f0-89c2-4266-b575-18831c029e0e">Lady Ottoline Morrell</NAME>l in particular. Many other writers, some from inside, some from outside the group, published satiric portraits—<NAME STANDARD="Lewis, Wyndham" REF="https://commons.cwrc.ca/orlando:dee4421e-0c8e-4f14-95a8-003f2252e474">Wyndham Lewis</NAME>, <NAME STANDARD="Strachey, Marjorie" REF="https://commons.cwrc.ca/orlando:1e9fe0cb-3c8a-4ce3-8577-fa2f963be8dd">Marjorie Strachey</NAME>, <NAME STANDARD="Mayor, Flora Macdonald" REF="https://commons.cwrc.ca/orlando:feaf837b-4988-4ae7-90cd-866d1ffe56cc">Flora Mayor</NAME>, <NAME STANDARD="Sitwell, Osbert" REF="https://commons.cwrc.ca/orlando:0285295b-b38f-4815-8d27-d695223a1e0c">Osbert Sitwell</NAME>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 266-7" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">266-7</BIBCIT></BIBCITS>Piecing together its intellectual family tree, scholars and critics have looked both forward and back from Bloomsbury. It has been seen as descending from the late eighteenth-century <ORGNAME STANDARD="Clapham Sect" REF="https://commons.cwrc.ca/orlando:10bde3ee-a543-4a81-994f-07307a2b9868">Clapham Sect</ORGNAME> (to which <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s great-grandfather <NAME STANDARD="Stephen, James,, 1758 - 1832" REF="https://commons.cwrc.ca/orlando:f0748a21-7229-4fae-8b2f-c4f24d21c171">James Stephen</NAME> belonged) and from the <ORGNAME STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge University</ORGNAME> secret society <SOCALLED>the <ORGNAME STANDARD="Apostles" REF="https://commons.cwrc.ca/orlando:536f1933-9aa9-419c-b2a3-e71be14a24ce">Apostles</ORGNAME></SOCALLED> (to which several members of the Bloomsbury group, including <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s husband, had been elected). It has also been seen as having given birth to later clusters of aesthetic and intellectual friends, including the <ORGNAME STANDARD="Memoir Club" REF="https://commons.cwrc.ca/orlando:d778d29e-657c-48b7-baab-7cb6867d9d1b">Memoir Club</ORGNAME> founded by <NAME STANDARD="MacCarthy, Mary" REF="https://commons.cwrc.ca/orlando:549e4771-8f67-4c47-846e-148b94334a01">Molly MacCarthy</NAME> in <DATE VALUE="1920">1920</DATE>. Lee writes that <QUOTE DIRECT="Y">Bloomsbury persisted as an organism for over thirty or forty years in the form of little overlapping groups and clubs</QUOTE>; these <QUOTE DIRECT="Y">sprang up for the purposes of discussions or play-readings or exhibitions or domestic entertainment.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 263" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">263</BIBCIT></BIBCITS>When it began, however, it was friends and it was talk. <QUOTE DIRECT="Y">Talk</QUOTE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote in <TITLE TITLETYPE="ANALYTIC">Old Bloomsbury</TITLE> (which she read as a paper to the <ORGNAME STANDARD="Memoir Club" REF="https://commons.cwrc.ca/orlando:d778d29e-657c-48b7-baab-7cb6867d9d1b">Memoir Club</ORGNAME> near the end of 1921 or in 1922) <QUOTE DIRECT="Y">even the talk which had such tremendous results upon the lives and characters of the two Miss Stephens . . . is as elusive as smoke.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 165" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">165</BIBCIT></BIBCITS> But she remembered the excitement of the talk, which kept them still <QUOTE DIRECT="Y">sitting in a circle at two or three in the morning.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 168" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">168</BIBCIT></BIBCITS> To her and to Vanessa, she said, it gave <QUOTE DIRECT="Y">the pleasure that undergraduates get when they meet friends of their own for the first time.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 168" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">168</BIBCIT></BIBCITS> It challenged her mind as nothing had yet done: <QUOTE DIRECT="Y">Never have I listened so intently to each step and half-step in an argument. Never have I been at such pains to sharpen and launch my little dart. And then what joy it was when one's contribution was accepted.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 168" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">168</BIBCIT></BIBCITS> Another liberation was the group's absence of interest in conventional feminine self-presentation, a little later by its absence of restraint in conversation about sex. <QUOTE DIRECT="Y">Sex permeated our conversation,</QUOTE> she told the Memoir Club.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 173-4" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">173-4</BIBCIT></BIBCITS> <QUOTE DIRECT="Y">Indeed the future of Bloomsbury was to prove that many variations can be played on the theme of sex.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Moments 174-5" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">174-5</BIBCIT></BIBCITS> This frankness and freedom about sex and gender roles, was a consequential fact in the lives of all of the members of the group, and it had great impact on <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s work, which, in one of its dimensions, reworks the conventions defining <SOCALLED>woman</SOCALLED>.</SHORTPROSE></DIV2></FRIENDSASSOCIATES></DIV1><DIV1><LOCATION RELATIONTO="TRAVELLED"><DIV2><HEADING>Family Milestones</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1906-09-08">8 September 1906</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia</NAME> and <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Stephen</NAME> (later Woolf and Bell) and <NAME STANDARD="Dickinson, Violet" REF="https://commons.cwrc.ca/orlando:45ef0a4f-a6b8-4238-aa7f-4274acd6e362">Violet Dickinson</NAME> left England for <PLACE><GEOG>Greece</GEOG>, where at <SETTLEMENT>Olympia</SETTLEMENT></PLACE> on 13 September they met up with <NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby</NAME> and <NAME STANDARD="Stephen, Adrian" REF="https://commons.cwrc.ca/orlando:b0c6f0c6-b1a1-48d3-b7fb-693f69cba8d9">Adrian Stephen</NAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 10" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">10</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>This holiday was marred by sickness and ultimately by calamity. First Vanessa fell ill with appendicitis and forced them all to stop at <PLACE><SETTLEMENT>Corinth</SETTLEMENT><GEOG REG="Greece"/></PLACE>, then to split into two groups. Vanessa was cared for in <PLACE><SETTLEMENT>Athens</SETTLEMENT><GEOG REG="Greece"/></PLACE> for two weeks by Violet, then fell ill again on the way home. The party finally left for England on 29 October, Thoby having gone on ahead.<BIBCITS><BIBCIT PLACEHOLDER="Lee 229-30" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">229-30</BIBCIT></BIBCITS></SHORTPROSE></DIV2></LOCATION></DIV1><DIV1><FAMILY><MEMBER RELATION="BROTHER"><DIV2><SHORTPROSE>On <DATE VALUE="1906-11-01">1 November 1906</DATE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> returned to <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> to find Thoby in bed with high fever and severe diarrhorea, which was ultimately identified as typhoid.</SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1906-11-20">20 November 1906</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s brother <NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby Stephen</NAME> died of typhoid fever, aged twenty-six.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 230-1" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">230-1</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Virginia did not break down over this bereavement, but became a source of strength to others. Because <NAME STANDARD="Dickinson, Violet" REF="https://commons.cwrc.ca/orlando:45ef0a4f-a6b8-4238-aa7f-4274acd6e362">Violet Dickinson</NAME> was also ill with typhoid, it was thought necessary to conceal Thoby's death from her, and for nearly a month Virginia sent regular letters to Violet charting Thoby's fictional progress towards recovery.<BIBCITS><BIBCIT PLACEHOLDER="Lee 231" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">231</BIBCIT></BIBCITS></SHORTPROSE></DIV2></MEMBER><MEMBER RELATION="SISTER"><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1907-02-07">7 February 1907</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s sister, <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa</NAME>, married art critic <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME> at <PLACE><PLACENAME>St Pancras Registry Office</PLACENAME> in <SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>. <NAME STANDARD="Gordon, Lyndall" REF="https://commons.cwrc.ca/orlando:2a7f45fb-915e-44ad-a99a-b50a64c2928b">Lyndall Gordon</NAME> maintains that <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME> had a positive impact on Virginia's career, urging her to turn her attention to French authors and offering critical feedback on her first novel.<BIBCITS><BIBCIT PLACEHOLDER="Gordon 90, 98-102" DBREF="16051" REF="https://commons.cwrc.ca/orlando:9846a647-4032-4c55-bb84-2540290054ff">90, 98-102</BIBCIT> <BIBCIT PLACEHOLDER="Bishop 11" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">11</BIBCIT></BIBCITS></CHRONPROSE></CHRONSTRUCT></DIV2></MEMBER></FAMILY></DIV1><DIV1><LOCATION RELATIONTO="MOVED"><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1907-04-10">10 April 1907</DATE> <CHRONPROSE>Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) moved to <PLACE><ADDRESS><ADDRLINE>29 Fitzroy Square</ADDRLINE></ADDRESS><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> to live with her surviving brother, <NAME STANDARD="Stephen, Adrian" REF="https://commons.cwrc.ca/orlando:b0c6f0c6-b1a1-48d3-b7fb-693f69cba8d9">Adrian</NAME>. <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa</NAME> and <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME> took over the former family home at <PLACE><ADDRESS><ADDRLINE>46 Gordon Square</ADDRLINE></ADDRESS><SETTLEMENT CURRENT="London" REG="Bloomsbury"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 11" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">11</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1911-11-20">20 November 1911</DATE> <CHRONPROSE>Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) moved again, from <PLACE><ADDRESS><ADDRLINE>29 Fitzroy Square</ADDRLINE></ADDRESS><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> to <PLACE><ADDRESS><ADDRLINE>38 Brunswick Square</ADDRLINE></ADDRESS><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>, with her brother <NAME STANDARD="Stephen, Adrian" REF="https://commons.cwrc.ca/orlando:b0c6f0c6-b1a1-48d3-b7fb-693f69cba8d9">Adrian</NAME> and friends.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 23" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">23</BIBCIT></BIBCITS></CHRONSTRUCT></DIV2></LOCATION></DIV1><DIV1><FRIENDSASSOCIATES><DIV2><SHORTPROSE>The household in Brunswick Square comprised Virginia and <NAME STANDARD="Stephen, Adrian" REF="https://commons.cwrc.ca/orlando:b0c6f0c6-b1a1-48d3-b7fb-693f69cba8d9">Adrian Stephen</NAME>, <NAME STANDARD="Keynes, John Maynard,,, Baron" REF="https://commons.cwrc.ca/orlando:408fb143-4ce7-45df-b42c-3a7633d15f7c">John Maynard Keynes</NAME>, and <NAME STANDARD="Grant, Duncan" REF="https://commons.cwrc.ca/orlando:20a5e999-ebbc-49a7-954a-c04841ebe7d6">Duncan Grant</NAME>. On <DATE VALUE="1911-12-04">4 December 1911</DATE> <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> joined it.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 23" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">23</BIBCIT></BIBCITS></SHORTPROSE></DIV2></FRIENDSASSOCIATES></DIV1><DIV1><POLITICS><DIV2><HEADING>Suffrage</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1910-01-01">1 January 1910</DATE> <CHRONPROSE>Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) offered her support to the <POLITICALAFFILIATION ACTIVISM="ACTIVISTYES" WOMAN-GENDERISSUE="GENDERYES" REG="suffragist">suffrage cause</POLITICALAFFILIATION> in a letter to her friend <NAME STANDARD="Case, Janet" REF="https://commons.cwrc.ca/orlando:763d21e4-12a5-4c1c-b66d-70e27b6fa67f">Janet Case</NAME>. This led to her brief volunteer work with the <ORGNAME STANDARD="People's Suffrage Federation" REF="https://commons.cwrc.ca/orlando:01ead75d-a01f-45c6-9759-8ea2636a1e43">People's Suffrage Federation</ORGNAME> which <QUOTE DIRECT="Y">was run in large part</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 280" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">280</BIBCIT></BIBCITS> by <NAME STANDARD="Davies, Margaret Llewelyn" REF="https://commons.cwrc.ca/orlando:300f2b0c-b32e-444d-b381-b60ced8a5f4c">Margaret Llewelyn Davies</NAME>, and of whose executive Case was a member.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 19" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">19</BIBCIT> <BIBCIT PLACEHOLDER="Hussey 280" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">280</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Virginia's work consisted mainly of addressing envelopes, and she committed herself only to some weeks of this at the beginning and end of 1910. But she was also associated with the <ORGNAME STANDARD="National Union of Women's Suffrage Societies" REF="https://commons.cwrc.ca/orlando:cbb0c68c-a941-4fb7-b2ec-f7871982eadc">National Union of Women's Suffrage Societies</ORGNAME> (NUWSS) and both she and Leonard worked for the <ORGNAME STANDARD="Women's Cooperative Guild" REF="https://commons.cwrc.ca/orlando:2199c383-a698-43d5-a6f6-aa495f27d7c4">Women's Cooperative Guild</ORGNAME>. (Leonard's sisters Clara and Flora were active in the suffrage movement.)<BIBCITS><BIBCIT PLACEHOLDER="Hussey 370" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">370</BIBCIT></BIBCITS> <NAME STANDARD="Black, Naomi" REF="https://commons.cwrc.ca/orlando:d445835b-5832-4fe1-ad1d-12517ae83e6c">Naomi Black</NAME> writes that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <QUOTE DIRECT="Y">memberships thus place her squarely in the middle of the organizational network of social feminism in Britain.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 280" DBREF="14649" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">280</BIBCIT></BIBCITS> <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> associated frequently with women who were passionately involved with <POLITICALAFFILIATION ACTIVISM="ACTIVISTYES" WOMAN-GENDERISSUE="GENDERYES" REG="suffrage">suffragism</POLITICALAFFILIATION>, such as <NAME STANDARD="Strachey, Marjorie" REF="https://commons.cwrc.ca/orlando:1e9fe0cb-3c8a-4ce3-8577-fa2f963be8dd">Marjorie</NAME>, <NAME STANDARD="Strachey, Pernel" REF="https://commons.cwrc.ca/orlando:2bbad8b0-15bd-4edf-a0cb-a72b6f3c64f0">Pernel</NAME>, and <NAME STANDARD="Strachey, Philippa" REF="https://commons.cwrc.ca/orlando:b9f3d679-da49-47f5-bd2c-3e1d1803177d">Pippa Strachey</NAME>, <NAME STANDARD="Davies, Margaret Llewelyn" REF="https://commons.cwrc.ca/orlando:300f2b0c-b32e-444d-b381-b60ced8a5f4c">Margaret Llewelyn Davies</NAME>, and later <NAME STANDARD="Smyth, Ethel" REF="https://commons.cwrc.ca/orlando:bb2555cb-6507-44f1-a979-dadd82a6ee37">Ethel Smyth</NAME>. The women's movement appears frequently in her works, both fictional and polemical, including <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE> and <TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE>. Hermione Lee writes that <QUOTE DIRECT="Y">the suffragists' tactics of battering on the doors of the excluding establishments worked their way lastingly into her imagination. Trespassing on forbidden ground is one of her favourite images.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 281, 279-82" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">281, 279-82</BIBCIT> <BIBCIT PLACEHOLDER="Hussey 277-8" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">277-8</BIBCIT></BIBCITS>With the declaration of war, however, on 4 August, 1914, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s politics and those of the NUWSS parted company. The NUWSS supported the government, and on <DATE VALUE="1914-08-06">August the sixth</DATE> resolved to suspend political activity in favour of working to help those displaced and otherwise damaged by the war. A number of prominent members, including <NAME STANDARD="Pethick-Lawrence, Emmeline" REF="https://commons.cwrc.ca/orlando:9313da62-af30-4d5d-8da1-9e766e16b23b">Emmeline Pethick-Lawrence</NAME> and <NAME STANDARD="Royden, Maude" REF="https://commons.cwrc.ca/orlando:d953ed70-83ba-4602-a268-ce4998fb8ba5">Maude Royden</NAME>, resigned to form the <ORGNAME STANDARD="Women's International League for Peace and Freedom" REF="https://commons.cwrc.ca/orlando:9ea55f0d-8693-43ee-98aa-d9708c727c25">Women's International League</ORGNAME>. On <DATE VALUE="1915-10-09">9 October 1915</DATE> <NAME STANDARD="Pankhurst, Christabel" REF="https://commons.cwrc.ca/orlando:0b32b2fc-8bb4-4d87-8188-0c311eaf28d7">Christabel Pankhurst</NAME> and others published the first number of <TITLE TITLETYPE="JOURNAL">Britannia</TITLE>, formerly known as <TITLE TITLETYPE="JOURNAL">The Suffragette</TITLE>.</SHORTPROSE></DIV2></POLITICS></DIV1><DIV1><LEISUREANDSOCIETY><DIV2><HEADING>Subversion and Satire</HEADING><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="SOCIALCLIMATE" RESP="KDC" CHRONCOLUMN1="BRITISHWOMENWRITERS1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1910-02-10">10 February 1910</DATE> <CHRONPROSE>Recruited to the plot at a late moment, Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) participated in the <SOCALLED>Dreadnought Hoax</SOCALLED> organized by <NAME STANDARD="Stephen, Adrian" REF="https://commons.cwrc.ca/orlando:b0c6f0c6-b1a1-48d3-b7fb-693f69cba8d9">Adrian Stephen</NAME> and <NAME STANDARD="Cole, Horace" REF="https://commons.cwrc.ca/orlando:f6a2deaa-f521-4363-bf2c-3144d4026bc1">Horace Cole</NAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 19" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">19</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>With Adrian Stephen, <NAME STANDARD="Grant, Duncan" REF="https://commons.cwrc.ca/orlando:20a5e999-ebbc-49a7-954a-c04841ebe7d6">Duncan Grant</NAME>, <NAME STANDARD="Ridley, Guy" REF="https://commons.cwrc.ca/orlando:7a5a4fd0-8033-4e35-b1fe-93b227f4dfe9">Guy Ridley</NAME>, and <NAME STANDARD="Buxton, Anthony" REF="https://commons.cwrc.ca/orlando:7b73637f-1da9-49a7-be35-748fd1bf9eb8">Anthony Buxton</NAME>, she toured the premier battleship HMS <RS TYPE="ship">Dreadnought</RS> impersonating the Emperor of Abyssinia and his entourage. Virginia was disguised as <SOCALLED>Prince Mendax</SOCALLED> (Latin for liar). The story was subsequently leaked to the press and the issue raised in Parliament. As <NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> observes, this was not a meaningless prank, but instead <QUOTE DIRECT="Y">combin[ed] all possible forms of subversion: ridicule of empire, infiltration of the nation's defenses, mockery of bureaucratic procedures, cross-dressing and sexual ambiguity.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 283" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">283</BIBCIT></BIBCITS> The consequences were mild, however: Virginia was chastised by relatives, and Cole and Grant received minor reprimands from the embarrassed <ORGNAME REG="Royal Navy" STANDARD="Royal Navy" REF="https://commons.cwrc.ca/orlando:b245e13f-7571-4dd5-afcd-157d2704a0e4">Navy</ORGNAME>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 282-7" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">282-7</BIBCIT></BIBCITS></SHORTPROSE></DIV2></LEISUREANDSOCIETY></DIV1><DIV1><INTIMATERELATIONSHIPS EROTIC="EROTICPOSSIBLY"><DIV2><HEADING>Suitors</HEADING><SHORTPROSE>Virginia Stephen flirted mildly with and received proposals from a number of men, all <ORGNAME REG="Cambridge University" STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge</ORGNAME> contemporaries of her brother <NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby</NAME>.</SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1909-02-17">17 February 1909</DATE> <CHRONPROSE><NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME> proposed marriage to Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>), then quickly retracted his proposal.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 17" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">17</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Young, Hilton" REF="https://commons.cwrc.ca/orlando:142ee80a-5dae-4e74-b669-ce56e9a1c230">Hilton Young</NAME> proposed in <DATE VALUE="1909-05-15" CERTAINTY="C">mid-May 1909</DATE>, and <NAME STANDARD="Lamb, Walter" REF="https://commons.cwrc.ca/orlando:a33e7410-88ab-42cc-a94c-eae27ba6193a">Walter Lamb</NAME> on <DATE VALUE="1911-07-20">20 July 1911</DATE>.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 18, 23" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">18, 23</BIBCIT></BIBCITS></SHORTPROSE></DIV2></INTIMATERELATIONSHIPS><INTIMATERELATIONSHIPS EROTIC="EROTICPOSSIBLY"><DIV2><HEADING>Leonard Woolf</HEADING><SHORTPROSE>Leonard Woolf was a close <ORGNAME REG="Cambridge University" STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge</ORGNAME> friend of Virginia's brother <NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby Stephen</NAME> and a member of the <ORGNAME STANDARD="Apostles" REF="https://commons.cwrc.ca/orlando:536f1933-9aa9-419c-b2a3-e71be14a24ce">Apostles</ORGNAME>. A Jew, with family roots in <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> and <PLACE><SETTLEMENT>Amsterdam</SETTLEMENT><GEOG REG="Netherlands"/></PLACE>, he grew up in London, first comfortably in Lexham Gardens, then, after his father's death when he was eleven, in <QUOTE DIRECT="Y">suburban Putney</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 299" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">299</BIBCIT></BIBCITS> He went as a scholarship boy to <ORGNAME STANDARD="St Paul's School" REF="https://commons.cwrc.ca/orlando:6e33170a-7b2e-41fc-b87a-ac7e15af7547">St Paul's School</ORGNAME>, then on a Classics scholarship to <ORGNAME REG="Cambridge University" STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge</ORGNAME>. There he was deeply influenced by philosopher <NAME STANDARD="Moore, George Edward" REF="https://commons.cwrc.ca/orlando:6cf15f55-228c-41bb-9b79-c19c2b835ce3">G. E. Moore</NAME>, and became a close friend of <NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME>, <NAME STANDARD="Keynes, John Maynard,,, Baron" REF="https://commons.cwrc.ca/orlando:408fb143-4ce7-45df-b42c-3a7633d15f7c">John Maynard Keynes</NAME>, <NAME STANDARD="MacCarthy, Desmond" REF="https://commons.cwrc.ca/orlando:6335c7f7-c198-47d6-bb4d-779120e7b2fe">Desmond MacCarthy</NAME>, <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME>, <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME>, and <NAME STANDARD="Sydney-Turner, Saxon" REF="https://commons.cwrc.ca/orlando:5b790ac3-047e-43f4-992e-9f5e8eae4442">Saxon Sydney-Turner</NAME>—all subsequently members of the <ORGNAME STANDARD="Bloomsbury Group" REF="https://commons.cwrc.ca/orlando:ebe15f44-cc19-46d2-937d-8287edb20a7f">Bloomsbury Group</ORGNAME>.After Cambridge, he got a job with the <ORGNAME STANDARD="Colonial Civil Service" REF="https://commons.cwrc.ca/orlando:53630014-6996-4248-9184-0154f612c114">Colonial Civil Service</ORGNAME>. In <DATE VALUE="1904">1904</DATE> he left for <PLACE><GEOG CURRENT="Sri Lanka" REG="Sri Lanka">Ceylon (now Sri Lanka)</GEOG></PLACE>, where he served until <DATE VALUE="1911">1911</DATE> as a colonial administrator. For this work he learned both Tamil and Sinhalese. He came to abhor the job, having become <QUOTE DIRECT="Y">utterly disillusioned with the colonial system he administered so effectively.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 298" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">298</BIBCIT></BIBCITS> He wrote his first novel, <TITLE TITLETYPE="MONOGRAPHIC">The Village in the Jungle</TITLE>, in 1911 while on leave, and published it in <DATE VALUE="1913">1913</DATE>. It is told from the point of view of its Sinhalese characters.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 370" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">370</BIBCIT></BIBCITS>Leonard had met Virginia and Vanessa in Thoby's rooms in 1901, and had fallen in love with Vanessa.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 370" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">370</BIBCIT></BIBCITS> On <DATE VALUE="1904-11-17">17 November 1904</DATE> he dined at <PLACE><ADDRESS><ADDRLINE>46 Gordon Square</ADDRLINE></ADDRESS><SETTLEMENT CURRENT="London" REG="Bloomsbury"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> just before leaving to take up his position in <PLACE><GEOG CURRENT="Sri Lanka" REG="Sri Lanka">Ceylon</GEOG></PLACE>.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 370" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">370</BIBCIT> <BIBCIT PLACEHOLDER="Bishop 4" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">4</BIBCIT> <BIBCIT PLACEHOLDER="Lee 293" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">293</BIBCIT></BIBCITS> While he was away Vanessa married, and his attraction to Virginia was fostered by <NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME>, who told his friend in a letter of <DATE VALUE="1909-02">February 1909</DATE>: <QUOTE DIRECT="Y">If you came &amp; proposed <SIC CORR="she'd">she'ld</SIC> accept you. She really would.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 304, 808" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">304, 808</BIBCIT></BIBCITS> Back in on leave in England in June 1911, Leonard saw Virginia socially—they went to the Russian Ballet together—and he became her tenant at <PLACE><ADDRESS><ADDRLINE>38 Brunswick Square</ADDRLINE></ADDRESS><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> in December. In January 1912 he dared to make a proposal.<BIBCITS><BIBCIT PLACEHOLDER="Lee 306" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">306</BIBCIT></BIBCITS>It is much remarked that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> referred to Leonard as <SOCALLED>a penniless Jew</SOCALLED>. Was she anti-semitic? She married a Jew in an anti-semitic culture, and she wrote to him candidly before they were married that his Jewishness was a difficulty for her: <QUOTE DIRECT="Y">Possibly, your being a Jew comes in also at this point. You seem so foreign.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 1: 496" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">1: 496</BIBCIT></BIBCITS>This is the outcome of her honest self-awareness, yet her attitude towards his family gave pain, and was offensive. Also offensive was her stance in the sketch <TITLE TITLETYPE="ANALYTIC">Jews</TITLE> in her only recently rediscovered notebook from 1909. Lee writes that anti-semitism was <QUOTE DIRECT="Y">quite usual</QUOTE> among the English upper classes <QUOTE DIRECT="Y">until well into the 1930s</QUOTE> and that for <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> "<QUOTE DIRECT="Y">racial and class prejudice were indistinguishable.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 313" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">313</BIBCIT></BIBCITS> Leonard's Jewishness was a powerful element in his consciousness, and in hers, and, writes Julia Briggs, <QUOTE DIRECT="Y">he had many opportunities to see himself through the eyes of the anti-Semitic upper-class Englishmen whose cultural identity he had adopted at Cambridge</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Briggs 65" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">65</BIBCIT></BIBCITS> Of the first publication of the Hogarth Press—two stories, one by her, one by him—his was <TITLE TITLETYPE="ANALYTIC">Three Jews</TITLE>. It was, however, only in part because of his Jewishness that they later had plans for suicide should <NAME STANDARD="Hitler, Adolf" REF="https://commons.cwrc.ca/orlando:7ee8de6d-f7d7-4515-b563-b81795d034ff">Hitler</NAME> invade England: <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> and <NAME STANDARD="Nicolson, Harold" REF="https://commons.cwrc.ca/orlando:5a579e88-3b4b-44c4-8b46-c5a1aec0dcc9">Harold Nicolson</NAME> had the same plans.Leonard's <QUOTE DIRECT="Y">lifetime's commitment</QUOTE> in politics was to <QUOTE DIRECT="Y">British socialism</QUOTE>:<BIBCITS><BIBCIT PLACEHOLDER="Lee 327" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">327</BIBCIT></BIBCITS> a commitment with one of its original roots in an <QUOTE DIRECT="Y">early identification with Jews as victims.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 300" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">300</BIBCIT></BIBCITS> He was not a supporter of women's rights until he worked towards reforming the divorce laws with <NAME STANDARD="Davies, Margaret Llewelyn" REF="https://commons.cwrc.ca/orlando:300f2b0c-b32e-444d-b381-b60ced8a5f4c">Margaret Llewelyn Davies</NAME> (whom he saw as <QUOTE DIRECT="Y">an exhiliarating Joan of Arc figure</QUOTE>).<BIBCITS><BIBCIT PLACEHOLDER="Lee 328" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">328</BIBCIT></BIBCITS> After that he became <QUOTE DIRECT="Y">an honorary feminist,</QUOTE> although even afterwards, <QUOTE DIRECT="Y">his blank spots over Virginia's work always centred on her politics.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 304" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">304</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1912-01-11">11 January 1912</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> proposed to <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME>, who hesitated to accept his proposal.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 24" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">24</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1912-02-14">14 February 1912</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME>, hoping to persuade <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> to agree to marry him, requested a leave extension from the <ORGNAME STANDARD="Colonial Office" REF="https://commons.cwrc.ca/orlando:7e863687-1061-44e4-a007-f2e39f423078">Colonial Office</ORGNAME>. Two days later Virginia, experiencing <QUOTE DIRECT="Y"><SOCALLED>wild dreams</SOCALLED> and anxiety,</QUOTE> entered a <PLACE><SETTLEMENT CURRENT="London">Twickenham</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> rest home.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 308" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">308</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>On <DATE VALUE="1912-05-01">1 May</DATE> she wrote to Leonard explaining her warm but still ambivalent feelings for him; he found the letter encouraging and resigned from the <ORGNAME STANDARD="Colonial Service" REF="https://commons.cwrc.ca/orlando:a2b60f4e-1701-4732-905c-b04930ff77e0">Colonial Service</ORGNAME>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 309-11" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">309-11</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1912-05-29">29 May 1912</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> agreed to marry <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 25" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">25</BIBCIT></BIBCITS></CHRONSTRUCT></DIV2></INTIMATERELATIONSHIPS></DIV1><DIV1><HEADING>Early Married Years</HEADING><FAMILY><MEMBER RELATION="HUSBAND"><MARRIAGE><DIV2><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="DECADE1"><DATE VALUE="1912-08-10">10 August 1912</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> married <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> (no longer a <JOB>colonial administrator</JOB>) at <PLACE><PLACENAME>St Pancras Registry Office</PLACENAME><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> and the pair <QUOTE DIRECT="Y">embarked on a writing life in London</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> and at <PLACE><PLACENAME>Asheham House</PLACENAME><SETTLEMENT REG="Beddingham"/> in <REGION>Sussex</REGION><GEOG REG="England"/></PLACE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 25" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">25</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Hermione Lee considers two questions which remain unanswered: whether Vanessa and Lytton Strachey planned together to bring this marriage about so that Leonard would take on responsibility for Virginia, and whether Vanessa was candid enough with him about Virginia's condition. But in spite of the difficulties—<QUOTE DIRECT="Y">his desire, his Jewishness, her instability</QUOTE>—the Woolfs settled into a deeply satisfying relationship. Both came to think of their marriage <QUOTE DIRECT="Y">as an opposing force to death.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 311, 319" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">311, 319</BIBCIT></BIBCITS><CHILDLESSNESS>Both before their marriage and during its early months, Leonard consulted several doctors (and Vanessa) on the question whether <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> ought to have children. They had mixed opinions. He decided that she should not. Frequently, and, sometimes bitterly, she regretted her childlessness.<BIBCITS><BIBCIT PLACEHOLDER="Lee 334-5" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">334-5</BIBCIT></BIBCITS></CHILDLESSNESS>From the outset, there was much speculation among their friends about the sexual relationship between Virginia and Leonard, and wide belief that it was a failure. <QUOTE DIRECT="Y">Stories of her sexual incompetence and Leonard's heroically restrained normal sexual appetites became commonplace.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 331" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">331</BIBCIT></BIBCITS> Hermione Lee corrects over-simplification with a balanced account of a complicated issue which cannot be seen clearly on the available evidence.<BIBCITS><BIBCIT PLACEHOLDER="Lee 323, 331-7" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">323, 331-7</BIBCIT></BIBCITS></SHORTPROSE></DIV2></MARRIAGE></MEMBER></FAMILY></DIV1><DIV1><LOCATION RELATIONTO="TRAVELLED"><DIV2><SHORTPROSE>On <DATE VALUE="1912-08-18">18 August</DATE> the couple left England for their honeymoon through <PLACE><GEOG>France</GEOG></PLACE>, <PLACE><GEOG>Spain</GEOG></PLACE>, and <PLACE><GEOG>Italy</GEOG></PLACE>, returning to <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> in <DATE VALUE="1912-10-03" CERTAINTY="BY">early October</DATE>.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 25-6" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">25-6</BIBCIT></BIBCITS></SHORTPROSE></DIV2></LOCATION></DIV1><DIV1><FAMILY><MEMBER RELATION="HUSBAND"><DIV2><SHORTPROSE><NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> worked for <NAME STANDARD="Fry, Roger" REF="https://commons.cwrc.ca/orlando:497e19ff-a249-42db-9c66-32a00759ed93">Roger Fry</NAME> as secretary of the second Post-Impressionist Exhibition, held at the <ORGNAME STANDARD="Grafton Gallery" REF="https://commons.cwrc.ca/orlando:d7882ecc-c470-4d7f-b9d6-e73ad57386da">Grafton Gallery</ORGNAME> <DATERANGE FROM="1912-10" TO="1913-01" EXACT="BOTH">from October 1912 to January 1913</DATERANGE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 324" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">324</BIBCIT></BIBCITS></SHORTPROSE></DIV2></MEMBER></FAMILY></DIV1><DIV1><LOCATION RELATIONTO="LIVED"><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="IMG"><DATE VALUE="1912-10-10" CERTAINTY="C">October 1912</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia</NAME> and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> moved to rooms at <PLACE><ADDRESS REG="Fleet Street"><ADDRLINE/></ADDRESS> <PLACENAME>13 Clifford's Inn</PLACENAME><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>; from this time they began dividing their time between London and <PLACE><PLACENAME REG="Asheham House">Asheham</PLACENAME>, Virginia's house in <SETTLEMENT>Beddingham</SETTLEMENT><REGION REG="Sussex"/><GEOG REG="England"/></PLACE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 323" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">323</BIBCIT> <BIBCIT PLACEHOLDER="Bell 2: 227" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 227</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> and Vanessa had only recently secured Asheham, taking a joint lease on it in <DATE VALUE="1911-10">October 1911</DATE>. It became Virginia's country home after she gave up <PLACE><PLACENAME>Little Talland House</PLACENAME> (in <SETTLEMENT>Firle</SETTLEMENT><REGION REG="Sussex"/>)<GEOG REG="England"/></PLACE>, which she had named after her childhood summer residence when she first rented it in <DATE VALUE="1910-12">December 1910</DATE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 316" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">316</BIBCIT> <BIBCIT PLACEHOLDER="Bell 1: 199-201" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">1: 199-201</BIBCIT></BIBCITS></SHORTPROSE></DIV2></LOCATION></DIV1><DIV1><HEALTH ISSUE="FEMALEBODY"><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1913-01-13">13 January 1913</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> began keeping a daily record of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s health; he also continued his consultation with physicians about whether she should bear children.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 26" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">26</BIBCIT></BIBCITS></CHRONSTRUCT></DIV2></HEALTH><HEALTH ISSUE="MENTAL"><DIV2><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1913-09-09">9 September 1913</DATE> <CHRONPROSE>After several months of illness, during which she was sent to <PLACE><PLACENAME REG="Burley Park">Burley</PLACENAME>, the private <SETTLEMENT CURRENT="London">Twickenham</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> nursing home where she had been in 1910, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> attempted suicide by taking an overdose of the sedative veronal. She almost died.</CHRONPROSE> <KEYWORDCLASS KEYWORDTYPE="Drugs">body/health</KEYWORDCLASS> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 28" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">28</BIBCIT><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS></CHRONSTRUCT><SHORTPROSE>In October 1913, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> stayed in George Duckworth's house, <QUOTE DIRECT="Y">becoming once more the dependant of the man who, for her, epitomized sexual abuse and social power.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> She then continued her rest cure at <PLACE><PLACENAME REG="Asheham House">Asheham</PLACENAME><SETTLEMENT REG="Beddingham"/><REGION REG="Sussex"/><GEOG REG="England"/></PLACE> and in <PLACE><REGION>Cornwall</REGION><GEOG REG="England"/></PLACE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 330" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">330</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1915-02-18">18 February 1915</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was in the early stages of another serious nervous breakdown; it lasted until <DATE VALUE="1915-06">June</DATE>, when her condition began a slow improvement.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 31-2" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">31-2</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> refused to see <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME> for two months, sent disturbing letters to friends, and was reported to have attacked her nurses.<BIBCITS><BIBCIT PLACEHOLDER="Lee 330-1" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">330-1</BIBCIT></BIBCITS></SHORTPROSE></DIV2><DIV2><HEADING>Illness and its Interpretation</HEADING><SHORTPROSE>Information about <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s early breakdowns is scant. For those after <DATE VALUE="1912">1912</DATE>, however, Leonard provided the witness of his <QUOTE DIRECT="Y">minutely kept diaries . . . coded in Tamil and Sinhalese,</QUOTE> letters, and memoirs. Lee summarizes Leonard's view of Virginia's illness: <QUOTE DIRECT="Y">that she was manic depressive . . . that her illness could be controlled by a regulated pattern of rest and food, and that it was related to her creative genius, to her intense work-levels and to the stress of finishing a book.</QUOTE> This is, says Lee, like other contemporary views of the matter, a <QUOTE DIRECT="Y">self-protecting narrative.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 178, 180" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">178, 180</BIBCIT></BIBCITS>Modern Woolf scholars are likely to reject the notion that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was, as her family liked to joke, <SOCALLED>mad as a hatter</SOCALLED>, and to believe, as Lyndall Gordon does, that her <QUOTE DIRECT="Y">instability had some biochemical base which was not understood.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> As a corrective to commentary which represents <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> as insane and as a victim, Hermione Lee bases her analysis on the strong assertion that <QUOTE DIRECT="Y">Virginia Woolf was a sane woman who had an illness . . . a person of exceptional courage, intelligence and stoicism.</QUOTE> She attributes <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s illness to <QUOTE DIRECT="Y">genetic, environmental and biological factors.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 175" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">175</BIBCIT></BIBCITS>Asserting that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s letters and diaries make hers <QUOTE DIRECT="Y">perhaps the most fully documented literary life of the twentieth century</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Trombley 1" DBREF="40669" REF="https://commons.cwrc.ca/orlando:4ebff900-5767-473a-b694-c73e908e39cd">1</BIBCIT></BIBCITS>, Stephen Trombley, examines <QUOTE DIRECT="Y">the way in which those suspected of harbouring madness have been dealt with, especially if they happen to be women.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Trombley 2" DBREF="40669" REF="https://commons.cwrc.ca/orlando:4ebff900-5767-473a-b694-c73e908e39cd">2</BIBCIT></BIBCITS> He analyses the assumptions of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s doctors (Savage, Craig and Hyslop) and places them <QUOTE DIRECT="Y">firmly within the history of the discourse of power.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Trombley 241" DBREF="40669" REF="https://commons.cwrc.ca/orlando:4ebff900-5767-473a-b694-c73e908e39cd">241</BIBCIT></BIBCITS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was troubled by a range of intermittent mental and physical problems as an adult. They varied from mild to almost unbearably severe, and included anxiety attacks, hallucinations, fevers, headaches, and an extreme reluctance (or refusal) to eat. Critics have suggested many different causes, both genetic (mainly from the Stephen side) and situational (with pressures caused by family relations, sexual abuse, her writing, war, and other concerns).<BIBCITS><BIBCIT PLACEHOLDER="Lee 65-6, 175-6" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">65-6, 175-6</BIBCIT></BIBCITS> Doctors responded by prescribing drugs, breaks from reading and writing, and rest cures at <NAME STANDARD="Thomas, Jean" REF="https://commons.cwrc.ca/orlando:e6d3b451-0164-4703-9797-485c3f0736b9">Jean Thomas</NAME>'s nursing home for women at <PLACE><PLACENAME>Burley Park</PLACENAME> in <SETTLEMENT CURRENT="London">Twickenham</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 182-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">182-3</BIBCIT></BIBCITS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s varying reactions to her own illnesses included guilt about what she saw as her lack of mental and moral control over her body; deep anger toward her physicians and the larger operational codes of the medical profession; and fascination with the great creative power she sometimes gained when she was ill.<BIBCITS><BIBCIT PLACEHOLDER="Lee 179-80, 187-92" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">179-80, 187-92</BIBCIT></BIBCITS> She sensed this power after her <NAME STANDARD="Stephen, Julia" REF="https://commons.cwrc.ca/orlando:3c546ede-7aa0-4bda-8b21-f9a0576f267c">mother</NAME>'s death in <DATE VALUE="1895">1895</DATE>, and in <DATE VALUE="1922">1922</DATE> wrote: <QUOTE DIRECT="Y">Once or twice I have felt that odd whirr of wings in the head which comes when I am ill so often . . . . Something happens in my mind. It refuses to go on registering impressions. It shuts itself up. It becomes chrysalis. I lie quite torpid, often with acute physical pain . . . Then suddenly something springs . . . ideas rush in me; often though this is before I can control my mind or pen.<BIBCITS><BIBCIT PLACEHOLDER="Lee 192" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">192</BIBCIT></BIBCITS></QUOTE></SHORTPROSE></DIV2></HEALTH></DIV1><DIV1><LOCATION RELATIONTO="LIVED"><DIV2><HEADING>Hogarth House</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1915-04-01">1 April 1915</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was brought to <PLACE><PLACENAME>Hogarth House</PLACENAME> in <SETTLEMENT CURRENT="London">Richmond</SETTLEMENT><REGION REG="Surrey"/><GEOG REG="England"/></PLACE>, the new home of herself and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME>, seriously ill and attended by four nurses. But by November the <QUOTE DIRECT="Y">twenty dark years were over, and the fertile stretch of her life began.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 352" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">352</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>In March Leonard had leased Hogarth House for five years at a rate of £150 per year. He thought that living just outside London would protect Virginia from the hazardous excitements and pressures of social life. They lived there until 1924 and named their printing press after the house. Though they came to this house early in the harsh wartime years, they flourished in it.<BIBCITS><BIBCIT PLACEHOLDER="Lee 352" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">352</BIBCIT></BIBCITS></SHORTPROSE></DIV2></LOCATION></DIV1><DIV1><POLITICS><DIV2><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> <QUOTE DIRECT="Y">declared [her]self a Fabian</QUOTE> in <DATE VALUE="1915-01">January 1915</DATE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 348" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">348</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH" CHRONCOLUMN1="SOCIALCLIMATE1" RELEVANCE1="DECADE1"><DATERANGE EXACT="BOTH" FROM="1916" TO="1920">1916-1920</DATERANGE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> organised and chaired twice-monthly meetings of the <PLACE><SETTLEMENT CURRENT="London">Richmond</SETTLEMENT><REGION REG="Surrey"/><GEOG REG="England"/></PLACE> <POLITICALAFFILIATION ACTIVISM="ACTIVISTYES" WOMAN-GENDERISSUE="GENDERYES">Women's Co-operative Guild</POLITICALAFFILIATION>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Gordon 260n" DBREF="16051" REF="https://commons.cwrc.ca/orlando:9846a647-4032-4c55-bb84-2540290054ff">260n</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Each meeting consisted of dinner, followed by an address from a speaker, followed by discussion. Speakers included <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME>, Virginia's brother <NAME STANDARD="Stephen, Adrian" REF="https://commons.cwrc.ca/orlando:b0c6f0c6-b1a1-48d3-b7fb-693f69cba8d9">Adrian</NAME>, and <NAME STANDARD="Strachey, Ray" REF="https://commons.cwrc.ca/orlando:57e0b9a3-d8bd-470d-9301-7e0ec93bc7c6">Ray Strachey</NAME>. About a dozen working-class women attended; class relations were not entirely easy.<BIBCITS><BIBCIT PLACEHOLDER="Lee 360-1" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">360-1</BIBCIT></BIBCITS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <POLITICALAFFILIATION ACTIVISM="ACTIVISTYES" WOMAN-GENDERISSUE="GENDERYES" REG="feminist">feminist</POLITICALAFFILIATION> and <POLITICALAFFILIATION WOMAN-GENDERISSUE="GENDERYES" MEMBERSHIP="MEMBERSHIPYES" REG="socialist">socialist</POLITICALAFFILIATION> views went along with firm <POLITICALAFFILIATION WOMAN-GENDERISSUE="GENDERYES" MEMBERSHIP="MEMBERSHIPYES" REG="anti-war">opposition to the war</POLITICALAFFILIATION>, and to the <POLITICALAFFILIATION WOMAN-GENDERISSUE="GENDERYES" MEMBERSHIP="MEMBERSHIPYES" REG="pacifist">militaristic political structures that had produced the war</POLITICALAFFILIATION>, which is evident in many of her writings. Leonard was much occupied with his political work throughout his career. He wrote for (and sometimes edited) the <TITLE TITLETYPE="JOURNAL">New Statesman</TITLE>, the <TITLE TITLETYPE="JOURNAL" REG="New Statesman">Nation and Athenæum</TITLE>, and <TITLE TITLETYPE="JOURNAL">International Review</TITLE>; he was heavily involved with suffragism, the <ORGNAME STANDARD="Labour Party" REF="https://commons.cwrc.ca/orlando:04acd7f8-0656-4ad3-b2a3-ded97644a6f4">Labour Party</ORGNAME>, the <ORGNAME STANDARD="Fabian Society" REF="https://commons.cwrc.ca/orlando:9e6fcd2f-21fb-4d2c-8c18-28d2469fea6d">Fabian Society</ORGNAME>, and the <ORGNAME STANDARD="League of Nations" REF="https://commons.cwrc.ca/orlando:340e3a37-cbbd-45b0-92fc-3e5a1b7d9dd9">League of Nations</ORGNAME>, among other affiliations. He stood (unsuccessfully) as a candidate for election to Parliament in <DATE VALUE="1920">1920</DATE>. <BIBCITS><BIBCIT PLACEHOLDER="Lee 328, 347" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">328, 347</BIBCIT> <BIBCIT PLACEHOLDER="Hussey 373" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">373</BIBCIT></BIBCITS></SHORTPROSE></DIV2></POLITICS></DIV1><DIV1><POLITICS><DIV2><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="IMG"><DATE VALUE="1920-10"> October 1920</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published in <TITLE TITLETYPE="JOURNAL">The New Statesman</TITLE> two letters on <TITLE TITLETYPE="ANALYTIC">The Intellectual Status of Women</TITLE>. She was responding to views expressed by <NAME STANDARD="MacCarthy, Desmond" REF="https://commons.cwrc.ca/orlando:6335c7f7-c198-47d6-bb4d-779120e7b2fe">Desmond MacCarthy</NAME>, the <SOCALLED>Affable Hawk</SOCALLED>, in a review of <NAME STANDARD="Bennett, Arnold" REF="https://commons.cwrc.ca/orlando:eb3621cd-f3f8-4568-a027-cb5fc23fc9f6">Arnold Bennett</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC">Our Women</TITLE> <DATE VALUE="1920">1920</DATE>.</CHRONPROSE></CHRONSTRUCT><SHORTPROSE>On <DATE VALUE="1920-10-02">2 October</DATE> <SOCALLED> Affable Hawk</SOCALLED> had agreed with Bennett that women are innately <QUOTE DIRECT="Y"> inferior to men in intellectual power, and that women's indisputable <QUOTE DIRECT="N">desire to be dominated is . . . a proof of intellectual inferiority</QUOTE>.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 339" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 339</BIBCIT></BIBCITS> <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> challenges Bennett, who had said he could name fifty men to one woman of achievement, to name fifty male poets superior to Sappho. She leaves a barb: <QUOTE DIRECT="Y">Thus, though women have every reason to hope that the intellect of the male sex is steadily diminishing, it would be unwise, until they have more evidence than the great war and the great peace supply, to announce it as a fact.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 339" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 339</BIBCIT></BIBCITS> The Affable Hawk returned to his point that in intellectual pursuits, in spite of education, women cannot equal men. <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s second letter cites Sappho and Ethel Smyth as women whose creativity had to overcome social and material obstacles and outlines the necessary conditions for creative work of genius: <QUOTE DIRECT="Y">the conditions which make it possible for a Shakespeare to exist are that he shall have had predecessors in his art, shall make one of a group where art is freely discussed and practised, and shall himself have the utmost of freedom of action and experience. Perhaps in Lesbos, but never since, have these conditions been the lot of women.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 341" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 341</BIBCIT></BIBCITS></SHORTPROSE></DIV2></POLITICS></DIV1><DIV1><LOCATION RELATIONTO="LIVED"><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1919-07-01">1 July 1919</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> and her husband <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME> purchased their country home, <PLACE><PLACENAME>Monk's House</PLACENAME> in the village of <SETTLEMENT>Rodmell</SETTLEMENT><REGION REG="Sussex"/><GEOG REG="England"/></PLACE>, near <PLACE><SETTLEMENT>Lewes</SETTLEMENT> in <REGION REG="Sussex">Sussex</REGION><GEOG REG="England"/></PLACE>, for £700. <QUOTE DIRECT="Y">The name was invented by a real estate agent and the house had nothing to do with the church next to it.</QUOTE></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 165" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">165</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> thrived on the energy of London, but the country was a quiet refuge for her. She served as secretary for the <ORGNAME STANDARD="Rodmell Labour Party" REF="https://commons.cwrc.ca/orlando:1e1bde12-af28-4f64-91d1-1ca88eec3b00">Rodmell Labour Party</ORGNAME> and helped the local <ORGNAME REG="Rodmell Women's Institute" STANDARD="Rodmell Women's Institute" REF="https://commons.cwrc.ca/orlando:91478a26-4a82-4e61-8172-40627eb2d7fc">Women's Institute</ORGNAME> produce a play.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 165" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">165 </BIBCIT></BIBCITS></SHORTPROSE></DIV2></LOCATION></DIV1><DIV1><OCCUPATION><DIV2><HEADING>Daily Schedule</HEADING><SHORTPROSE>By the time the Woolfs were living at <PLACE><PLACENAME>Hogarth House</PLACENAME><SETTLEMENT CURRENT="London" REG="Richmond"/><REGION REG="Surrey"/><GEOG REG="England"/></PLACE> and <PLACE><PLACENAME>Monk's House</PLACENAME><SETTLEMENT REG="Rodmell"/><REGION REG="Sussex"/><GEOG REG="England"/></PLACE>, Virginia had established a fairly routine schedule, which she recorded in her diary and called her <SOCALLED>work account</SOCALLED>. It was sometimes disrupted, but often consisted of <JOB REG="writer">creative or critical writing</JOB> in the morning; revising around lunchtime; diary- or letter-writing after tea; and visiting or reading <JOB REG="reviewer">(sometimes for review)</JOB> in the evenings.<BIBCITS><BIBCIT PLACEHOLDER="Lee 411-12" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">411-12</BIBCIT></BIBCITS></SHORTPROSE></DIV2></OCCUPATION></DIV1><DIV1><HEADING>World War I</HEADING><POLITICS><DIV2><SHORTPROSE>The Woolfs' first years in Hogarth House were war years. The war in the air astonished and terrified Londoners, most of whom had never seen an aeroplane. <QUOTE DIRECT="Y">In the bitterly cold winter of 1917-18, they spent many nights waking up or interrupting their dinner parties, to go down to the basement with <QUOTE DIRECT="N">clothes, quilts, a watch and a torch</QUOTE>, and sit on wooden boxes in the coal cellar, or lie on mattresses in the kitchen, during the bombardments.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 353" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">353</BIBCIT></BIBCITS> The experience is written into <TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE>.Like many of her friends and associates, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was staunchly anti-war. Her brother Adrian was an active pacifist and secretary of the <ORGNAME STANDARD="No-Conscription Fellowship" REF="https://commons.cwrc.ca/orlando:7676bb6b-757a-460c-b31d-80ee5e644861">No-Conscription Fellowship</ORGNAME>, and she and many friends were <SOCALLED>COs</SOCALLED>, or Conscientious Objectors. Moreover, the <QUOTE DIRECT="Y">Women's Movement had split over whether or not to support the fighting, and Woolf's sympathies were with the women working for peace.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 89" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">89</BIBCIT></BIBCITS> In a letter to <NAME STANDARD="Davies, Margaret Llewelyn" REF="https://commons.cwrc.ca/orlando:300f2b0c-b32e-444d-b381-b60ced8a5f4c">Margaret Llewelyn Davies</NAME> <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> called the war <QUOTE DIRECT="Y">a preposterous masculine fiction</QUOTE> (a description, she said, based on a daily reading of the <TITLE TITLETYPE="JOURNAL">Times</TITLE>, which made the male part of Britain, or perhaps Europe, seem like <QUOTE DIRECT="Y">some curious tribe in Central Africa</QUOTE>).<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 2: 76" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">2: 76</BIBCIT></BIBCITS></SHORTPROSE></DIV2></POLITICS></DIV1><DIV1><HEADING>The Hogarth Press</HEADING><OCCUPATION><DIV2><SHORTPROSE>The Woolfs were planning to acquire a printing press as early as 22 February 1915, when Virginia wrote to <NAME STANDARD="Davies, Margaret Llewelyn" REF="https://commons.cwrc.ca/orlando:300f2b0c-b32e-444d-b381-b60ced8a5f4c">Margaret Llewelyn Davies</NAME> about their excitement over the prospect: <QUOTE DIRECT="Y">there's a chance of damaging the <NAME STANDARD="Webb, Beatrice" REF="https://commons.cwrc.ca/orlando:d2db0fc7-cbcf-4db3-b1af-7f78ce9ab92f">Webb</NAME> <NAME STANDARD="Webb, Sidney" REF="https://commons.cwrc.ca/orlando:b28259c9-00d6-4f0f-b82b-65878dc3c46d">influence</NAME> irretrievably, (which is my ambition in life). Presses only cost £17.17, and can be worked easily.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 2: 76" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">2: 76</BIBCIT></BIBCITS> When the dream became a reality the political motive became linked with an equally strong literary one, and the idea that it would all be easy simply faded.</SHORTPROSE><CHRONSTRUCT RELEVANCE="SELECTIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="SELECTIVE1"><DATE VALUE="1917-03-23">23 March 1917</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia</NAME> and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> ordered a <JOB FAMILYBUSINESS="FAMILYBUSINESSYES" REG="printer">printing press</JOB>. It was delivered to <PLACE><PLACENAME>Hogarth House</PLACENAME> in <SETTLEMENT CURRENT="London">Richmond</SETTLEMENT><REGION REG="Surrey"/><GEOG REG="England"/></PLACE> on <DATE VALUE="1917-04-24">24 April</DATE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 363" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">363</BIBCIT></BIBCITS></CHRONPROSE> <KEYWORDCLASS>Women and Publishing</KEYWORDCLASS></CHRONSTRUCT><SHORTPROSE>Thus they founded the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>. The <ORGNAME STANDARD="Excelsior Printing and Supply Company" REF="https://commons.cwrc.ca/orlando:1fed5cf4-ac11-437d-b45c-5d5d47c997f2">Excelsior Printing and Supply Company</ORGNAME> charged £19.5s.5d. for a small hand press, some type, and an instruction booklet; but when the press arrived, on 24 April, it had not been properly packed for its great weight, and was broken (or in Woolf's words, <QUOTE DIRECT="Y">smashed in half!</QUOTE>).<BIBCITS><BIBCIT PLACEHOLDER="Evans 8" DBREF="37765" REF="https://commons.cwrc.ca/orlando:a86059da-ebad-4abe-a00e-5f9065acb7c9">8</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Letters 2: 150" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">2: 150</BIBCIT></BIBCITS> The type came in great solid blocks that had to be broken up and sorted by letter and font. By 2 May they had set up the type for their first publication: not yet <TITLE TITLETYPE="MONOGRAPHIC">Two Stories</TITLE>, but a handbill advertising it. Virginia was finding the manual labour <QUOTE DIRECT="Y">exciting, soothing, ennobling and satisfying,</QUOTE> and although Leonard <QUOTE DIRECT="Y">heaved a terrific sigh and said <QUOTE DIRECT="N">I wish to God we'd never bought the cursed thing!</QUOTE></QUOTE> he explained this remark by adding that this was only because he would now <QUOTE DIRECT="Y">never do anything else.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 2: 151" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">2: 151</BIBCIT></BIBCITS>Once the press was repaired they printed their handbill. Their first book (<TITLE TITLETYPE="MONOGRAPHIC">Two Stories</TITLE>, containing Virginia's <TITLE TITLETYPE="ANALYTIC">The Mark on the Wall</TITLE> and Leonard's <TITLE TITLETYPE="ANALYTIC">Three Jews</TITLE>) had to be set up and printed two pages at a time; after that they had to break up the type in order to set the next two pages, because their stock of type was so small. Nonetheless, after working almost every afternoon for two months, they published <TITLE TITLETYPE="MONOGRAPHIC">Two Stories</TITLE> in July that year. In October they embarked on a series of assistants, of whom the first on a commercial footing was <NAME STANDARD="Partridge, Ralph" REF="https://commons.cwrc.ca/orlando:2fa50950-86ac-42b1-8bde-b91a73907a87">Ralph Partridge</NAME>, engaged in August 1920. They acquired more type, but also came to an arrangement with a local printer to print extra copies of their second publication, <NAME STANDARD="Mansfield, Katherine" REF="https://commons.cwrc.ca/orlando:c30b4595-64b0-49a1-8c4a-265a4e848409">Katherine Mansfield</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC">Prelude</TITLE>—a practice they repeated later with other works and other commercial printers. After the financial success of Virginia's <TITLE TITLETYPE="MONOGRAPHIC">Kew Gardens</TITLE>, Leonard bought the Press a brass nameplate costing half a guinea. In November 1921 they took delivery of a second-hand Minerva printing press worked by a heavy treadle which cost £70.10s, and 77 pounds weight of type at a price of £18.9s.5d. (This press, given by Virginia to <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME>, is today on display at <PLACE><PLACENAME REG="Sissinghurst Castle">Sissinghurst</PLACENAME><REGION REG="Kent"/><GEOG REG="England"/></PLACE>.) In mid 1922 the Press reached another landmark with the engagement of <NAME STANDARD="Joad, Marjorie" REF="https://commons.cwrc.ca/orlando:1228eb19-11ea-43ae-b65f-600cce0cdb17">Marjorie Thomson (or Joad)</NAME>.<BIBCITS><BIBCIT PLACEHOLDER="Evans 9-10, 12-15" DBREF="37765" REF="https://commons.cwrc.ca/orlando:a86059da-ebad-4abe-a00e-5f9065acb7c9">9-10, 12-15</BIBCIT></BIBCITS> Others who worked at the Press included <NAME STANDARD="Rylands, George" REF="https://commons.cwrc.ca/orlando:f6bcd05b-c3f2-4800-ac12-28b9c7da2235">George (Dadie) Rylands</NAME> (who later recalled <QUOTE DIRECT="Y">many happy hours setting up type with Virginia</QUOTE>), <NAME STANDARD="Kennedy, Richard" REF="https://commons.cwrc.ca/orlando:da4522e7-baad-44c0-bf9b-993efec1dce6">Richard Kennedy</NAME> (who published <TITLE TITLETYPE="MONOGRAPHIC">A Boy at the Hogarth Press</TITLE> in 1972), and from 1931 <NAME STANDARD="Lehmann, John" REF="https://commons.cwrc.ca/orlando:a97dc036-f74b-4c14-953f-63f35e0f00b9">John Lehmann</NAME> (who published <TITLE TITLETYPE="MONOGRAPHIC">Thrown to the Woolfs</TITLE> in 1978).<BIBCITS><BIBCIT PLACEHOLDER="Gaither 17" DBREF="37807" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:2821df13-a1f7-4993-ada3-dd86a5a5250c">17</BIBCIT></BIBCITS> The diary of the sixteen-year-old Kennedy (reconstructed later, and therefore inherently suspect) is nonetheless delightful in its sharpness and naivety. On first meeting, Leonard looked to him like <QUOTE DIRECT="Y">an extremely intellectual wolf . . . a very Socrates of wolves.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Kennedy 6" DBREF="37825" REF="https://commons.cwrc.ca/orlando:0f815425-f391-4926-8b63-9bb43c5f1b2b">6</BIBCIT></BIBCITS> In cutting pages and parcelling up review copies, <QUOTE DIRECT="Y">Mrs W is a pretty fast worker considering she's not a professional like Miss Belcher and myself.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Kennedy 42" DBREF="37825" REF="https://commons.cwrc.ca/orlando:0f815425-f391-4926-8b63-9bb43c5f1b2b">42</BIBCIT></BIBCITS> When asked at a party what he thought of her books and confessing that he found them heavy, he <QUOTE DIRECT="Y">felt rather like Peter denying Christ.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Kennedy 47" DBREF="37825" REF="https://commons.cwrc.ca/orlando:0f815425-f391-4926-8b63-9bb43c5f1b2b">47</BIBCIT></BIBCITS>The Press, which began as therapy and for the purpose of publishing the works of its owners, grew into a major engine of modern culture and thought.<BIBCITS><BIBCIT PLACEHOLDER="Lee 371-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">371-3</BIBCIT></BIBCITS> Its political interests were served by <QUOTE DIRECT="Y">enlightened and clear thinking from well-informed persons on such . . . issues as disarmament, the <ORGNAME STANDARD="League of Nations" REF="https://commons.cwrc.ca/orlando:340e3a37-cbbd-45b0-92fc-3e5a1b7d9dd9">League of Nations</ORGNAME>, imperialism, racial prejudice, education reform, labor conditions, socialism, etc.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Gaither 4" DBREF="37807" REF="https://commons.cwrc.ca/orlando:2821df13-a1f7-4993-ada3-dd86a5a5250c">4</BIBCIT></BIBCITS> It launched and maintained a number of specialised series, covering the new discipline of psychoanalysis as well as literature and politics. (One of its achievements was making available in England the papers of the <ORGNAME STANDARD="International Psycho-Analytical Institute" REF="https://commons.cwrc.ca/orlando:5f68d4a7-500d-4b95-a96b-03e806fcd3b2">International Psycho-Analytical Institute</ORGNAME> in <PLACE><SETTLEMENT>Vienna</SETTLEMENT><GEOG REG="Austria"/></PLACE>.) It published creative works by <NAME STANDARD="Mansfield, Katherine" REF="https://commons.cwrc.ca/orlando:c30b4595-64b0-49a1-8c4a-265a4e848409">Katherine Mansfield</NAME>, <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME>, <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME>, <NAME STANDARD="Isherwood, Christopher" REF="https://commons.cwrc.ca/orlando:d252a8b9-bc86-4d2f-b727-c4a70425561a">Christopher Isherwood</NAME>,<BIBCITS><BIBCIT PLACEHOLDER="Gaither 4" DBREF="37807" REF="https://commons.cwrc.ca/orlando:2821df13-a1f7-4993-ada3-dd86a5a5250c">4</BIBCIT></BIBCITS> and <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> (generally when these authors were still little known), non-fiction by <NAME STANDARD="Fry, Roger" REF="https://commons.cwrc.ca/orlando:497e19ff-a249-42db-9c66-32a00759ed93">Roger Fry</NAME>, <NAME STANDARD="Stein, Gertrude" REF="https://commons.cwrc.ca/orlando:415bfff8-4ef9-43cc-be68-d4c439818aad">Gertrude Stein</NAME>, <NAME STANDARD="Harrison, Jane Ellen" REF="https://commons.cwrc.ca/orlando:0787d1f7-9ecc-4cd9-97a7-b89359da2979">Jane Harrison</NAME>, and <NAME STANDARD="Rhondda, Margaret Haig,,, Viscountess" REF="https://commons.cwrc.ca/orlando:9c67d534-75c2-4fac-a1e6-92010cd55ded">Viscountess Rhondda</NAME>, and translations (mostly the first in English) of <NAME STANDARD="Chekhov, Anton Pavlovich" REF="https://commons.cwrc.ca/orlando:b16150d4-209a-468f-9a18-52feff46fcaf">Chekhov</NAME>, <NAME STANDARD="Gorky, Maxim" REF="https://commons.cwrc.ca/orlando:c4008606-f1f4-40a5-a972-05daa742bd27">Gorky</NAME>, and <NAME STANDARD="Freud, Sigmund" REF="https://commons.cwrc.ca/orlando:8b453664-1464-4c11-9133-6626fe9cfd4d">Freud</NAME>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 371-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">371-3</BIBCIT></BIBCITS> The list reflects some of the most significant strands in contemporary thought.<BIBCITS><BIBCIT PLACEHOLDER="Gaither 24" DBREF="37807" REF="https://commons.cwrc.ca/orlando:2821df13-a1f7-4993-ada3-dd86a5a5250c">24</BIBCIT></BIBCITS> <SCHOLARNOTE>The Hogarth Press bibliographer <NAME STANDARD="Woolmer, J. Howard" REF="https://commons.cwrc.ca/orlando:9cf3f543-4ed9-4d88-a670-b4475c31d090">J. Howard Woolmer</NAME> provides an appendix listing the various series: <TITLE TITLETYPE="SERIES">Hogarth Essays</TITLE>, <TITLE TITLETYPE="SERIES">Hogarth Lectures on Literature</TITLE>, <TITLE TITLETYPE="SERIES">Hogarth Living Poets</TITLE>, <TITLE TITLETYPE="SERIES">Hogarth Stories</TITLE> (two titles only), <TITLE TITLETYPE="SERIES">Hogarth Letters</TITLE>, <TITLE TITLETYPE="SERIES">Merttens Lectures on War and Peace</TITLE>, <TITLE TITLETYPE="SERIES">Day to Day Pamphlets</TITLE>, <TITLE TITLETYPE="SERIES">Biographies through the Eyes of Contemporaries</TITLE> (two titles only), <TITLE TITLETYPE="SERIES">World-Makers and World-Shakers</TITLE>, <TITLE TITLETYPE="SERIES">Psycho-Analytical Epitomes</TITLE>, and the <TITLE TITLETYPE="SERIES">International Psycho-Analytical Library</TITLE>.</SCHOLARNOTE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was especially pleased with her new ability to <JOB FAMILYBUSINESS="FAMILYBUSINESSYES" REG="publishing">publish her own texts</JOB>. She later observed: <QUOTE DIRECT="Y">I'm the only woman in England free to write what I like.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 374-5, 818" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">374-5, 818</BIBCIT></BIBCITS> The Press also allowed for collaboration with her sister: <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Bell</NAME> designed many covers for its books, including most of those written by Virginia.<NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> herself did <JOB FAMILYBUSINESS="FAMILYBUSINESSYES" REG="publisher's editor">editorial work</JOB> and some <JOB FAMILYBUSINESS="FAMILYBUSINESSYES" REG="type-setter">type-setting</JOB> and <JOB FAMILYBUSINESS="FAMILYBUSINESSYES" REG="book-binder">binding</JOB>, but Leonard took most of the daily decisions and did most of the administrative work, with the Press's gradually growing and often changing staff.<BIBCITS><BIBCIT PLACEHOLDER="Lee 363-9" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">363-9</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="DECADE1"><DATE VALUE="1938-02-23">23 February 1938</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> signed an agreement with <NAME STANDARD="Lehmann, John" REF="https://commons.cwrc.ca/orlando:a97dc036-f74b-4c14-953f-63f35e0f00b9">John Lehmann</NAME>, selling her share in the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> for £3,000; from now on Lehmann was <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME>'s partner in the press.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Gaither 3" DBREF="37807" REF="https://commons.cwrc.ca/orlando:2821df13-a1f7-4993-ada3-dd86a5a5250c">3</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><REMUNERATION>During the previous fifteen years of its life it had earned an income of £814 per annum (an average which takes in the total of three pounds in 1924 and £2,442 in 1938, its most profitable year up to that point).</REMUNERATION> In 1947 the Press became allied with <ORGNAME STANDARD="Chatto and Windus" REF="https://commons.cwrc.ca/orlando:0f5ab112-4e81-4977-8c29-8ab17d64e707">Chatto and Windus</ORGNAME>.<BIBCITS><BIBCIT PLACEHOLDER="Gaither 3, 5n3" DBREF="37807" REF="https://commons.cwrc.ca/orlando:2821df13-a1f7-4993-ada3-dd86a5a5250c">3, 5n3</BIBCIT></BIBCITS></SHORTPROSE></DIV2></OCCUPATION></DIV1><DIV1><HEADING>Creative and Personal Relationships</HEADING><FRIENDSASSOCIATES><DIV2><HEADING>E. M. Forster</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="IMG" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1910-12">December 1910</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> heard <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME>'s talk on <TITLE TITLETYPE="ANALYTIC">The Feminine Note in Literature</TITLE> at the <ORGNAME STANDARD="Friday Club" REF="https://commons.cwrc.ca/orlando:e435f424-71db-46fb-83e8-668cf879d1af">Friday Club</ORGNAME>. His novel <TITLE TITLETYPE="MONOGRAPHIC">Howards End</TITLE> had appeared the previous October.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 271" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">271</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>She and Forster began to know one another this year and became lifelong friends. He reviewed her books, and she his, and in defence of <NAME STANDARD="Hall, Radclyffe" REF="https://commons.cwrc.ca/orlando:076f28fc-38ae-4324-9613-f98182a9f9a1">Radclyffe Hall</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC">The Well of Loneliness</TITLE> they wrote jointly. <SOCALLED>Morgan</SOCALLED>'s opinions mattered to her very much, yet in <DATE VALUE="1927">1927</DATE> she offended him with her essay on his fiction. They saw one another frequently and over many years, with respect and affection, although mixed with some mutual wariness.<BIBCITS><BIBCIT PLACEHOLDER="Lee 271" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">271</BIBCIT></BIBCITS></SHORTPROSE></DIV2><DIV2><HEADING>Katherine Mansfield</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1917-01-17">17 January 1917</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> and <NAME STANDARD="Mansfield, Katherine" REF="https://commons.cwrc.ca/orlando:c30b4595-64b0-49a1-8c4a-265a4e848409">Katherine Mansfield</NAME> first met; before this Woolf had asked <NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME> to arrange a meeting between them.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 35" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">35</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>They developed a relationship that was competitive yet sustaining and essential to both. In <DATE VALUE="1920-08">August 1920</DATE> Woolf commented on Mansfield in her diary: <QUOTE DIRECT="Y">a woman caring as I care for writing is rare enough I suppose to give me the queerest sense of echo coming back to me from her mind the second after I've spoken.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 61" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 61</BIBCIT></BIBCITS> They discussed works by <NAME STANDARD="Richardson, Dorothy" REF="https://commons.cwrc.ca/orlando:7240e6e7-6d75-4338-bf00-1ba900e6995e">Dorothy Richardson</NAME>, <NAME STANDARD="Sinclair, May" REF="https://commons.cwrc.ca/orlando:d6ae8bb0-b8be-41a7-8356-2c1517c4f67a">May Sinclair</NAME>, and <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME>, along with each other's ideas and writing. Mansfield reviewed Woolf's <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE> and <TITLE TITLETYPE="MONOGRAPHIC">Kew Gardens</TITLE>, and the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> published Mansfield's <TITLE TITLETYPE="MONOGRAPHIC">Prelude</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 390-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">390-3</BIBCIT></BIBCITS>Mansfield was still on <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s mind in <DATE VALUE="1928-07">July 1928</DATE>, five years after her death: Woolf recalled a dream in which Mansfield was <QUOTE DIRECT="Y">lying on a sofa in a room high up, &amp; a great many sad faced women were round her.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 187" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 187</BIBCIT></BIBCITS></SHORTPROSE></DIV2><DIV2><HEADING>Ottoline Morrell</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATERANGE FROM="1917-11-17" TO="1917-11-19" EXACT="BOTH">17-19 November 1917</DATERANGE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> visited <PLACE><PLACENAME>Garsington Manor</PLACENAME><SETTLEMENT REG="Garsington"/><REGION REG="Oxfordshire"/><GEOG REG="England"/></PLACE>, home of <NAME STANDARD="Morrell, Lady Ottoline" REF="https://commons.cwrc.ca/orlando:dcdcf7f0-89c2-4266-b575-18831c029e0e">Lady Ottoline</NAME> and <NAME STANDARD="Morrell, Philip" REF="https://commons.cwrc.ca/orlando:47660b88-e91d-4dbf-bb3c-a38dcdfdff83">Philip Morrell</NAME>, for the first time.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 1: 77-8" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">1: 77-8</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>After this <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> saw Ottoline Morrell many times at Garsington and at Ottoline's other salons, where guests included <NAME STANDARD="Yeats, W. B." REF="https://commons.cwrc.ca/orlando:8cba91d5-eeb9-4b97-8ced-bcd9b6a2ee84">W. B. Yeats</NAME>, <NAME STANDARD="Huxley, Aldous" REF="https://commons.cwrc.ca/orlando:a412f2f1-254f-4ea8-b001-d207a3d46bee">Aldous Huxley</NAME>, <NAME STANDARD="Gertler, Mark" REF="https://commons.cwrc.ca/orlando:6df3eed9-3316-455a-a420-16ee2d1c2433">Mark Gertler</NAME>, and <NAME STANDARD="Brett, Dorothy" REF="https://commons.cwrc.ca/orlando:a8da7401-88b1-428a-addb-56e6771ff5c5">Dorothy Brett</NAME>, among many others.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 40" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">40</BIBCIT> <BIBCIT PLACEHOLDER="Hussey 167-8" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">167-8</BIBCIT></BIBCITS> Relations between them were difficult, however, in large part because Lady Ottoline felt the sting of Bloomsbury's, and of Woolf's, mockery. When they first met, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was <QUOTE DIRECT="Y">all gush</QUOTE> in a letter to her but satiric about her in conversation with others.<BIBCITS><BIBCIT PLACEHOLDER="Lee 276" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">276</BIBCIT></BIBCITS> Nevertheless, the two were linked by politics and the war. Phillip Morrell, Ottoline's husband, a Liberal Member of Parliament, took a stand in the House of Commons against war fever, and Ottoline herself took in conscientious objectors as labourers on her farm at Garsington. Though the two women were not close in the 1920s, they became more so in the 1930s, and they remained friends until Lady Ottoline's death in <DATE VALUE="1938-04-21">1938</DATE>. <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote her obituary for the <TITLE TITLETYPE="JOURNAL">Times</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 276-7" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">276-7</BIBCIT></BIBCITS></SHORTPROSE></DIV2><DIV2><HEADING>T. S. Eliot</HEADING><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="DECADE1"><DATE VALUE="1918-11-15">15 November 1918</DATE> <CHRONPROSE><NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME> visited <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> for the first time, thereby beginning a lasting association.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 47" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">47</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Diary 1: 218-19" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">1: 218-19</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Leonard Woolf wrote to Eliot, whose <TITLE TITLETYPE="MONOGRAPHIC">Prufrock and Other Observations</TITLE> he had read, to invite him to send some work to the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>. The letter led to a meeting, and ultimately to the publication by the Press of Eliot's <TITLE TITLETYPE="MONOGRAPHIC" REG="T. S. Eliot, Poems, 1919">Poems</TITLE>, <DATE VALUE="1919">1919</DATE>, <TITLE TITLETYPE="MONOGRAPHIC">The Waste Land</TITLE>, <DATE VALUE="1923">1923</DATE>, and <TITLE TITLETYPE="MONOGRAPHIC" REG="Homage to John Dryden">Homage to <NAME STANDARD="Dryden, John" REF="https://commons.cwrc.ca/orlando:36ba1ceb-dcec-4a9e-9ea2-fac50caf043d">John Dryden</NAME>, Three Essays on Poetry of the Seventeenth Century</TITLE>, <DATE VALUE="1924">1924</DATE>. In her diary entry for the day on which she and <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">Eliot</NAME> met, Woolf notes that <QUOTE DIRECT="Y">beneath the surface it is fairly evident that he is very intellectual, intolerant, with strong views of his own, &amp; a poetic creed. I'm sorry to say that this sets up <NAME STANDARD="Pound, Ezra" REF="https://commons.cwrc.ca/orlando:9bcc66c7-b8be-4562-b314-eebb50218962">Ezra Pound</NAME> &amp; <NAME STANDARD="Lewis, Wyndham" REF="https://commons.cwrc.ca/orlando:dee4421e-0c8e-4f14-95a8-003f2252e474">Wyndham Lewis</NAME> as great poets, or in the current phrase <QUOTE DIRECT="N">very interesting</QUOTE> writers. He admires <NAME STANDARD="Joyce, James" REF="https://commons.cwrc.ca/orlando:27c08a0a-133b-4483-85a8-ae29b1c3849b">Mr Joyce</NAME> immensely.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 1: 218-19" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">1: 218-19</BIBCIT></BIBCITS>Early in their friendship Woolf sensed Eliot's intellectual ambitions and strengths, but she also detected his reserve and playfully mocked him: as <QUOTE DIRECT="Y">sharp, narrow &amp; much of a stick,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 1: 262" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">1: 262</BIBCIT></BIBCITS> or as coming to dinner in <QUOTE DIRECT="Y">a four-piece suit.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 441" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">441</BIBCIT></BIBCITS> Their friendship became easier as it aged. He favourably reviewed <TITLE TITLETYPE="ANALYTIC">Monday or Tuesday</TITLE> and published <TITLE TITLETYPE="ANALYTIC">On Being Ill</TITLE> in the first number of his <TITLE TITLETYPE="JOURNAL" REG="The Criterion">New Criterion</TITLE> (lately, and soon to be again, <TITLE TITLETYPE="JOURNAL">The Criterion</TITLE>). When he adopted British nationality, in <DATE VALUE="1927">1927</DATE>, Leonard Woolf was one of his sponsors.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 81" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">81</BIBCIT></BIBCITS> The conversation between Woolf and Eliot left its mark in her work, and she admired him enough to admonish herself not to try to be like him.</SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="DECADE1"><DATE VALUE="1922-06-18">18 June 1922</DATE> <CHRONPROSE><NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME> visited <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> and read <TITLE TITLETYPE="MONOGRAPHIC">The Waste Land</TITLE> to her from manuscript. She recorded in her diary her early impressions of the poem, which the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> published for the first time in England in <DATE VALUE="1923-09">September 1923</DATE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 178" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 178</BIBCIT> <BIBCIT PLACEHOLDER="Woolmer 1976, 40" DBREF="37806" REF="https://commons.cwrc.ca/orlando:d8351c97-5bb8-4979-bd2d-58cbea1f849e">40</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> observed that the poem has <QUOTE DIRECT="Y">great beauty &amp; force of phrase: symmetry; &amp; <SIC CORR="intensity">tensity</SIC>. What connects it together, I'm not so sure. . . . One was left, however, with some strong emotion.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 178" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 178</BIBCIT></BIBCITS></SHORTPROSE></DIV2><DIV2><HEADING>James Joyce</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="IMG" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1922-09-06">6 September 1922</DATE> <CHRONPROSE>Having already begun on <NAME STANDARD="Joyce, James" REF="https://commons.cwrc.ca/orlando:27c08a0a-133b-4483-85a8-ae29b1c3849b">James Joyce's</NAME> <TITLE TITLETYPE="MONOGRAPHIC">Ulysses</TITLE> in <TITLE TITLETYPE="JOURNAL">The Little Review</TITLE> in March 1918, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> finished reading the book. <QUOTE DIRECT="Y">Genius it has I think, but of the inferior water.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 199" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 199</BIBCIT></BIBCITS></CHRONPROSE></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Weaver, Harriet Shaw" REF="https://commons.cwrc.ca/orlando:0094fe91-b03f-46e8-9ea2-1fabab839919">Harriet Shaw Weaver</NAME> had approached the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> about publishing <TITLE TITLETYPE="MONOGRAPHIC">Ulysses</TITLE> in <DATE VALUE="1918-04">April 1918</DATE>, but the Woolfs declined, mainly because they could not have printed so massive a work themselves and because <QUOTE DIRECT="Y">Leonard could find no printer prepared to be liable in case of an obscenity charge.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 391" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">391</BIBCIT></BIBCITS> <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> gave serious attention to the novel, which obviously challenged and threatened her. <QUOTE DIRECT="Y">It is underbred, not only in the obvious sense, but in the literary sense.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 199" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 199</BIBCIT></BIBCITS> She took issue with Joyce's depictions of sex and bodily functions, and made mostly negative comments about <TITLE TITLETYPE="MONOGRAPHIC">Ulysses</TITLE> in general: it fails, she said, because of <QUOTE DIRECT="Y">the comparative poverty of the writer's mind</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 3: 34" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">3: 34</BIBCIT></BIBCITS> Her comment has prompted observers from <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">Eliot</NAME> onwards to question and criticise her literary judgment, and some to accuse her of snobbery. But Joyce, together with <NAME STANDARD="Richardson, Dorothy" REF="https://commons.cwrc.ca/orlando:7240e6e7-6d75-4338-bf00-1ba900e6995e">Dorothy Richardson</NAME>, affected the way she wrestled with the relation between <SOCALLED>reality</SOCALLED> and <SOCALLED>consciousness</SOCALLED>. Recent critics have emphasized the complexity of her response to Joyce.<BIBCITS><BIBCIT PLACEHOLDER="Lee 390-1, 439-40" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">390-1, 439-40</BIBCIT></BIBCITS></SHORTPROSE></DIV2><DIV2><HEADING>Jane Harrison</HEADING><SHORTPROSE>The classical scholar <NAME STANDARD="Harrison, Jane Ellen" REF="https://commons.cwrc.ca/orlando:0787d1f7-9ecc-4cd9-97a7-b89359da2979">Jane Ellen Harrison</NAME> made a great impact on Woolf's views on women in scholarship and women in history. The <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> published her <TITLE TITLETYPE="MONOGRAPHIC">Reminiscences of a Student's Life</TITLE>, <DATE VALUE="1925">1925</DATE>.</SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1928-02">February 1928</DATE> <CHRONPROSE>While <QUOTE DIRECT="Y">woolgathering</QUOTE> for her upcoming <TITLE TITLETYPE="ANALYTIC">Women and Fiction</TITLE> lectures at <ORGNAME REG="Cambridge University" STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge</ORGNAME>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> met with <NAME STANDARD="Harrison, Jane Ellen" REF="https://commons.cwrc.ca/orlando:0787d1f7-9ecc-4cd9-97a7-b89359da2979">Jane Ellen Harrison</NAME> for the last time; in her diary she described her as <QUOTE DIRECT="Y">very aged &amp; rather exalted.</QUOTE></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 175-6" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 175-6</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Harrison is glimpsed in semi-fictionalized form as an emblem of greatness, <QUOTE DIRECT="Y">J— H— herself</QUOTE>, in <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE> (<DATE VALUE="1929">1929</DATE>). Harrison died about <DATE VALUE="1928-04-15">two months after</DATE> this meeting.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 108" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">108</BIBCIT> <BIBCIT PLACEHOLDER="Marcus 16" DBREF="15027" REF="https://commons.cwrc.ca/orlando:74e5349f-d14d-4b2c-af4f-24f4bdc0a44e">16</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Room 26" DBREF="11367" REF="https://commons.cwrc.ca/orlando:a69642d8-c2b9-460a-a27a-81cf2c3232c1">26</BIBCIT></BIBCITS></SHORTPROSE></DIV2><DIV2><HEADING>Others</HEADING><SHORTPROSE>Since <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> moved in a variety of social circles, her range of literary acquaintance was very wide. Her associates included such established, celebrated writers as Thomas Hardy and <NAME STANDARD="James, Henry" REF="https://commons.cwrc.ca/orlando:6695041d-35b1-45ba-b37d-f328ecee9471">Henry James</NAME>, popular authors such as <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> and <NAME STANDARD="Walpole, Hugh" REF="https://commons.cwrc.ca/orlando:0d38dc6a-2e24-49a0-93b5-472484ada59c">Hugh Walpole</NAME>, and lesser-known writers such as <NAME STANDARD="Mirrlees, Hope" REF="https://commons.cwrc.ca/orlando:90f3be08-d0d2-41f1-bb5a-bb60d9854dee">Hope Mirrlees</NAME> and <NAME STANDARD="Strachey, Julia" REF="https://commons.cwrc.ca/orlando:554cfe5a-27d9-4436-b489-9e9023bbe5bd">Julia Strachey</NAME>.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 107, 130, 161, 246-7, 346" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">107, 130, 161, 246-7, 346</BIBCIT> <BIBCIT PLACEHOLDER="Lee 615" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">615</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="IMG" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1926-07-23">23 July 1926</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> and Leonard travelled to <PLACE><SETTLEMENT>Dorchester</SETTLEMENT><REGION REG="Dorset"/><GEOG REG="England"/> to have tea at <PLACENAME>Max Gate</PLACENAME></PLACE> with <NAME STANDARD="Hardy, Thomas" REF="https://commons.cwrc.ca/orlando:77c44657-07fa-42b2-849a-948a74185ed5">Thomas</NAME> and <NAME STANDARD="Hardy, Florence" REF="https://commons.cwrc.ca/orlando:78ace610-4179-42ad-8d3f-e2ee428e8b6f">Florence Hardy</NAME>. Woolf met Hardy just this once, though, as Hermione Lee remarks, she had been reading and writing about him since <DATE VALUE="1903">1903</DATE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 536" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">536</BIBCIT></BIBCITS></CHRONSTRUCT></DIV2><DIV2><HEADING>Vita Sackville-West</HEADING><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1922-12-14">14 December 1922</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>, dining at <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME>'s, met <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> (and her husband <NAME STANDARD="Nicolson, Harold" REF="https://commons.cwrc.ca/orlando:5a579e88-3b4b-44c4-8b46-c5a1aec0dcc9">Harold Nicolson</NAME>) for the first time.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 73" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">73</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Woolf thought her <QUOTE DIRECT="Y">[n]ot much to my severer taste—florid, moustached, parakeet coloured, with all the supple ease of the aristocracy, but not the wit of the artist.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 216" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 216</BIBCIT></BIBCITS> Often Virginia would figure Vita as her social and emotional superior, but intellectual inferior. Nevertheless, the women were interested in each other and this first meeting marked the beginning of a close, lasting relationship.</SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1924-07-05">5 July 1924</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> visited <PLACE><PLACENAME>Knole House</PLACENAME><SETTLEMENT REG="Sevenoaks"/><REGION REG="Kent"/><GEOG REG="England"/></PLACE> and <PLACE><PLACENAME>Long Barn</PLACENAME><SETTLEMENT REG="Weald"/><REGION REG="Kent"/><GEOG REG="England"/></PLACE> with <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> for the first time; they lunched at Knole with Vita's father, <NAME STANDARD="Sackville, Lionel Sackville-West,,, third Baron" REF="https://commons.cwrc.ca/orlando:1533bf37-6cc0-48b5-8659-3fb05d6cc9b2">Lord Sackville</NAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 82" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">82</BIBCIT></BIBCITS></CHRONSTRUCT></DIV2></FRIENDSASSOCIATES></DIV1><DIV1><INTIMATERELATIONSHIPS EROTIC="EROTICYES"><DIV2><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATERANGE FROM="1925-12-17" TO="1925-12-20" EXACT="BOTH">17-20 December 1925</DATERANGE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> stayed with <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> at <PLACE><PLACENAME>Long Barn</PLACENAME><SETTLEMENT REG="Weald"/><REGION REG="Kent"/><GEOG REG="England"/></PLACE> for the weekend: this was the beginning of their affair.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 93" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">93</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Diary 3: 51n10" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 51n10</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Woolf frequently returned to an observation she made on this trip of Vita<RESEARCHNOTE>kdc; no apostrophe in grocer's? img no</RESEARCHNOTE> <QUOTE DIRECT="Y">shin[ing] in the grocers shop in <PLACE><SETTLEMENT>Sevenoaks</SETTLEMENT><REGION REG="Kent"/><GEOG REG="England"/></PLACE> with a candle lit radiance, stalking on legs like beech trees, pink glowing, grape clustered, pearl hung.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 52" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 52</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATERANGE FROM="1927-01-17" TO="1927-01-19" EXACT="BOTH">17-19 January 1927</DATERANGE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> visited <PLACE><PLACENAME REG="Knole House">Knole</PLACENAME><SETTLEMENT REG="Sevenoaks"/><REGION REG="Kent"/><GEOG REG="England"/></PLACE> for a second time with <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME>; this visit formed the genesis of <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE>, which Woolf published in 1928.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 102" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">102</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>She noted in her diary: <QUOTE DIRECT="Y">All the centuries seemed lit up, the past expressive, articulate . . . &amp; so we reach the days of <NAME STANDARD="Elizabeth I, Queen" REF="https://commons.cwrc.ca/orlando:5ac060d4-2d7e-4684-a2ab-537a0c86e4ba">Elizabeth</NAME> quite easily.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 125" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 125</BIBCIT></BIBCITS></SHORTPROSE></DIV2></INTIMATERELATIONSHIPS></DIV1><DIV1><LOCATION RELATIONTO="TRAVELLED"><DIV2><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1928-09-24">24 September 1928</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> left <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> for a one-week tour of <PLACE><REGION>Burgundy</REGION><GEOG REG="France"/></PLACE> with <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME>. During this trip they also spent time with painters <NAME STANDARD="Sands, Ethel" REF="https://commons.cwrc.ca/orlando:84acba15-0509-4b02-ab1d-edc99408e5b1">Ethel Sands</NAME> and <NAME STANDARD="Hudson, Nan" REF="https://commons.cwrc.ca/orlando:c2458775-9001-4ac2-99b7-744cb1b4d0fc">Nan Hudson</NAME> at their home at <PLACE><SETTLEMENT>Auppegard</SETTLEMENT><GEOG REG="France"/></PLACE> near <PLACE><SETTLEMENT>Dieppe</SETTLEMENT><REGION REG="Normandy"/><GEOG REG="France"/></PLACE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 115-16" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">115-16</BIBCIT> <BIBCIT PLACEHOLDER="Lee 516-18" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">516-18</BIBCIT></BIBCITS></CHRONSTRUCT></DIV2></LOCATION></DIV1><DIV1><INTIMATERELATIONSHIPS EROTIC="EROTICYES"><DIV2><SHORTPROSE>Vita <QUOTE DIRECT="Y">gave [<NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>] the central relationship of her forties</QUOTE>, a relationship <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> celebrated in <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 522" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">522</BIBCIT></BIBCITS> In addition to their personal emotional relationship, the two were successfully involved professionally. From <DATE VALUE="1926-11">November 1926</DATE> Vita was one of the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>'s best-selling authors; her novel <TITLE TITLETYPE="MONOGRAPHIC">The Edwardians</TITLE>, for instance, was immensely popular. Though by <DATE VALUE="1935">1935</DATE> <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> felt that,they were no longer so close personally as they had once been, they remained on very good terms until Woolf's death.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 97" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">97</BIBCIT> <BIBCIT PLACEHOLDER="Lee 371, 519, 761" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">371, 519, 761</BIBCIT></BIBCITS></SHORTPROSE></DIV2></INTIMATERELATIONSHIPS></DIV1><DIV1><HEADING>Return to London: Tavistock Square</HEADING><LOCATION RELATIONTO="LIVED"><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1924-01-09">9 January 1924</DATE> <CHRONPROSE>Eager to return to the excitement of the city after nearly a decade at <PLACE><PLACENAME>Hogarth House</PLACENAME> in <SETTLEMENT CURRENT="London">Richmond</SETTLEMENT><REGION REG="Surrey"/><GEOG REG="England"/></PLACE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia</NAME> and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> purchased a ten-year lease on <PLACE><ADDRESS><ADDRLINE>52 Tavistock Square</ADDRLINE></ADDRESS>, <SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 79" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">79</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Virginia was keen to regain access to the amenities of London—music, the <ORGNAME STANDARD="British Museum" REF="https://commons.cwrc.ca/orlando:6881c434-ff9c-4e93-9e54-c9b76ef85884">British Museum</ORGNAME>, social life (her delight in parties, she wrote, was <QUOTE DIRECT="Y">a piece of jewellery I inherit from my mother</QUOTE>)<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 250" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 250</BIBCIT></BIBCITS>—but before leaving Richmond she recorded her thanks to <QUOTE DIRECT="Y">this beautiful &amp; lovable house, which has done us such a good turn for almost precisely nine years.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 297" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 297</BIBCIT></BIBCITS> <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Bell</NAME> and <NAME STANDARD="Grant, Duncan" REF="https://commons.cwrc.ca/orlando:20a5e999-ebbc-49a7-954a-c04841ebe7d6">Duncan Grant</NAME> decorated the new house, and the Woolfs (with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>, which was stowed in the basement, and <NAME STANDARD="Joad, Marjorie" REF="https://commons.cwrc.ca/orlando:1228eb19-11ea-43ae-b65f-600cce0cdb17">Marjorie Thomson</NAME>, later Joad) moved in on <DATE VALUE="1924-03-15">15 March</DATE>.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 80" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">80</BIBCIT> <BIBCIT PLACEHOLDER="Lee 473-4" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">473-4</BIBCIT> <BIBCIT PLACEHOLDER="Evans 16" DBREF="37765" REF="https://commons.cwrc.ca/orlando:a86059da-ebad-4abe-a00e-5f9065acb7c9">16</BIBCIT></BIBCITS> <SCHOLARNOTE>Thomson <QUOTE DIRECT="Y">was living with <NAME STANDARD="Joad, C. E. M." REF="https://commons.cwrc.ca/orlando:89f0a0d2-c1f3-464f-a072-548463e68b5e">C. E. M. Joad</NAME>, the philosopher, and used his name.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 2: 592n1" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">2: 592n1</BIBCIT></BIBCITS></SCHOLARNOTE><NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> notes that during this period <QUOTE DIRECT="Y">[p]assionate celebrations of London filled the diaries and letters and spilled over into <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE>.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 474" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">474</BIBCIT></BIBCITS></SHORTPROSE></DIV2></LOCATION></DIV1><DIV1><FRIENDSASSOCIATES><DIV2><HEADING>Social and Political Activity</HEADING><SHORTPROSE>By the time of the move to <PLACE><PLACENAME>Tavistock Square</PLACENAME><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> began to socialize more than she had in years. She circulated with Bloomsbury familiars and (re)acquainted herself with <NAME STANDARD="West, Rebecca" REF="https://commons.cwrc.ca/orlando:c4c21211-2589-4d70-8599-284d6dcc5b83">Rebecca West</NAME>, <NAME STANDARD="Macaulay, Rose" REF="https://commons.cwrc.ca/orlando:3fc39177-a0d4-433d-b5df-1ffb4cef68b1">Rose Macaulay</NAME>, <NAME STANDARD="Stein, Gertrude" REF="https://commons.cwrc.ca/orlando:415bfff8-4ef9-43cc-be68-d4c439818aad">Gertrude Stein</NAME>, <NAME STANDARD="Todd, Dorothy" REF="https://commons.cwrc.ca/orlando:9f7cb59a-7dc7-48cc-92e1-82d31880c3f6">Dorothy Todd</NAME>, <NAME STANDARD="Mortimer, Raymond" REF="https://commons.cwrc.ca/orlando:fc3ef8f3-019f-4d2c-88f9-e1cd8283660d">Raymond Mortimer</NAME>, <NAME STANDARD="Coward, Noël" REF="https://commons.cwrc.ca/orlando:de5ab9c9-406e-4fbd-b972-de533d74f938">Noël Coward</NAME>, <NAME STANDARD="Sickert, Walter" REF="https://commons.cwrc.ca/orlando:7855f394-1bce-4b1b-8e9a-012193d13c3d">Walter Sickert</NAME>, and <NAME STANDARD="Sitwell, Edith" REF="https://commons.cwrc.ca/orlando:72a4defc-a0a8-4181-aebf-b10295e1a3a0">Edith</NAME>, <NAME STANDARD="Sitwell, Osbert" REF="https://commons.cwrc.ca/orlando:0285295b-b38f-4815-8d27-d695223a1e0c">Osbert</NAME>, and <NAME STANDARD="Sitwell, Sacheverell" REF="https://commons.cwrc.ca/orlando:247a0f00-9c9e-4b7d-a7b6-17960c964bd2">Sacheverell Sitwell</NAME>, among others.<BIBCITS><BIBCIT PLACEHOLDER="Lee 467-73" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">467-73</BIBCIT></BIBCITS></SHORTPROSE></DIV2></FRIENDSASSOCIATES></DIV1><DIV1><POLITICS><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="IMG" CHRONCOLUMN1="NATIONALINTERNATIONAL1" RELEVANCE1="DECADE1"><DATERANGE FROM="1926-05-03" TO="1926-05-12">3-12 May 1926</DATERANGE> <CHRONPROSE>During the General Strike, while <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was writing <TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE> and Leonard helping to circulate a petition for fair treatment of miners after the strike, their house <QUOTE DIRECT="Y">was suddenly filled with visitors, interrupting, arguing, urging Leonard to use his printing press to attack the Government . . . .</QUOTE></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 533" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">533</BIBCIT> <BIBCIT PLACEHOLDER="Briggs, 176" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">176</BIBCIT></BIBCITS></CHRONSTRUCT></DIV2></POLITICS></DIV1><DIV1><LEISUREANDSOCIETY><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1930">1930</DATE> <CHRONPROSE>After <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> turned down his request to photograph her, <NAME STANDARD="Beaton, Cecil" REF="https://commons.cwrc.ca/orlando:d76f999d-4fa4-4854-9872-87af3c420c1b">Cecil Beaton</NAME> included two drawings and a negative character sketch of her in his <TITLE TITLETYPE="MONOGRAPHIC" REG="Cecil Beaton, The Book of Beauty, 1930">Book of Beauty</TITLE>, which was issued by the publishing firm of <NAME STANDARD="Duckworth, Gerald" REF="https://commons.cwrc.ca/orlando:a790547e-89d4-4111-9513-dae24783c12e">Gerald Duckworth</NAME>, Woolf's half-brother.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 566, 843" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">566, 843</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Beaton's character sketch indicates that the image of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> which persisted for several later decades—as ethereal, asexual, and feeble—was already growing at the height of her contemporary fame and influence. Beaton (who had a professional investment in a certain concept of feminine beauty, and at least a reason for being annoyed with Woolf) wrote that although she looked distinguished and powerful, she was actually fearful, uncertain, and frail (a viewpoint that he emphasized rhetorically with a clutch of descriptive metaphors).<BIBCITS><BIBCIT PLACEHOLDER="Lee 566" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">566</BIBCIT></BIBCITS></SHORTPROSE></DIV2></LEISUREANDSOCIETY></DIV1><DIV1><OCCUPATION><DIV2><HEADING>Lecturing, Broadcasting</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1923-12">December 1923</DATE> <CHRONPROSE>Increasingly in demand as a public speaker, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> <SIGNIFICANTACTIVITY REG="lecturer">lectured</SIGNIFICANTACTIVITY> at the <ORGNAME REG="London School of Economics and Political Science,, University of London" STANDARD="London School of Economics and Political Science,, University of London">London School of Economics</ORGNAME>. Her talk to the <ORGNAME REG="Cambridge University" STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge</ORGNAME> <ORGNAME STANDARD="Heretics Society" REF="https://commons.cwrc.ca/orlando:bba6d93a-2689-447c-a8c9-24d8576d4706">Heretics Society</ORGNAME> the following <DATE VALUE="1924-05">May</DATE> grew into her essay <TITLE TITLETYPE="ANALYTIC">Mr. Bennett and Mrs. Brown</TITLE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 471" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">471</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="DECADE1"><DATE VALUE="1927-07-15">15 July 1927</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia</NAME> and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> gave their first <SIGNIFICANTACTIVITY REG="broadcaster">broadcast</SIGNIFICANTACTIVITY> for the <ORGNAME REG="British Broadcasting Corporation" STANDARD="BBC" REF="https://commons.cwrc.ca/orlando:b8ac2ad8-b938-4e1d-8e71-582f5a67513e">BBC</ORGNAME>—a talk entitled <TITLE TITLETYPE="ANALYTIC">Are Too Many Books Written and Published?</TITLE></CHRONPROSE> <KEYWORDCLASS>Women and Publishing</KEYWORDCLASS> <BIBCITS><BIBCIT PLACEHOLDER="Lee 565" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">565</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> broadcast again, on her own, in 1937. Part of her broadcast (a reading of her essay <TITLE TITLETYPE="ANALYTIC">Craftsmanship</TITLE>) is in the National Sound Archive of the <ORGNAME STANDARD="British Library" REF="https://commons.cwrc.ca/orlando:4cad5fae-7739-454b-b92d-69171be5e6e2">British Library</ORGNAME> (M7060). The only extant recording of her voice, it can be heard online in the <ORGNAME REG="British Broadcasting Corporation" STANDARD="BBC" REF="https://commons.cwrc.ca/orlando:b8ac2ad8-b938-4e1d-8e71-582f5a67513e">BBC</ORGNAME> Archive. Mark Hussey reports Quentin Bell's remark that the recording does not give an accurate impression of Woolf's speech. <BIBCITS><BIBCIT PLACEHOLDER="Lee 565, 843" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">565, 843</BIBCIT> <BIBCIT PLACEHOLDER="Hussey 63" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">63</BIBCIT></BIBCITS>In <DATE VALUE="1928-10">October 1928</DATE> <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> <SIGNIFICANTACTIVITY REG="lecturer">addressed</SIGNIFICANTACTIVITY> in turn the students of the two Cambridge women's colleges: first <ORGNAME REG="Newnham College,, Cambridge University" STANDARD="Newnham College,, Cambridge University" REF="https://commons.cwrc.ca/orlando:9e4df6db-777a-46b1-9180-b1c99ce35e75">Newnham</ORGNAME>, then <ORGNAME REG="Girton College,, Cambridge University" STANDARD="Girton College,, Cambridge University" REF="https://commons.cwrc.ca/orlando:9cc84e38-5023-4022-8953-1e9439299537">Girton</ORGNAME>. She developed these lectures on women and writing into <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE> (<DATE VALUE="1929">1929</DATE>).<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 200-1" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 200-1</BIBCIT> <BIBCIT PLACEHOLDER="Bishop 116" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">116</BIBCIT></BIBCITS> She was accompanied to Newnham by <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME>, <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa</NAME>, and Vanessa's young daughter <NAME STANDARD="Bell, Angelica" REF="https://commons.cwrc.ca/orlando:3310c271-959b-4b2b-aa6d-48068dfb19d2">Angelica</NAME>; she went to Girton with <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME>. She recorded a mixed and now well-known response to the experience: <QUOTE DIRECT="Y">Starved but valiant young women—that's my impression. Intelligent eager, poor; &amp; destined to become schoolmistresses in shoals. I blandly told them to drink wine &amp; have a room of their own. . . . I get such a sense of tingling &amp; vitality from an evenings talk like tha . . . . I felt elderly &amp; mature. And nobody respected me. They were very eager, egotistical, or rather not much impressed by age &amp; repute.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 200-1" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 200-1</BIBCIT></BIBCITS></QUOTE></SHORTPROSE></DIV2></OCCUPATION></DIV1><DIV1><POLITICS><DIV2><HEADING>Radclyffe Hall and <TITLE TITLETYPE="MONOGRAPHIC">The Well of Loneliness</TITLE></HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1928-09-08">8 September 1928</DATE> <CHRONPROSE><TITLE TITLETYPE="ANALYTIC">The New Censorship</TITLE>, a letter to the editor protesting against the suppression of <NAME STANDARD="Hall, Radclyffe" REF="https://commons.cwrc.ca/orlando:076f28fc-38ae-4324-9613-f98182a9f9a1">Radclyffe Hall's</NAME> <TITLE TITLETYPE="MONOGRAPHIC">The Well of Loneliness</TITLE> and signed by <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> and <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME>, appeared in the <TITLE TITLETYPE="JOURNAL">Nation</TITLE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 115" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">115</BIBCIT></BIBCITS> <KEYWORDCLASS>Women and Publishing</KEYWORDCLASS></CHRONSTRUCT><SHORTPROSE>Both Forster and <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> had written their own homosexual texts: Forster's novel <TITLE TITLETYPE="MONOGRAPHIC">Maurice</TITLE> had circulated privately; and in the month after this <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE>, her secret love-letter to Vita, of which she noted: <QUOTE DIRECT="Y">Sapphism is to be suggested. Satire is to be the main note.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 131" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 131</BIBCIT></BIBCITS> Censorship, and in particular censorship of sexual subject matter, had long been on <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s mind. Indeed, Lee sees <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE> as <QUOTE DIRECT="Y">a critique of sexual censorship, and of fixed notions of sexual difference, which is also cunningly self-censoring.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 523" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">523</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1928-11-09">9 November 1928</DATE> <CHRONPROSE>During the trial of <NAME STANDARD="Hall, Radclyffe" REF="https://commons.cwrc.ca/orlando:076f28fc-38ae-4324-9613-f98182a9f9a1">Radclyffe Hall</NAME>'s novel <TITLE TITLETYPE="MONOGRAPHIC">The Well of Loneliness</TITLE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> attended with many friends and associates in order to give evidence, but the magistrate refused to hear testimony on literary merit.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 117" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">117</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>On <DATE VALUE="1928-11-16">16 November</DATE>, <NAME STANDARD="Biron, Sir Chartres" REF="https://commons.cwrc.ca/orlando:8d9e6534-3c3e-4508-95e8-a5a84d691755">Sir Chartres Biron</NAME> ruled <TITLE TITLETYPE="MONOGRAPHIC">The Well of Loneliness</TITLE> obscene, on grounds of its subject-matter, and ordered it destroyed. Though she joined others in condemning censorship of Hall's book, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> made it clear that she did not think highly of the novel itself, which she described in her diary as a <QUOTE DIRECT="Y">meritorious dull book</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 527" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">527</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Diary 3: 193" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 193</BIBCIT></BIBCITS> The experience of the trial, however, fed into her thinking about the linked issues of gender, sexuality, and freedom of expression.</SHORTPROSE></DIV2></POLITICS></DIV1><DIV1><HEADING>Ethel Smyth</HEADING><FRIENDSASSOCIATES><DIV2><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1930-02-20">20 February 1930</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> met and began a friendship with <NAME STANDARD="Smyth, Ethel" REF="https://commons.cwrc.ca/orlando:bb2555cb-6507-44f1-a979-dadd82a6ee37">Ethel Smyth</NAME>, a generation older than herself: composer, author, militant suffragist, former close friend and future biographer of <NAME STANDARD="Pankhurst, Emmeline" REF="https://commons.cwrc.ca/orlando:9c38a868-4301-4a59-bc06-0185e2882fa1">Emmeline Pankhurst</NAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 128" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">128</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Their meeting was prompted by a letter Smyth sent to Woolf expressing her great admiration for <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE> and for Woolf's creative genius more generally. She was <QUOTE DIRECT="Y">a person of enormous definiteness and determination,</QUOTE> and <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> had already read several volumes of her autobiography. <BIBCITS><BIBCIT PLACEHOLDER="Brigss 255" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">255</BIBCIT></BIBCITS>The friendship came to be strained by Smyth's unrestrained demands, but the two respected and enjoyed one another. Ethel influenced the shape and matter of Virginia's later texts, and helped her to think and write about her own life with increased clarity and force.<BIBCITS><BIBCIT PLACEHOLDER="Lee 585, 594-5" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">585, 594-5</BIBCIT></BIBCITS> Virginia described to Ethel (and thereby reviewed for herself) the difficult process of writing <TITLE TITLETYPE="MONOGRAPHIC">The Waves</TITLE>, which she was finishing when they me; and. Ethel's experience and personality also provided material for Woolf's construction of the characters of Rose Pargiter in <TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE> and Miss La Trobe in <TITLE TITLETYPE="MONOGRAPHIC">Between the Acts</TITLE>. In her letters to Ethel <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was often more candid about her personal history, including her childhood abuse, than in letters to other friends.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 5: 13; 6: 459-60" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">5: 13; 6: 459-60</BIBCIT></BIBCITS>In her speech to the <ORGNAME STANDARD="Fawcett Society" REF="https://commons.cwrc.ca/orlando:ab6c145c-7694-48bc-b11e-9595be26d44b">London and National Society for Women's Service</ORGNAME> in <DATE VALUE="1931">1931</DATE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> described Ethel Smyth as <QUOTE DIRECT="Y">of the race of pioneers, of pathmakers. She has gone before and felled trees and blasted rocks and built bridges and thus made a way for those who come after her. . . . In my own profession . . . I have no doubt that I owe a great deal to some mute and inglorious Ethel Smyth.<BIBCITS><BIBCIT PLACEHOLDER="Lee 600" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">600</BIBCIT></BIBCITS></QUOTE></SHORTPROSE></DIV2></FRIENDSASSOCIATES></DIV1><DIV1><HEADING>Activism and Obscurity</HEADING><POLITICS><DIV2><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s political voice grew more articulate and emphatic during the last decade of her life.</SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1931-01-21">21 January 1931</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> <POLITICALAFFILIATION ACTIVISM="ACTIVISTYES" WOMAN-GENDERISSUE="GENDERYES" REG="feminist">appeared with <NAME STANDARD="Smyth, Ethel" REF="https://commons.cwrc.ca/orlando:bb2555cb-6507-44f1-a979-dadd82a6ee37">Ethel Smyth</NAME> on the platform of the <ORGNAME STANDARD="Fawcett Society" REF="https://commons.cwrc.ca/orlando:ab6c145c-7694-48bc-b11e-9595be26d44b">London and National Society for Women's Service</ORGNAME></POLITICALAFFILIATION> (LNSWS, later renamed the <ORGNAME STANDARD="Fawcett Society" REF="https://commons.cwrc.ca/orlando:ab6c145c-7694-48bc-b11e-9595be26d44b">Fawcett Society</ORGNAME> in honour of <NAME STANDARD="Fawcett, Millicent Garrett" REF="https://commons.cwrc.ca/orlando:2f96d5d0-87d7-4831-bf37-d9f4d3959416">Millicent Garrett Fawcett</NAME>).</CHRONPROSE> <KEYWORDCLASS>Women and Politics</KEYWORDCLASS> <BIBCITS><BIBCIT PLACEHOLDER="Lee 598" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">598</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>The event was organized in part by <NAME STANDARD="Strachey, Philippa" REF="https://commons.cwrc.ca/orlando:b9f3d679-da49-47f5-bd2c-3e1d1803177d">Pippa Strachey</NAME>; other guests included <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Bell</NAME>, <NAME STANDARD="Hamilton, Cicely" REF="https://commons.cwrc.ca/orlando:6c990857-1f37-45a7-b284-93d37eb0f6a7">Cicely Hamilton</NAME>, <NAME STANDARD="Knight, Laura" REF="https://commons.cwrc.ca/orlando:713a0818-3d0c-422c-add8-94c220da145d">Laura Knight</NAME>, <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> and <NAME STANDARD="Nicolson, Harold" REF="https://commons.cwrc.ca/orlando:5a579e88-3b4b-44c4-8b46-c5a1aec0dcc9">Harold Nicolson</NAME>, and <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME>. Here Woolf gave a landmark talk, <TITLE TITLETYPE="UNPUBLISHED" REG="Professions for Women">Speech of January 21 1931</TITLE>, later revised and published as <TITLE TITLETYPE="ANALYTIC">Professions for Women</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Froula 213" DBREF="38086" REF="https://commons.cwrc.ca/orlando:b8347c31-3626-4210-b324-092d70e70b95">213</BIBCIT> <BIBCIT PLACEHOLDER="Hussey 218-19" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">218-19</BIBCIT></BIBCITS> From this she developed the core of both <TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE> and <TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 601-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">601-3</BIBCIT></BIBCITS>Through the 1930s, Woolf struggled to define herself and her work against the rise of <POLITICALAFFILIATION ACTIVISM="ACTIVISTNO" REG="anti-fascist">Fascism</POLITICALAFFILIATION> in Europe, to chart the relationship between artistic and political tasks. She and her Bloomsbury friends began to be seen as politically ineffectual, as <POLITICALAFFILIATION MEMBERSHIP="MEMBERSHIPYES" REG="pacifist">pacifism</POLITICALAFFILIATION> was rejected by both established and younger generations of writers and thinkers—including <NAME STANDARD="Auden, W. H." REF="https://commons.cwrc.ca/orlando:309a03c9-07b7-4321-8427-25788153ad46">W. H. Auden</NAME>, <NAME STANDARD="Bell, Julian,, 1908 - 1937" REF="https://commons.cwrc.ca/orlando:69af7417-5078-4267-8023-9743eda824a9">Julian Bell</NAME> (Virginia's nephew), <NAME STANDARD="Lehmann, John" REF="https://commons.cwrc.ca/orlando:a97dc036-f74b-4c14-953f-63f35e0f00b9">John Lehmann</NAME>, <NAME STANDARD="Lewis, Wyndham" REF="https://commons.cwrc.ca/orlando:dee4421e-0c8e-4f14-95a8-003f2252e474">Wyndham Lewis</NAME>, and <NAME STANDARD="Spender, Stephen" REF="https://commons.cwrc.ca/orlando:90cdd265-747a-47c2-902f-682c90c92da8">Stephen Spender</NAME>, most of whom Woolf knew and published through the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>. But Woolf recorded in her diary in <DATE VALUE="1940-05-15">May 1940</DATE>: <QUOTE DIRECT="Y">Thinking is my fighting.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 694" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">694</BIBCIT></BIBCITS> Her thinking manifested itself in various ways. She was involved to varying degrees with a number of leftist associations: the <POLITICALAFFILIATION MEMBERSHIP="MEMBERSHIPYES" REG="socialist"><ORGNAME STANDARD="Labour Party" REF="https://commons.cwrc.ca/orlando:04acd7f8-0656-4ad3-b2a3-ded97644a6f4">Labour Party</ORGNAME></POLITICALAFFILIATION>, the <POLITICALAFFILIATION WOMAN-GENDERISSUE="GENDERYES" MEMBERSHIP="MEMBERSHIPYES" REG="internationalist"><ORGNAME STANDARD="International Association of Writers for the Defence of Culture" REF="https://commons.cwrc.ca/orlando:82fd2ce9-942d-469f-b156-2b77e29d4314">International Association of Writers for the Defence of Culture</ORGNAME></POLITICALAFFILIATION>, the <ORGNAME STANDARD="National Peace Council" REF="https://commons.cwrc.ca/orlando:71048046-fe3d-404e-a1a8-ceb05e125c4d">National Peace Council</ORGNAME>, the <POLITICALAFFILIATION MEMBERSHIP="MEMBERSHIPYES" REG="anti-censorship"><ORGNAME REG="For Intellectual Liberty" STANDARD="For Intellectual Liberty" REF="https://commons.cwrc.ca/orlando:0a3086ba-11de-4dc9-8c74-395c10c7adfe">FIL (For Intellectual Liberty)</ORGNAME></POLITICALAFFILIATION>; the <ORGNAME STANDARD="Artists International Association" REF="https://commons.cwrc.ca/orlando:50e27705-061e-4115-a17c-2094448fcf80">Artists International Association</ORGNAME>; and the <POLITICALAFFILIATION WOMAN-GENDERISSUE="GENDERYES" MEMBERSHIP="MEMBERSHIPYES" REG="civil libertarian"><ORGNAME REG="Liberty" STANDARD="National Council for Civil Liberties" REF="https://commons.cwrc.ca/orlando:5631a9e4-e088-482f-87fd-72e8bd0fb1e9">Council for Civil Liberties</ORGNAME></POLITICALAFFILIATION>.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 178" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">178</BIBCIT></BIBCITS>However, she grew to be strongly opposed to most political and cultural institutions in their current form, regardless of their expressed ideologies. Public response to the British monarchy, which on the occasion of the funeral of <NAME STANDARD="George V, King" REF="https://commons.cwrc.ca/orlando:2268ec15-7790-447c-a01c-45d3c40a375b">George V</NAME> combined <QUOTE DIRECT="Y">a curious survival of barbarism, emotionalism, heraldry, ecclesiasticalism, sheer sentimentality, snobbery,</QUOTE> and fellow-feeling for a <QUOTE DIRECT="Y">commonplace man . . . so like ourselves,</QUOTE> filled her with fascinated curiosity.<BIBCITS><BIBCIT PLACEHOLDER="Lee 669" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">669</BIBCIT></BIBCITS> In her writing, especially <TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE>, <QUOTE DIRECT="Y">Woolf turn[s] on its head the common belief that [Western] civilisation had to defend itself against the barbarities of Fascism. Standing on the edge of the debate as an outsider, a self-educated woman reader and writer, she constructed a critical version of British social history.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 680" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">680</BIBCIT></BIBCITS> On principle she refused to accept official honours or awards.</SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1932-02">February 1932</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> refused to deliver the Clark lecture series at <ORGNAME STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge University</ORGNAME>, thereby also declining to succeed her father, scholar <NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">Leslie Stephen</NAME>, in this honour.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 172" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 172</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1933-03">March 1933</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> rejected on principle an honorary Doctor of Letters degree from the <ORGNAME STANDARD="University of Manchester" REF="https://commons.cwrc.ca/orlando:da1bde48-e006-4873-a98f-ebbb2efda3ba">University of Manchester</ORGNAME>. In March 1939 she rejected another honorary doctorate, from the <ORGNAME STANDARD="University of Liverpool" REF="https://commons.cwrc.ca/orlando:f5724fc2-0b90-411a-a234-b7ee5afcb87b">University of Liverpool</ORGNAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 172" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 172</BIBCIT> <BIBCIT PLACEHOLDER="Bishop 155" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">155</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RELEVANCE="DECADE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1935">1935</DATE> <CHRONPROSE>In keeping with her anti-establishment position, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> declined the invitation to become a Companion of Honour.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Gordon 258" DBREF="16051" REF="https://commons.cwrc.ca/orlando:9846a647-4032-4c55-bb84-2540290054ff">258</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Uncomfortable with marks of public recognition, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> developed a theory of the artistic and political benefits of anonymity. She expressed some measure of dissatisfaction, for instance, first with <NAME STANDARD="Tomlin, Stephen" REF="https://commons.cwrc.ca/orlando:df026805-1969-4884-bfa4-32044a0fee93">Stephen Tomlin</NAME>'s <DATE VALUE="1931">1931</DATE> bust of her, and then with <NAME STANDARD="Holtby, Winifred" REF="https://commons.cwrc.ca/orlando:e3c68f8d-d338-4c6a-a5fa-067cff4a8fba">Winifred Holtby</NAME>'s <DATE VALUE="1932">1932</DATE> study, <TITLE TITLETYPE="MONOGRAPHIC">Virginia Woolf: A Critical Memoir</TITLE> (the first monograph on her).<BIBCITS><BIBCIT PLACEHOLDER="Lee 622-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">622-3</BIBCIT></BIBCITS> As early as <DATE VALUE="1927-12">December 1927</DATE>, she wrote in her diary: <QUOTE DIRECT="Y">The dream is too often about myself. To correct this, &amp; to forget one's own sharp absurd little personality, reputation &amp; the rest of it, one should read; see outsiders; think more; write more logically; above all, be full of work; &amp; practise anonymity.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 168-9" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 168-9</BIBCIT></BIBCITS></SHORTPROSE></DIV2></POLITICS></DIV1><DIV1><HEADING>Gains and Losses</HEADING><FRIENDSASSOCIATES><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1931-02" CERTAINTY="C">Early 1931</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> met <NAME STANDARD="Bowen, Elizabeth" REF="https://commons.cwrc.ca/orlando:30fe1e08-6e68-4170-a0fc-875815e90af3">Elizabeth Bowen</NAME>, beginning a friendship that would continue until the former's death.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 629" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">629</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>They met and talked, stayed at each other's homes, and discussed each other's writing. Bowen's work (especially <TITLE TITLETYPE="MONOGRAPHIC">The Hotel</TITLE>) shows Woolf's influence, and she often approached Woolf with <QUOTE DIRECT="Y">awe and alarm</QUOTE>; Woolf saw Bowen as <QUOTE DIRECT="Y">sterling &amp; sharp edged,</QUOTE> and expressed interest in her texts, particularly <TITLE TITLETYPE="MONOGRAPHIC">The House in Paris</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 652-3" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">652-3</BIBCIT></BIBCITS>At Bowen's <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> home, Woolf met <NAME STANDARD="Sarton, May" REF="https://commons.cwrc.ca/orlando:834eec96-438b-418a-af86-4b49e1bdb262">May Sarton</NAME>, but their brief association did not develop beyond the superficial.<BIBCITS><BIBCIT PLACEHOLDER="Lee 700-1" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">700-1</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1934-09-13">13 September 1934</DATE> <CHRONPROSE>Feeling his loss profoundly, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> attended <NAME STANDARD="Fry, Roger" REF="https://commons.cwrc.ca/orlando:497e19ff-a249-42db-9c66-32a00759ed93">Roger Fry</NAME>'s funeral.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 167" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">167</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Thinking of their mutual creative influence and of Fry's place in her family, Woolf surprised herself by grieving even more deeply for Fry than she had for another great friend, <NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME>, who had died in <DATE VALUE="1932-01">January 1932</DATE>. Roger's sister <NAME STANDARD="Fry, Margery" REF="https://commons.cwrc.ca/orlando:a5f7cd30-059c-4a51-8c38-04a3e266322a">Margery Fry</NAME> and his mistress <NAME STANDARD="Anrep, Helen" REF="https://commons.cwrc.ca/orlando:3599838b-57d3-4af6-b14a-17ca53db5e12">Helen Anrep</NAME> both asked Woolf to write his biography. She agreed, but found as time went on that it became a complicated, taxing responsibility.<BIBCITS><BIBCIT PLACEHOLDER="Lee 656, 709-11" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">656, 709-11</BIBCIT></BIBCITS></SHORTPROSE></DIV2></FRIENDSASSOCIATES></DIV1><DIV1><HEALTH ISSUE="MENTAL"><DIV2><SHORTPROSE>In March and April 1936 <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> had a period of threatened breakdown. This was a time of overwork against the clock (not uncommon in her professional life), of the visible political threat of <NAME STANDARD="Hitler, Adolf" REF="https://commons.cwrc.ca/orlando:7ee8de6d-f7d7-4515-b563-b81795d034ff">Hitler</NAME> (who had just invaded the <PLACE><REGION>Rhineland</REGION><GEOG REG="Germany"/></PLACE>), and the consequent immersion of <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> in political work which Virginia found disturbing. She began to re-hear the guns of the First World <TOPIC STANDARD="First World War">War</TOPIC> in her head, and to entertain suicidal feelings.<BIBCITS><BIBCIT PLACEHOLDER="Lee 670-1" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">670-1</BIBCIT></BIBCITS></SHORTPROSE></DIV2></HEALTH></DIV1><DIV1><FAMILY><MEMBER RELATION="NEPHEW"><DIV2><HEADING>Julian Bell</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1937-07-20">20 July 1937</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> learned of the death of her nephew <NAME STANDARD="Bell, Julian,, 1908 - 1937" REF="https://commons.cwrc.ca/orlando:69af7417-5078-4267-8023-9743eda824a9">Julian Bell</NAME>, who had gone to serve in the <TOPIC>Spanish Civil War</TOPIC> and was killed by a shell fragment while driving his ambulance in <PLACE><GEOG>Spain</GEOG></PLACE> on <DATE VALUE="1937-07-18">18 July</DATE>.</CHRONPROSE> <KEYWORDCLASS>Spanish Civil War</KEYWORDCLASS> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 194" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">194</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>As when her brother <NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby</NAME> died in <DATE VALUE="1906">1906</DATE>, Virginia became a source of strength during the family crisis, concentrating especially on the needs of her bereaved sister, <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Bell</NAME>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 702-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">702-3</BIBCIT></BIBCITS></SHORTPROSE></DIV2></MEMBER></FAMILY></DIV1><DIV1><FRIENDSASSOCIATES><DIV2><HEADING>Sigmund Freud</HEADING><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1939-01-28">28 January 1939</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> visited <NAME STANDARD="Freud, Sigmund" REF="https://commons.cwrc.ca/orlando:8b453664-1464-4c11-9133-6626fe9cfd4d">Sigmund Freud</NAME> at <PLACE><SETTLEMENT CURRENT="London">Hampstead</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 204" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">204</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>The <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> began publishing Freud in <DATE VALUE="1922">1922</DATE>, and continued through the following years, mainly through their highly successful production of the <TITLE TITLETYPE="SERIES">International Psycho-Analytical Library</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 72, 82" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">72, 82</BIBCIT> <BIBCIT PLACEHOLDER="Lee 372" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">372</BIBCIT></BIBCITS> Freud's theories circulated around <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> for years, but she did not begin to read him seriously until after the outbreak of World War Two. (She was reading <NAME STANDARD="Darwin, Charles" REF="https://commons.cwrc.ca/orlando:27138ed6-2764-42e6-83e4-29f4f0ba632b">Darwin</NAME> and <NAME STANDARD="Gide, André" REF="https://commons.cwrc.ca/orlando:833f10ea-c2a8-4b3d-aaca-25e641f0a98b">Gide</NAME> at the same time.) She read <TITLE TITLETYPE="MONOGRAPHIC">Moses and Monotheism</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC">Civilisation and its Discontents</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC">Group Psychology and the Analysis of the Ego</TITLE>, <TITLE TITLETYPE="ANALYTIC">Thoughts for the Time on War &amp; Death</TITLE>, and <TITLE TITLETYPE="MONOGRAPHIC">Why War?</TITLE> <NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> observes that <QUOTE DIRECT="Y">[r]eading Freud shocked and disturbed, as well as inspired her. She feared being <QUOTE DIRECT="N">reduced to a whirlpool,</QUOTE> losing her power as an individual with choices to make.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 725" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">725</BIBCIT></BIBCITS> Woolf engaged particularly with Freud's ideas about the persistence of primitive mindsets in modern society, the impact of infantile and childhood experience, and changing forms of patriarchal authority. Her interpretations of his work are found in such texts as <TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC">Between the Acts</TITLE>, and, most directly, her essay <TITLE TITLETYPE="ANALYTIC">The Leaning Tower</TITLE>. In <DATE VALUE="1939-04">April 1939</DATE> she began to write her autobiography, <TITLE TITLETYPE="ANALYTIC">A Sketch of the Past</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 722-6" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">722-6</BIBCIT></BIBCITS></SHORTPROSE></DIV2></FRIENDSASSOCIATES></DIV1><DIV1><LOCATION RELATIONTO="MOVED"><DIV2><SHORTPROSE>The month before the outbreak of the war that everyone had been expecting, Leonard and Virginia Woolf moved from <PLACE><ADDRESS><ADDRLINE>52 Tavistock Square</ADDRLINE></ADDRESS><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> to <PLACE><ADDRESS><ADDRLINE>37 Mecklenburgh Square</ADDRLINE></ADDRESS><SETTLEMENT CURRENT="London" REG="Bloomsbury"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>. The new address was also in Bloomsbury.</SHORTPROSE></DIV2></LOCATION></DIV1><DIV1><HEADING>World War II</HEADING><POLITICS><DIV2><SHORTPROSE>Three days into the war, and the day of her first air-raid warning, Woolf wrote: <QUOTE DIRECT="Y">This is the worst of all my life's experiences.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 5: 234" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">5: 234</BIBCIT></BIBCITS> She was soon occupied with several pressing themes (artistic and social): <QUOTE DIRECT="Y">the loss of individuality in the communal life; the regression into barbarism; and the feeling (as in the last war) of blackness and strain, of waiting in the dark.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 718" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">718</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC" CHRONCOLUMN1="NATIONALINTERNATIONAL1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1940-05-15">15 May 1940</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia</NAME> and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> discussed suicide in the quite probable event of a German invasion of England. They considered carbon monoxide poisoning in their garage, and, later, an overdose of morphia.</CHRONPROSE> <KEYWORDCLASS KEYWORDTYPE="World War II">War</KEYWORDCLASS> <KEYWORDCLASS>Women and Politics</KEYWORDCLASS> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 212" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">212</BIBCIT> <BIBCIT PLACEHOLDER="Lee 730" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">730</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>On <DATE VALUE="1940-05-10">10 May</DATE> Germany had invaded Holland and Belgium. In the event of an invasion of England, they could indeed expect a terrible personal fate, on account of their anti-war politics, Leonard's anti-war career and his Jewish heritage. Though they did not have certain knowledge of this at the time, the Woolfs were on Hitler's 350-page <SOCALLED>Arrest List</SOCALLED> for Britain.<BIBCITS><BIBCIT PLACEHOLDER="Bishop 212" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">212</BIBCIT><BIBCIT PLACEHOLDER="FC" DBREF="107913" REF="https://commons.cwrc.ca/orlando:e5b0bfc8-0600-4e93-a0d7-bd3b45d345bb"/> <BIBCIT PLACEHOLDER="Lee 730" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">730</BIBCIT></BIBCITS> Others (unknowingly) on this list included <NAME STANDARD="Cunard, Nancy" REF="https://commons.cwrc.ca/orlando:c714f131-c06b-4a55-9c22-fd41b5176f4c">Nancy Cunard</NAME>, <NAME STANDARD="Fry, Margery" REF="https://commons.cwrc.ca/orlando:a5f7cd30-059c-4a51-8c38-04a3e266322a">Margery Fry</NAME>, <NAME STANDARD="Huxley, Aldous" REF="https://commons.cwrc.ca/orlando:a412f2f1-254f-4ea8-b001-d207a3d46bee">Aldous</NAME> and <NAME STANDARD="Huxley, Julian" REF="https://commons.cwrc.ca/orlando:1a2f1aab-0851-4ade-a9c6-1d4ea70f77c8">Julian Huxley</NAME>, <NAME STANDARD="Mitchison, Naomi" REF="https://commons.cwrc.ca/orlando:6e673759-8de1-4935-b2e6-3e0da9a1007c">Naomi Mitchison</NAME>, <NAME STANDARD="Nicolson, Harold" REF="https://commons.cwrc.ca/orlando:5a579e88-3b4b-44c4-8b46-c5a1aec0dcc9">Harold Nicolson</NAME>, <NAME STANDARD="Pankhurst, Sylvia" REF="https://commons.cwrc.ca/orlando:6b05f379-f633-4e90-8e95-a8b27db597b6">Sylvia Pankhurst</NAME>, <NAME STANDARD="Russell, Bertrand" REF="https://commons.cwrc.ca/orlando:5c448047-881d-4efc-8c4e-9785420d4dd3">Bertrand Russell</NAME>, <NAME STANDARD="Warner, Sylvia Townsend" REF="https://commons.cwrc.ca/orlando:f511a3b8-befa-49aa-8fac-c7e315703720">Sylvia Townsend Warner</NAME>, <NAME STANDARD="Webb, Beatrice" REF="https://commons.cwrc.ca/orlando:d2db0fc7-cbcf-4db3-b1af-7f78ce9ab92f">Beatrice Webb</NAME>, and <NAME STANDARD="West, Rebecca" REF="https://commons.cwrc.ca/orlando:c4c21211-2589-4d70-8599-284d6dcc5b83">Rebecca West</NAME>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 863" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">863</BIBCIT></BIBCITS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was especially devastated by the effects of Nazi air raids on <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>. She had been inspired by her <SOCALLED>street haunting</SOCALLED> for many years, but was now deeply troubled by her views of the wrecked city. She recorded her observations <QUOTE DIRECT="Y">in a shocked, rapid, jagged, intensely observant language.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 741" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">741</BIBCIT></BIBCITS> Woolf wrote about the bombing mainly in her diary, but in a letter to <NAME STANDARD="Smyth, Ethel" REF="https://commons.cwrc.ca/orlando:bb2555cb-6507-44f1-a979-dadd82a6ee37">Ethel Smyth</NAME> she suggests that <QUOTE DIRECT="Y">what touched and indeed raked what I call my heart in London was the grimy old women at the lodging house at the back, all dirty after the raid, &amp; preparing to sit out another . . . And then the passion of my life, that is the city of London—to see London all blasted, that too raked my heart.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 218" DBREF="16052" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 218</BIBCIT></BIBCITS></SHORTPROSE></DIV2></POLITICS></DIV1><DIV1><VIOLENCE><DIV2><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH" CHRONCOLUMN1="NATIONALINTERNATIONAL1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1940-09-14">14 September 1940</DATE> <CHRONPROSE>A time-bomb caused significant damage to <PLACE><ADDRESS><ADDRLINE>37 Mecklenburgh Square</ADDRLINE></ADDRESS><SETTLEMENT CURRENT="London" REG="Bloomsbury"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>, which had been <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia</NAME> and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME>'s London residence since <DATE VALUE="1939-08">August 1939</DATE> (they were not there at the time).</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 215" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">215</BIBCIT> <BIBCIT PLACEHOLDER="Lee 742-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">742-3</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="IMG" CHRONCOLUMN1="NATIONALINTERNATIONAL1" RELEVANCE1="COMPREHENSIVE1"><DATE VALUE="1940-10-16">16 October 1940</DATE> <CHRONPROSE>The recent and longtime London home of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia</NAME> and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME>, <PLACE><ADDRESS><ADDRLINE>52 Tavistock Square</ADDRLINE></ADDRESS><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>, was destroyed by a bomb.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 742-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">742-3</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>The Woolfs suffered in most of the ways that many civilians suffered from the early phases of the war. Their house at <PLACE><PLACENAME REG="Monk's House"/> <SETTLEMENT>Rodmell</SETTLEMENT><REGION REG="Sussex"/><GEOG REG="England"/></PLACE> lay (like <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME>'s) beneath the flight-paths of German and Allied planes duelling in the Battle of Britain. They endured shortages of petrol and of food as well as the expectation of invasion.<BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 221-3" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 221-3</BIBCIT></BIBCITS></SHORTPROSE></DIV2></VIOLENCE></DIV1><DIV1><OCCUPATION><DIV2><HEADING>Last Occupations</HEADING><SHORTPROSE>Despite the often major disturbances of war, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> continued to work.</SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1940-04-27">27 April 1940</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> <SIGNIFICANTACTIVITY PHILANTHROPYVOLUNTEER="PHILANTHROPYVOLUNTEERYES" REG="lecturer">addressed the <ORGNAME STANDARD="Women's Institute" REF="https://commons.cwrc.ca/orlando:c409d096-d33b-4872-b2a2-24c01a7dd5d2">Women's Institute</ORGNAME></SIGNIFICANTACTIVITY> in <PLACE><SETTLEMENT>Brighton</SETTLEMENT><REGION REG="Sussex"/><GEOG REG="England"/></PLACE>; she turned her lecture into the essay <TITLE TITLETYPE="ANALYTIC">The Leaning Tower</TITLE> shortly afterwards.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 733" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">733</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>In her audience at Brighton were <NAME STANDARD="Robins, Elizabeth" REF="https://commons.cwrc.ca/orlando:352b2264-6d4f-43f6-97c3-12bc9169cfdd">Elizabeth Robins</NAME> (feminist writer, actress, and <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> author) and her companion <NAME STANDARD="Wilberforce, Octavia" REF="https://commons.cwrc.ca/orlando:80cd2777-8b56-40fa-9b5d-eae539a4f459">Octavia Wilberforce</NAME>, a pioneering physician who was soon to become Woolf's doctor.<BIBCITS><BIBCIT PLACEHOLDER="Lee 733" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">733</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH"><DATE VALUE="1940-07-23">23 July 1940</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> gave a talk to the <PLACE><SETTLEMENT>Rodmell</SETTLEMENT><REGION REG="Sussex"/><GEOG REG="England"/></PLACE> <ORGNAME STANDARD="Women's Institute" REF="https://commons.cwrc.ca/orlando:c409d096-d33b-4872-b2a2-24c01a7dd5d2">Women's Institute</ORGNAME> on her participation in the <SOCALLED><RS TYPE="ship">Dreadnought</RS> Hoax</SOCALLED> of <DATE VALUE="1910-02-10">February 1910</DATE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 19" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">19</BIBCIT> <BIBCIT PLACEHOLDER="Lee 735" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">735</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Woolf continued at this time to write and to think carefully about the implications of her writing.</SHORTPROSE><CHRONSTRUCT RELEVANCE="COMPREHENSIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KLH" CHRONCOLUMN1="SOCIALCLIMATE1" RELEVANCE1="DECADE1"><DATE VALUE="1940-11-07">7 November 1940</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> refused <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME>'s request for permission to nominate her to the Committee of the <ORGNAME STANDARD="London Library" REF="https://commons.cwrc.ca/orlando:cbd28f58-43bf-4e91-a1a0-df2052c1c309">London Library</ORGNAME>, because of the library's policy against women members (a policy instituted by her father, <NAME STANDARD="Stephen, Sir Leslie" REF="https://commons.cwrc.ca/orlando:1fd0f4cf-708e-429d-95f8-1031ea9119e0">Leslie Stephen</NAME>).</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 224" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 224</BIBCIT> <BIBCIT PLACEHOLDER="Bishop 216" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">216</BIBCIT> <BIBCIT PLACEHOLDER="Lee 663" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">663</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Forster had told Woolf In April 1935 that the library was retaining this policy.</SHORTPROSE></DIV2></OCCUPATION></DIV1><DIV1><HEADING>Final Crisis and Death</HEADING><HEALTH ISSUE="MENTAL"><DIV2><SHORTPROSE>In considering the various issues which prepared the ground for <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s suicide, critics have noted her feelings of horror about the war, her writing, her past, and most particularly the prospect of another mental and physical breakdown. She was eating little by the end of 1940: <NAME STANDARD="Wilberforce, Octavia" REF="https://commons.cwrc.ca/orlando:80cd2777-8b56-40fa-9b5d-eae539a4f459">Octavia Wilberforce</NAME> observed that she was as <QUOTE DIRECT="Y">thin as a razor.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 753" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">753</BIBCIT></BIBCITS> She felt she was losing the ability to write, and much of the work she did produce at the beginning of 1941 shows a vivid discomfort about daily living and about humanity.<BIBCITS><BIBCIT PLACEHOLDER="Lee 752-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">752-3</BIBCIT></BIBCITS>But it is difficult to mark precisely when she moved to a depressed and then to a suicidal state. <NAME STANDARD="Bowen, Elizabeth" REF="https://commons.cwrc.ca/orlando:30fe1e08-6e68-4170-a0fc-875815e90af3">Elizabeth Bowen</NAME> last visited <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> on 13 and <DATE VALUE="1941-02-14">14 February</DATE>, and later recalled: <QUOTE DIRECT="Y">I remember her kneeling back on the floor—we were tacking away, mending a torn Spanish curtain in the house—and she sat back on her heels and put her head back in a patch of sun, early spring sun. Then she laughed in this consuming, choking, delightful, hooting way. And that is what has remained with me. So I get a curious shock when I see people regarding her entirely as a martyred . . . or definitely tragic sort of person, claimed by the darkness.<BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 224" DBREF="16052" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 224</BIBCIT></BIBCITS></QUOTE>Commentary and analysis on her death does not abate. <NAME STANDARD="Mulvihill, Maureen E." REF="https://commons.cwrc.ca/orlando:d261ddcb-23a1-4edf-8c02-2fbec70e7a8c">Maureen E. Mulvihill</NAME> argues in a recent essay that Woolf 's suicide had <QUOTE DIRECT="Y">a larger logic</QUOTE> as response to a combination of external factors, apart from her own mental state.<BIBCITS><BIBCIT PLACEHOLDER="Mulvihill" DBREF="61051" REF="https://commons.cwrc.ca/orlando:005392d1-11f2-4701-b0da-7b27caad34d3"/></BIBCITS></SHORTPROSE></DIV2></HEALTH></DIV1><DIV1><DEATH><DIV2><CHRONSTRUCT RELEVANCE="SELECTIVE" CHRONCOLUMN="BRITISHWOMENWRITERS" RESP="KDC"><DATE VALUE="1941-03-28">28 March 1941</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote what may have been her second <CAUSE>suicide</CAUSE> letter to her husband <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME>, then went out and drowned herself in the <PLACE><REGION REG="Ouse River">River Ouse</REGION><GEOG REG="England"/></PLACE> near <PLACE><SETTLEMENT>Rodmell</SETTLEMENT><REGION REG="Sussex"/><GEOG REG="England"/></PLACE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 759-60" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">759-60</BIBCIT></BIBCITS> <SCHOLARNOTE>Her first suicide note may have been written on 18 March, but was not discovered until the 28th.</SCHOLARNOTE></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s body was recovered three weeks later and cremated on <DATE VALUE="1941-04-21">21 April 1941</DATE>; her ashes are under the <NAME STANDARD="Tomlin, Stephen" REF="https://commons.cwrc.ca/orlando:df026805-1969-4884-bfa4-32044a0fee93">Stephen Tomlin</NAME> bust of her in the garden of <PLACE><PLACENAME>Monk's House</PLACENAME><SETTLEMENT REG="Rodmell"/><REGION REG="Sussex"/><GEOG REG="England"/></PLACE>.</SHORTPROSE></DIV2></DEATH></DIV1></BIOGRAPHY><WRITING><HEADING>Writing</HEADING><DIV1><HEADING>Childhood and Family Writings</HEADING><DIV2><TEXTSCOPE DBREF="40629" PLACEHOLDER="VW, Vanessa Bell, and Thoby Stephen, Hyde Park Gate News. The Stephen Family Newspaper, 2005" REF="https://commons.cwrc.ca/orlando:631449e3-2cab-434c-8c2e-d86e74db6499"/><PRODUCTION><SHORTPROSE>Virginia Stephen was from the beginning a story-teller, a collector of words, an explorer of their impacts. At five she was able to <QUOTE DIRECT="Y">tell her father a story every night.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> Two <TGENRE GENRENAME="LETTER">letter</TGENRE>s to her mother survive which were written when she was five or six.<BIBCITS><BIBCIT PLACEHOLDER="Lee 106-7" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">106-7</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1891-02">February 1891</DATE> <CHRONPROSE><PFIRSTLITERARYACTIVITY><PAUTHORSHIP COLLABORATION="COLLABORATIONYES">Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) and her siblings began to produce the <TITLE TITLETYPE="UNPUBLISHED">Hyde Park Gate <TGENRE GENRENAME="JUVENILIA"><TGENRE GENRENAME="PERIODICAL">News</TGENRE></TGENRE></TITLE> for their family.</PAUTHORSHIP></PFIRSTLITERARYACTIVITY></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 108" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">108</BIBCIT> <BIBCIT PLACEHOLDER="Bell 1: 28-9" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">1: 28-9</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PEDITIONS>It continued weekly until <DATE VALUE="1895-04">April 1895</DATE> (the year Virginia's mother died). Two of its stories (<TITLE TITLETYPE="ANALYTIC">A <TTHEMETOPIC><TCHARACTERTYPEROLE>Cockney</TCHARACTERTYPEROLE>'s Farming Experiences</TTHEMETOPIC></TITLE> and <TITLE TITLETYPE="ANALYTIC">The Experiences of a <TCHARACTERTYPEROLE>Paterfamilias</TCHARACTERTYPEROLE></TITLE>) were published in the late twentieth century.<BIBCITS><BIBCIT PLACEHOLDER="Lee 781n64" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">781n64</BIBCIT> <BIBCIT PLACEHOLDER="Bell 1: 25, 28-9" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">1: 25, 28-9</BIBCIT></BIBCITS> Recently six issues from 1891, forty-eight from 1892, and thirteen from <DATERANGE FROM="1895-01" TO="1895-03" EXACT="BOTH">January to March 1895</DATERANGE>, have been published as <TITLE TITLETYPE="JOURNAL" REG="Hyde Park Gate News">Hyde Park Gate News. The Stephen Family Newspaper</TITLE>, edited by <NAME STANDARD="Lowe, Gillian" REF="https://commons.cwrc.ca/orlando:45f48f26-361f-46e0-98b3-98edba173767">Gillian Lowe</NAME>, 2005.<BIBCITS><BIBCIT PLACEHOLDER="Lowe intro xix" DBREF="40627" REF="https://commons.cwrc.ca/orlando:0b38fbfd-d7aa-4dd6-8e27-c166558dbf54">xix</BIBCIT></BIBCITS></PEDITIONS> These numbers, contained in two bound volumes <QUOTE DIRECT="Y">survived, sitting for years in the <ORGNAME STANDARD="British Library" REF="https://commons.cwrc.ca/orlando:4cad5fae-7739-454b-b92d-69171be5e6e2">British Library</ORGNAME>'s Department of Manuscripts, waiting to be published.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee foreword vii" DBREF="40628" REF="https://commons.cwrc.ca/orlando:4360a10c-6862-4cfd-90ce-106786339ba3">vii</BIBCIT></BIBCITS> <PAUTHORSHIP AUTHORSHIPCONTROVERSY="DOUBTFUL" CONTROVERSYDATE="ONGOING" COLLABORATION="COLLABORATIONYES">Inscribed with Virginia's initials, most issues are in <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa</NAME>'s handwriting; Virginia is said to have written most of it.<BIBCITS><BIBCIT PLACEHOLDER="Lowe intro xix-xx" DBREF="40627" REF="https://commons.cwrc.ca/orlando:0b38fbfd-d7aa-4dd6-8e27-c166558dbf54">xix-xx</BIBCIT></BIBCITS></PAUTHORSHIP></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><PMOTIVES MOTIVETYPE="ASCRIBED">Intended <QUOTE DIRECT="Y">to amuse and impress a mother and father with very high standards,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee foreword vii" DBREF="40628" REF="https://commons.cwrc.ca/orlando:4360a10c-6862-4cfd-90ce-106786339ba3">vii</BIBCIT></BIBCITS></PMOTIVES> the magazine is composed of <TGENRE GENRENAME="LETTER">letter</TGENRE>s, <TGENRE GENRENAME="JUVENILIA"><TGENRE GENRENAME="JOURNALISM">news items</TGENRE>, <TGENRE GENRENAME="SHORTSTORY">stories</TGENRE>, <TGENRE GENRENAME="CONDUCTLITERATURE">advice</TGENRE>, and a <TGENRE GENRENAME="LETTER">correspondence</TGENRE> column</TGENRE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee foreword viii" DBREF="40628" REF="https://commons.cwrc.ca/orlando:4360a10c-6862-4cfd-90ce-106786339ba3">viii</BIBCIT></BIBCITS> <TTONESTYLE>It <TGENRE GENRENAME="PARODY">parodies</TGENRE> the styles of all these genres with a sure hand, and <TGENRE GENRENAME="SATIRE">satirises</TGENRE> those it reports on. It is <QUOTE DIRECT="Y">parodic and satirical,</QUOTE> <QUOTE DIRECT="Y">ruthlessly anti-emotional.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 108" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">108</BIBCIT></BIBCITS></TTONESTYLE>The <SOCALLED>court and social</SOCALLED> items often deploy the first person plural or else the passive tense: <QUOTE DIRECT="Y">We are sorry to say that Master Adrian Leslie Stephen has had a little cold.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf HPGN 29" DBREF="40629" REF="https://commons.cwrc.ca/orlando:631449e3-2cab-434c-8c2e-d86e74db6499">29</BIBCIT></BIBCITS> Or again: <QUOTE DIRECT="Y">A beautiful black but tailless cat has lately made its appearance <SIC CORR="at">a</SIC> 22 Hyde Park Gate.</QUOTE> Though their elders disagree, the <QUOTE DIRECT="Y">juniors think it is a Manx</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf HPGN 29" DBREF="40629" REF="https://commons.cwrc.ca/orlando:631449e3-2cab-434c-8c2e-d86e74db6499">29</BIBCIT></BIBCITS>—perhaps the very Manx cat which later walks across a quadrangle in <QUOTE DIRECT="Y">A Room of One's Own</QUOTE>. <QUOTE DIRECT="Y">Miss Virginia Stephen</QUOTE> becomes on her <QUOTE DIRECT="Y">ex-birthday</QUOTE> (so called because the celebration is not on the day itself) <QUOTE DIRECT="Y">the happy possessor</QUOTE> of a list of presents which are almost all <QUOTE DIRECT="Y">writing implements</QUOTE> of one kind or another.<BIBCITS><BIBCIT PLACEHOLDER="Woolf HPGN 27" DBREF="40629" REF="https://commons.cwrc.ca/orlando:631449e3-2cab-434c-8c2e-d86e74db6499">27</BIBCIT></BIBCITS> In a story called <TITLE TITLETYPE="ANALYTIC">A Midnight Ride</TITLE> by <SOCALLED>A. V. S.</SOCALLED>, a boy called Percy, <QUOTE DIRECT="Y">the delicate one of the family,</QUOTE> is supported at school by the combined labour and <QUOTE DIRECT="Y">hard scraping</QUOTE> of his widowed mother and three brothers.<BIBCITS><BIBCIT PLACEHOLDER="Woolf HPGN 28" DBREF="40629" REF="https://commons.cwrc.ca/orlando:631449e3-2cab-434c-8c2e-d86e74db6499">28</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL"><NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> likens the <QUOTE DIRECT="Y">extraordinary impact</QUOTE> of this <TGENRE GENRENAME="JUVENILIA">juvenile</TGENRE> work to that of <QUOTE DIRECT="Y">an archaeological dig</QUOTE> which reveals <QUOTE DIRECT="Y">the rooms and furnishings and small ordinary objects of a legendary monarch,</QUOTE> all as fresh as on the day they were new.<BIBCITS><BIBCIT PLACEHOLDER="Lee foreword vii" DBREF="40628" REF="https://commons.cwrc.ca/orlando:4360a10c-6862-4cfd-90ce-106786339ba3">vii</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2><DIV2><PRODUCTION><SHORTPROSE>For six years from 1923, during the lifetime of <NAME STANDARD="Bell, Quentin" REF="https://commons.cwrc.ca/orlando:1898063e-bfed-48ec-9b81-067fc14d8651">Quentin</NAME> and <NAME STANDARD="Bell, Julian,, 1908 - 1937" REF="https://commons.cwrc.ca/orlando:69af7417-5078-4267-8023-9743eda824a9">Julian Bell</NAME>'s handwritten <TITLE TITLETYPE="UNPUBLISHED">The Charleston Bulletin</TITLE> (on the model of their mother and aunt's <TITLE TITLETYPE="JOURNAL" REG="Hyde Park Gate News">Hyde Park Gate News</TITLE>), <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> contributed Christmas supplements by invitation. The supplements, which took the form of <TGENRE GENRENAME="MOCKFORMS">spoof <TGENRE GENRENAME="BIOGRAPHY">biographies</TGENRE></TGENRE> like <TITLE TITLETYPE="ANALYTIC">Scenes in the Life of <TTHEMETOPIC><NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Mrs Bell</NAME></TTHEMETOPIC></TITLE>, were edited by <NAME STANDARD="Olk, Claudia">Claudia Olk</NAME> in 2013.<BIBCITS><BIBCIT DBREF="83386" PLACEHOLDER="Bell, Woolf, Olk" REF="https://commons.cwrc.ca/orlando:7dd135e3-3459-4776-a290-9b4c14660643"/></BIBCITS></SHORTPROSE></PRODUCTION><RECEPTION><SHORTPROSE><RRESPONSES FORMALITY="FORMAL" RESPONSETYPE="RECENT"><NAME STANDARD="Harris, Alexandra">Alexandra Harris</NAME> noted a continuity between <QUOTE DIRECT="Y">the young, exuberant, formidably ambitious journalist of Hyde Park Gate and the grown-up aunt of the 1920s who was still a natural satirist, still addicted to the social comedy of families, and still making jokes as an expression of love.</QUOTE><BIBCITS><BIBCIT DBREF="83406" PLACEHOLDER="Harris, Up Front" REF="https://commons.cwrc.ca/orlando:49532bd4-9e3a-4c8a-b924-2cc15e4550d3"/></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2><DIV2><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1897-01">January 1897</DATE> <CHRONPROSE>Virginia Stephen (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) began to keep a regular <TGENRE GENRENAME="DIARY">diary</TGENRE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 169" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">169</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>She was soon filling it with exercises in writing: descriptions of places, people, or events (<QUOTE DIRECT="Y">mood pictures</QUOTE> like a <TTHEMETOPIC>storm</TTHEMETOPIC>, a <TTHEMETOPIC>dance</TTHEMETOPIC>, or a <TTHEMETOPIC>funeral</TTHEMETOPIC>).<BIBCITS><BIBCIT PLACEHOLDER="Lee 169" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">169</BIBCIT></BIBCITS> At about the same age she also wrote <QUOTE DIRECT="Y">a long picturesque <TGENRE GENRENAME="JUVENILIA"><TGENRE GENRENAME="ESSAY">essay</TGENRE></TGENRE> upon the <TTHEMETOPIC>Christian religion</TTHEMETOPIC> . . . proving that man has need of God; but the God was described in process of change; &amp; I also wrote a <RESEARCHNOTE>but shldn't this be cap H? chck. img: no, Kevin says right</RESEARCHNOTE> <TGENRE GENRENAME="JUVENILIA"><TGENRE GENRENAME="HISTORY">history</TGENRE></TGENRE> of <TTHEMETOPIC>Women</TTHEMETOPIC>; &amp; a history of my <TTHEMETOPIC>own family</TTHEMETOPIC>.</QUOTE> <PNONSURVIVAL>These writings do not survive.</PNONSURVIVAL> <BIBCITS><BIBCIT PLACEHOLDER="Lee 170" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">170</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION></DIV2></DIV1><DIV1><HEADING>Unpublished Writings, Pre-War</HEADING><DIV2><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="COMPREHENSIVE"><DATE VALUE="1902-09">September 1902</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) drafted in an early notebook a fragmentary <TGENRE GENRENAME="NOVEL">novel</TGENRE> <TGENRE GENRENAME="SATIRE">satirising</TGENRE> her half-brother <TTHEMETOPIC><NAME STANDARD="Duckworth, George" REF="https://commons.cwrc.ca/orlando:e0e00419-a55d-44d3-ac2f-87cd59f87304">George Duckworth</NAME>'s attempts to woo an aristocratic bride</TTHEMETOPIC>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 150" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">150</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION></DIV2><DIV2><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="COMPREHENSIVE"><DATE VALUE="1905-08">August 1905</DATE> <CHRONPROSE>On a visit back to <PLACE><REGION>Cornwall</REGION><GEOG REG="England"/></PLACE> with her siblings, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> <TGENRE GENRENAME="ESSAY">described</TGENRE> <TTECHNIQUES TECHNIQUETYPE="IMAGERY">the local <TTHEMETOPIC>pilchard harvest</TTHEMETOPIC> (an actual, material netting of little silver fish, which she often used as a metaphor for the imaginative capture of the dazzling flash and movement of life).</TTECHNIQUES></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Froula 21" DBREF="38086" REF="https://commons.cwrc.ca/orlando:b8347c31-3626-4210-b324-092d70e70b95">21</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Moments 112" DBREF="16053" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb">112</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PSUBMISSIONSREJECTIONS>A newspaper rejected this piece,</PSUBMISSIONSREJECTIONS> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL" GENDEREDRESPONSE="GENDEREDNO">but <NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby Stephen</NAME> felt it showed that Virginia <QUOTE DIRECT="Y">might be a bit of a genius.</QUOTE></RRESPONSES> <BIBCITS><BIBCIT PLACEHOLDER="Froula 21" DBREF="38086" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b8347c31-3626-4210-b324-092d70e70b95">21</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION></DIV2><DIV2><TEXTSCOPE DBREF="38265" PLACEHOLDER="VW, Phyllis and Rosamond, 1985" REF="https://commons.cwrc.ca/orlando:563a15fc-f5ed-42e2-a599-e6fd630c10b6"/><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATERANGE FROM="1906-06-20" TO="1906-06-23" EXACT="BOTH">20-23 June 1906</DATERANGE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) wrote her first adult <TGENRE GENRENAME="SHORTSTORY">story</TGENRE>, <TITLE TITLETYPE="ANALYTIC">Phyllis and Rosamond</TITLE>, in which a <TMOTIF MOTIFNAME="sister heroines">pair of sisters</TMOTIF> chafing against the <TTHEMETOPIC>bonds of young ladyhood</TTHEMETOPIC> encounter another pair who live <TTHEMETOPIC>Bohemian lives</TTHEMETOPIC>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Complete Shorter 289" DBREF="38253" REF="https://commons.cwrc.ca/orlando:d93cc20c-9d22-4c25-a0a6-790b4faccf74">289</BIBCIT> <BIBCIT PLACEHOLDER="Lee 149" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">149</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> reads the story as an imagined meeting between the Stephen sisters of Bloomsbury and their alternative selves (as they would have been if their lives had remained in the track mapped out for them by their parents). The conventional sisters envy and fear the liberated ones; the latter despise and pity the former.<BIBCITS><BIBCIT PLACEHOLDER="Lee 149-50" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">149-50</BIBCIT></BIBCITS> <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL">For <NAME STANDARD="Gordon, Lyndall" REF="https://commons.cwrc.ca/orlando:2a7f45fb-915e-44ad-a99a-b50a64c2928b">Lyndall Gordon</NAME>, the story is a defining moment: <QUOTE DIRECT="Y">Here, in the unseen space of consciousness, the young writer found a prime subject for future work.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS></RRESPONSES></SHORTPROSE></TEXTUALFEATURES></DIV2><DIV2><TEXTSCOPE DBREF="38266" PLACEHOLDER="VW, The Journal of Mistress Joan Martyn, 1979" REF="https://commons.cwrc.ca/orlando:eb74e443-96d9-4926-919e-dc691732fbb1"/><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1906-08">August 1906</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>), while staying at <PLACE><PLACENAME>Blo' Norton Hall</PLACENAME> at <SETTLEMENT>East Harling</SETTLEMENT> in <REGION>Norfolk</REGION><GEOG REG="England"/></PLACE>, wrote her <TGENRE GENRENAME="SHORTSTORY">story</TGENRE> later entitled <TITLE TITLETYPE="ANALYTIC">The Journal of Mistress <TCHARACTERNAME>Joan Martyn</TCHARACTERNAME></TITLE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Complete Shorter 289" DBREF="38253" REF="https://commons.cwrc.ca/orlando:d93cc20c-9d22-4c25-a0a6-790b4faccf74">289</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>It was first published in 1979.</SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>This is a story about the <TMOTIF MOTIFNAME="discovery of woman writer">recovery of a lost woman writer</TMOTIF>. Of its two parts, the first concerns the <TCHARACTERTYPEROLE PROTAGONIST="FEMALE">forty-five-year-old historian</TCHARACTERTYPEROLE> <TCHARACTERNAME>Rosamond Merridew</TCHARACTERNAME>, a medievalist respected in her field, who nevertheless feels that she has <QUOTE DIRECT="Y"><TMOTIF MOTIFNAME="single women">exchanged a husband and a family and a house in which I may grow old for certain fragments of yellow parchment; which only a few people can read and still fewer would care to read if they could.</TMOTIF></QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Complete Shorter 33" DBREF="38253" REF="https://commons.cwrc.ca/orlando:d93cc20c-9d22-4c25-a0a6-790b4faccf74">33</BIBCIT></BIBCITS> She cherishes maternal feelings, not for her own scholarly writings but for the scraps of manuscript which she collects. <TSETTINGDATE SETTINGDATETYPE="PAST"><TSETTINGDATE SETTINGDATETYPE="PRESENT"><TSETTINGPLACE SETTINGPLACETYPE="FICTIVE" SETTINGCLASS="MIDDLECLASS">Miss Merridew comes on an ancient, modest hall in <PLACE><REGION>Norfolk</REGION><GEOG REG="England"/></PLACE>, home of the Martyn family, <TMOTIF MOTIFNAME="found manuscript">and she carries away from it, on loan and wrapped in brown paper, the journal of the unmarried Joan Martyn,</TMOTIF> writing at the end of the fifteenth century (the period when the Paston letters recorded for modern readers the highly articulate voices of several ordinary, gentry-class Englishwomen, and when Chaucer was writing with insight of human subjectivity).</TSETTINGPLACE></TSETTINGDATE></TSETTINGDATE><TVOICENARRATION>The second part of the story gives excerpts of the <TGENRE GENRENAME="DIARY"><TGENRE GENRENAME="FICTION">diary</TGENRE></TGENRE>, which makes heard the voice of an earlier <TCHARACTERNAME>Judith Shakespeare</TCHARACTERNAME>, a woman's writing (like that of <NAME STANDARD="Paston, Margaret" REF="https://commons.cwrc.ca/orlando:10f4ea73-c4e0-47e1-946b-436f1feb4ac6">Margaret Paston</NAME>) which also seeks to capture the feeling and thinking self (like that of <NAME STANDARD="Chaucer, Geoffrey" REF="https://commons.cwrc.ca/orlando:3eb0571a-7124-436f-a276-0a577e7a30dd">Geoffrey Chaucer</NAME>).</TVOICENARRATION></SHORTPROSE></TEXTUALFEATURES></DIV2><DIV2><HEADING>The 1909 Notebook</HEADING><TEXTSCOPE DBREF="38267" PLACEHOLDER="VW, Carlyle's House and Other Sketches, 2003" REF="https://commons.cwrc.ca/orlando:f952bc1a-c794-4611-9369-25b45e051fc7"/><PRODUCTION><SHORTPROSE>In <DATE VALUE="2003-06-14">June 2003</DATE> news first reached the general public of the re-emergence of a notebook that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> kept during <DATERANGE CERTAINTY="ROUGHLYDATED" FROM="1909-02" TO="1909-11" EXACT="BOTH">February, March, and November 1909</DATERANGE>. <PMANUSCRIPTHISTORY><NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> sent this out for typing in 1968, and when he died the following year the typist put it away and forgot it. It reached print in <DATE VALUE="2003-07-15">July 2003</DATE> as <TITLE TITLETYPE="MONOGRAPHIC">Carlyle's House and Other Sketches</TITLE>.</PMANUSCRIPTHISTORY> <BIBCITS><BIBCIT PLACEHOLDER="Ezard 3" DBREF="22067" REF="https://commons.cwrc.ca/orlando:f64c448d-cbaf-409f-aa0a-cf43c7192fc4">3</BIBCIT> <BIBCIT PLACEHOLDER="Bradshaw, Bigotry 6 and n" DBREF="22066" REF="https://commons.cwrc.ca/orlando:f1d097fb-f473-42a0-af07-cc402d50cfa2">6 and n</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TGENREISSUE>This work is not so much a <TGENRE GENRENAME="DIARY">diary</TGENRE> as a working notebook: its seven <TGENRE GENRENAME="SKETCH">sketch</TGENRE>es take events or issues from <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>' life as grist to (in <NAME STANDARD="Lessing, Doris" REF="https://commons.cwrc.ca/orlando:2269522f-55eb-4681-a16b-2f3172e447d5">Doris Lessing</NAME>'s words) <QUOTE DIRECT="Y">five-finger exercises for future excellence.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lessing 4" DBREF="22065" REF="https://commons.cwrc.ca/orlando:404f41f7-ca3a-4fd5-ad33-6e9b19404589">4</BIBCIT></BIBCITS></TGENREISSUE> Some, like <TITLE TITLETYPE="ANALYTIC"><TTHEMETOPIC><NAME STANDARD="Carlyle, Thomas" REF="https://commons.cwrc.ca/orlando:6064afb9-0af9-4f06-b20c-2551813c1fe9">Carlyle</NAME>'s House</TTHEMETOPIC></TITLE> and <TITLE TITLETYPE="ANALYTIC">A Modern Salon</TITLE> (that of <TTHEMETOPIC><NAME STANDARD="Morrell, Lady Ottoline" REF="https://commons.cwrc.ca/orlando:dcdcf7f0-89c2-4266-b575-18831c029e0e">Lady Ottoline Morrell</NAME></TTHEMETOPIC>), deal with <TTHEMETOPIC>literary relationships</TTHEMETOPIC>. Of a confrontation with <TTHEMETOPIC><NAME STANDARD="Strachey, James" REF="https://commons.cwrc.ca/orlando:e2bedfd8-1907-4aad-9355-35e46339b16c">James Strachey</NAME> and his <ORGNAME STANDARD="Cambridge University" REG="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge</ORGNAME> friends</TTHEMETOPIC>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> writes: <QUOTE DIRECT="Y">They wished for the truth, and doubted whether a woman could speak it or be it.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lessing 5" DBREF="22065" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:404f41f7-ca3a-4fd5-ad33-6e9b19404589">5</BIBCIT></BIBCITS> Some pieces, like <TITLE TITLETYPE="ANALYTIC">Miss Reeves</TITLE> and <TITLE TITLETYPE="ANALYTIC">Jews</TITLE>, are character-sketches only. <TTONESTYLE>The last registers <TTHEMETOPIC>physical revulsion</TTHEMETOPIC> as well as the unsparing <TTHEMETOPIC>moral dissection</TTHEMETOPIC> found in others as well.</TTONESTYLE> Of the <QUOTE DIRECT="Y">fat Jewess</QUOTE> who is <QUOTE DIRECT="Y">ostentatiously kind to poor relations</QUOTE> and bullies young people about getting married, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> concludes: <QUOTE DIRECT="Y">It seemed very elementary, very little disguised, and very unpleasant.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lessing 4" DBREF="22065" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:404f41f7-ca3a-4fd5-ad33-6e9b19404589">4</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDYES">Most immediate comment on the appearance of this writing focussed, predictably, on accusations and defences about anti-Semitism. <RSHEINFLUENCED><NAME STANDARD="Lessing, Doris" REF="https://commons.cwrc.ca/orlando:2269522f-55eb-4681-a16b-2f3172e447d5">Lessing</NAME>, however, produced a thoughtful piece which touches on Woolf's wider achievements and influence (particularly on women, including Lessing herself).</RSHEINFLUENCED> She concluded that <QUOTE DIRECT="Y">idols and exemplars</QUOTE> have to be loved <QUOTE DIRECT="Y">warts and all</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Lessing 5" DBREF="22065" REF="https://commons.cwrc.ca/orlando:404f41f7-ca3a-4fd5-ad33-6e9b19404589">5</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2><DIV2><HEADING><TITLE TITLETYPE="UNPUBLISHED">Memoirs of a Novelist</TITLE></HEADING><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1909-10">October 1909</DATE> <CHRONPROSE><PSUBMISSIONSREJECTIONS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> submitted to the <TITLE TITLETYPE="JOURNAL" REG="Cornhill Magazine">Cornhill</TITLE> a <TGENRE GENRENAME="FICTION">fiction</TGENRE>al piece called <TITLE TITLETYPE="UNPUBLISHED">Memoirs of a <TCHARACTERTYPEROLE>Novelist</TCHARACTERTYPEROLE></TITLE>; it was turned down.</PSUBMISSIONSREJECTIONS></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bradshaw, Bigotry 6" DBREF="22066" REF="https://commons.cwrc.ca/orlando:f1d097fb-f473-42a0-af07-cc402d50cfa2">6</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote it to give herself a break during the long composition of <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 20" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">20</BIBCIT></BIBCITS> She had intended it as the first in a series of imaginary portraits.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Complete Shorter 290" DBREF="38253" REF="https://commons.cwrc.ca/orlando:d93cc20c-9d22-4c25-a0a6-790b4faccf74">290</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>This <QUOTE DIRECT="Y">brilliant comic fiction inspired by her experience as a reviewer</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 20" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">20</BIBCIT></BIBCITS> is a story about <TTHEMETOPIC>writing biography</TTHEMETOPIC> and about the tenuous relationship between a retrospective narrative and the evanescent truth of the life it attempts to capture. It is also about the frustrated lives of women. Miss Willatt, romantic novelist, has her life written after her death by her friend Miss Linsett, but the biographer likes things to be neat and tidy and unthreatening, and the <QUOTE DIRECT="Y">most interesting event in Miss Willatt's life, owing to the nervous prudery and the dreary literary conventions of her friend, is thus a blank.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Complete Shorter 67" DBREF="38253" REF="https://commons.cwrc.ca/orlando:d93cc20c-9d22-4c25-a0a6-790b4faccf74">67</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2></DIV1><DIV1><HEADING>Reviewing</HEADING><DIV2><TEXTSCOPE DBREF="39189" PLACEHOLDER="VW, Review of W. D. Howell's The Son of Royal Langbrith, 1904" REF="https://commons.cwrc.ca/orlando:cea3bcb6-7f75-4fc3-a125-42ffcc0089c9"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1904-12-14">14 December 1904</DATE> <CHRONPROSE><PPERIODICALPUBLICATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) published a <TGENRE GENRENAME="REVIEW">review</TGENRE> of <TTHEMETOPIC><NAME STANDARD="Howells, William Dean" REF="https://commons.cwrc.ca/orlando:cf0fc47f-7787-416c-96b5-22928e1ebce8">W. D. Howells</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC">The Son of Royal Langbrith</TITLE></TTHEMETOPIC> on the women's page of the <TITLE TITLETYPE="JOURNAL" REG="The Guardian, 1846 - 1951">Guardian</TITLE> (not the then <TITLE TITLETYPE="JOURNAL" REG="Guardian, The">Manchester Guardian</TITLE> but a weekly paper for clergymen).</PPERIODICALPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 1: 5" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">1: 5</BIBCIT> <BIBCIT PLACEHOLDER="McNeillie, 1986, xii" DBREF="38111" REF="https://commons.cwrc.ca/orlando:3a6d7c50-bf8e-4b54-887f-7baf2e82d416">xii</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PSUBMISSIONSREJECTIONS>This <QUOTE DIRECT="Y">modestly undertaken professional exercise</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="McNeillie, 1984, ix" DBREF="38188" REF="https://commons.cwrc.ca/orlando:52dac19f-7b80-44b4-9f88-39fa008812a6">ix</BIBCIT></BIBCITS> was her first appearance in print (though not her first submission to this paper),</PSUBMISSIONSREJECTIONS> <PMATERIALCONDITIONS>and she wrote it in a half-hour on <DATE VALUE="1904-11-30">30 November</DATE>.</PMATERIALCONDITIONS> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 1: 5" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">1: 5</BIBCIT> <BIBCIT PLACEHOLDER="McNeillie, 1986, xi" DBREF="38111" REF="https://commons.cwrc.ca/orlando:3a6d7c50-bf8e-4b54-887f-7baf2e82d416">xi</BIBCIT></BIBCITS> From this time onwards she did a great deal of reviewing.</SHORTPROSE></PRODUCTION><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL">Editor <NAME STANDARD="McNeillie, Andrew" REF="https://commons.cwrc.ca/orlando:1111a362-6114-401e-9259-3e3edd220c59">Andrew McNeillie</NAME> remarks that this review for a forgotten journal of a forgotten book by a forgotten author is a characteristic debut for her <QUOTE DIRECT="Y">extraordinarily fastidious, self-effacing apprenticeship in . . . the art of letters.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="McNeillie, 1984, ix" DBREF="38188" REF="https://commons.cwrc.ca/orlando:52dac19f-7b80-44b4-9f88-39fa008812a6">ix</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2><DIV2><HEADING>The <TITLE TITLETYPE="JOURNAL">Times Literary Supplement</TITLE></HEADING><PRODUCTION><SHORTPROSE><PAUTHORSHIP AUTHORNAMETYPE="ANONYMOUS"><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> began <TGENRE GENRENAME="REVIEW">review</TGENRE>ing for the <TITLE TITLETYPE="JOURNAL">Times Literary Supplement</TITLE> (where at that time all reviews appeared anonymously) in <DATE VALUE="1905">1905</DATE>.</PAUTHORSHIP> <RSELFDESCRIPTION><PMOTIVES MOTIVETYPE="SELF-IDENTIFIED">She commented, tongue in cheek, <QUOTE DIRECT="Y">my real delight in reviewing is to say nasty things.</QUOTE></PMOTIVES></RSELFDESCRIPTION> <BIBCITS><BIBCIT PLACEHOLDER="Wood 11" DBREF="13571" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:d0ebec40-98ef-4f42-86e8-28053c65160c">11</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TVOICENARRATION><PATTITUDES>Whatever the truth of that, she wrote in full consciousness of outsider status, <QUOTE DIRECT="Y">both delight[ing] in the patriarchal anonymity of the <TITLE TITLETYPE="JOURNAL" REG="Times Literary Supplement" REND="normal">TLS</TITLE> and simultaneously tilt[ing] at it.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Wood 11" DBREF="13571" REF="https://commons.cwrc.ca/orlando:d0ebec40-98ef-4f42-86e8-28053c65160c">11</BIBCIT></BIBCITS></PATTITUDES> She used the conventional <SOCALLED>one</SOCALLED> for <SOCALLED>I</SOCALLED> in contexts that mocked the idea of universality.</TVOICENARRATION> Apart from some <QUOTE DIRECT="Y">great <TGENRE GENRENAME="MANIFESTO">manifestoes</TGENRE></QUOTE> like <TITLE TITLETYPE="ANALYTIC">How It Strikes a Contemporary</TITLE>, she maintained that her ordinary, week-by-week role was like that of a beater at a shoot, <QUOTE DIRECT="Y">poking into startled flight the gamey old captains who sat on their institutional haunches coddling their endless dreary books.</QUOTE> (In a review not for the <TITLE TITLETYPE="JOURNAL">Times Literary Supplement</TITLE> she wrote that in order fully to appreciate <NAME STANDARD="Benson, Arthur Christopher" REF="https://commons.cwrc.ca/orlando:98df6569-3717-40b5-b7fc-444546050500">A. C. Benson</NAME>'s memoirs <QUOTE DIRECT="Y">one should have been educated at <ORGNAME STANDARD="Eton College" REF="https://commons.cwrc.ca/orlando:c871a86f-f3de-425c-a02a-583594e92777">Eton</ORGNAME> and <ORGNAME STANDARD="Cambridge University" REG="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge</ORGNAME>. One should have a settled income. One should have an armchair. One should have dined well. In this mood, and in these circumstances, nothing can be pleasanter than to hear old stories of old dons.</QUOTE>)<BIBCITS><BIBCIT PLACEHOLDER="Wood 11" DBREF="13571" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:d0ebec40-98ef-4f42-86e8-28053c65160c">11</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2></DIV1><DIV1><HEADING>Life-Writing</HEADING><DIV2><PRODUCTION><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> grew up with the first editor of <TITLE TITLETYPE="MONOGRAPHIC">The Dictionary of National Biography</TITLE>, and her interest in <TTHEMETOPIC>life-writing</TTHEMETOPIC> dates from her very early years. Though she saw almost insuperable difficulties in biography, about which she was insistently explicit, life-writing was central to her achievement. <QUOTE DIRECT="Y">In her essays and diaries and fiction,</QUOTE> writes Hermione Lee, <QUOTE DIRECT="Y">in her reading of history, in her feminism, in her politics, <SOCALLED>life-writing</SOCALLED>, as she herself called it, was a perpetual preoccupation.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 4" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">4</BIBCIT></BIBCITS> She wrote several <TGENRE GENRENAME="AUTOBIOGRAPHY">autobiographical <TGENRE GENRENAME="SKETCH">sketch</TGENRE>es</TGENRE> (which remained unpublished until decades after her death), and much <TGENRE GENRENAME="BIOGRAPHY">biographical material</TGENRE>, from her earliest writing years to the latest. Her life of <TTHEMETOPIC><NAME STANDARD="Fry, Roger" REF="https://commons.cwrc.ca/orlando:497e19ff-a249-42db-9c66-32a00759ed93">Roger Fry</NAME></TTHEMETOPIC> appeared the year before her death, and she contemplated other biographical projects after that. <PMATERIALCONDITIONS>While at <PLACE><SETTLEMENT>Cambridge</SETTLEMENT><REGION REG="Cambridgeshire"/><GEOG REG="England"/></PLACE> some months after her father's death and soon after her own breakdown, she assisted <NAME STANDARD="Maitland, F. W." REF="https://commons.cwrc.ca/orlando:98d3e829-677e-47c3-bb7d-2607f25fcf50">F. W. Maitland</NAME> with his <TITLE TITLETYPE="MONOGRAPHIC">The Life and Letters of <TTHEMETOPIC>Leslie Stephen</TTHEMETOPIC></TITLE> (published in <DATE VALUE="1906">1906</DATE>), by <TGENRE GENRENAME="EDITING">going through old letters</TGENRE> <PAUTHORSHIP AUTHORNAMETYPE="ANONYMOUS">and producing a <TGENRE GENRENAME="BIOGRAPHY">contribution to the book</TGENRE> as <QUOTE DIRECT="Y">by one of his daughters.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 19" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">19</BIBCIT></BIBCITS></PAUTHORSHIP> <PATTITUDES>She found this work therapeutic even though she did it unwillingly, impatient to get back to her own writing.</PATTITUDES> <BIBCITS><BIBCIT PLACEHOLDER="Lee 13, 19, 204" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">13, 19, 204</BIBCIT></BIBCITS></PMATERIALCONDITIONS> Between 1907 and 1911 she wrote a series of biographical reviews in which <QUOTE DIRECT="Y">she developed a theory crucial to her development as a novelist</QUOTE>—that is, her sense of the importance of <QUOTE DIRECT="Y">hidden moments and obscure formative experiences in a life.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS>Thirty years later she maintained that because of <QUOTE DIRECT="Y">[c]hastity and modesty</QUOTE> there had never been an autobiography by a woman (not one to match, for instance, <NAME STANDARD="Rousseau, Jean-Jacques" REF="https://commons.cwrc.ca/orlando:03cdb094-674e-421c-ba64-e6bced4de54d">Rousseau</NAME>'s), but she often encouraged other women to write their own memoirs, and she told <NAME STANDARD="Ocampo, Victoria" REF="https://commons.cwrc.ca/orlando:65bf6b47-b70c-405a-ac6c-4cde3a6569a5">Victoria Ocampo</NAME> in <DATE VALUE="1934-12">December 1934</DATE>: <QUOTE DIRECT="Y">Very few women have written truthful autobiographies. It is my favourite form of reading.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 13" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">13</BIBCIT></BIBCITS> In different ways, both <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE> and <TITLE TITLETYPE="MONOGRAPHIC">Flush</TITLE> spoof the biographical enterprise. In much of her thinking and writing, she shows a great interest in <TTHEMETOPIC>moments and figures unacknowledged by patriarchal culture</TTHEMETOPIC>, exploring <QUOTE DIRECT="Y">states of mind so muted that they almost defied expression.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Gordon 95" DBREF="16051" REF="https://commons.cwrc.ca/orlando:9846a647-4032-4c55-bb84-2540290054ff">95</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION></DIV2><DIV2><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1920-11-17">17 November 1920</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> read a <TGENRE GENRENAME="ESSAY">paper</TGENRE> about her early memories, probably <TITLE TITLETYPE="ANALYTIC">22 Hyde Park Gate</TITLE>, to the <ORGNAME STANDARD="Memoir Club" REF="https://commons.cwrc.ca/orlando:d778d29e-657c-48b7-baab-7cb6867d9d1b">Memoir Club</ORGNAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 77n1" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 77n1</BIBCIT></BIBCITS> <SCHOLARNOTE>This essay was posthumously published in <TITLE TITLETYPE="MONOGRAPHIC">Moments of Being</TITLE> (1976; rev. 1985).</SCHOLARNOTE></CHRONSTRUCT></PRODUCTION></DIV2><DIV2><TEXTSCOPE DBREF="39209" PLACEHOLDER="VW, On Being Ill, 1926" REF="https://commons.cwrc.ca/orlando:1f23d919-697f-4f23-b356-8258ab8313b3"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1926-01">January 1926</DATE> <CHRONPROSE><PPERIODICALPUBLICATION><PMATERIALCONDITIONS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published in <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME>'s newly-renamed <TITLE TITLETYPE="JOURNAL" REG="The Criterion">The New Criterion</TITLE> her <TGENRE GENRENAME="ESSAY">essay</TGENRE> <TITLE TITLETYPE="ANALYTIC">On <TMOTIF MOTIFNAME="illness">Being Ill</TMOTIF></TITLE>, which she had written the previous autumn while she was indeed ill.</PMATERIALCONDITIONS></PPERIODICALPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 58n1, 46" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 58n1, 46</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PMODEOFPUBLICATION PUBLICATIONMODE="LIMITEDEDITION"><PPRESSRUN>It was re-issued as a <TGENRE GENRENAME="TRACTPAMPHLET">pamphlet</TGENRE> with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> in <DATE VALUE="1930-11">November 1930</DATE>, in a limited edition of 250 numbered and signed copies.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 306n2" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 306n2</BIBCIT></BIBCITS></PPRESSRUN></PMODEOFPUBLICATION></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> mentions illness as a subject seldom treated by writers, and discusses the changes it makes in the outlook, personality, and desires of the sick person.</SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL"><PSUBMISSIONSREJECTIONS> Though he had accepted it for publication, <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">Eliot</NAME> had initially expressed little enthusiasm for this essay.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 49" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 49</BIBCIT></BIBCITS></PSUBMISSIONSREJECTIONS></RRESPONSES> <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDNO"><NAME STANDARD="Mantel, Hilary" REF="https://commons.cwrc.ca/orlando:e27a2544-6ae8-4f69-bae0-56b19413e16e">Hilary Mantel</NAME>, reading this essay while very ill herself, indignantly rejected what she saw as Woolf's seemliness and decorousness as well as her complaint of failure of language: <QUOTE DIRECT="Y">what of the whole vocabulary . . . the gouging pain, the drilling pain, the prickling and pinching, the throbbing, burning, stinging, smarting, flaying? All good words. All old words. No one's pain is so special that the devil's dictionary of anguish has not anticipated it.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Mantel, Diary 2010, 42" DBREF="66767" REF="https://commons.cwrc.ca/orlando:1f1a9c41-c46c-4db5-9b9f-6c9d8c69f9fb">42</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING>The First Two Novels</HEADING><DIV2><TEXTUALFEATURES><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s first two published novels, <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE> and <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE>, both work in the mode of social comedy to explore the experiences of a <TGENRE GENRENAME="BILDUNGSROMAN">young woman coming to grips with her place in the world</TGENRE>. Each presents its protagonist's emotional examination of <TTHEMETOPIC>sexuality</TTHEMETOPIC>, and each subjects patriarchy and <TTHEMETOPIC>marriage</TTHEMETOPIC> to close and not comforting scrutiny. Both novels are at the same time <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s early attempts to create a new, non-traditional form. Yet the two are very different. In its shocking conclusion, and in its management of narrative, <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE> frustrates the expectations of the conventional <TGENRE GENRENAME="ROMANCE">romantic</TGENRE> plot. Though in its working out of plot <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE> liberates its protagonist from the patriarchal <SOCALLED>roar</SOCALLED> of her father to let her marry whom she chooses, it is in form less experimental, a <QUOTE DIRECT="Y"><NAME STANDARD="Mozart, Wolfgang Amadeus" REF="https://commons.cwrc.ca/orlando:04fd08b7-e7ec-4760-a359-dae94c065143">Mozart</NAME>ian comedy.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 34" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">34</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2><DIV2><HEADING><TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE></HEADING><TEXTSCOPE DBREF="38234" PLACEHOLDER="VW, The Voyage Out, 1915" REF="https://commons.cwrc.ca/orlando:b03e54c6-264a-4103-8599-bfaada801b92"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1907" CERTAINTY="BY">By 1907</DATE> <CHRONPROSE><PMANUSCRIPTHISTORY><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Stephen</NAME> (later <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>) was at work on her first <TGENRE GENRENAME="NOVEL">novel</TGENRE>, whose working title was <TITLE TITLETYPE="UNPUBLISHED">Melymbrosia</TITLE>; after a <QUOTE DIRECT="Y">tangled evolution</QUOTE>, it was finally published as <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE>.</PMANUSCRIPTHISTORY></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 332" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">332</BIBCIT> <BIBCIT PLACEHOLDER="Lee 219" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">219</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PMATERIALCONDITIONS>The date on which <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> began this work has been the subject of much scholarly discussion. Some critics believe she began it soon after the death of her father in <DATE VALUE="1904-02-22">1904</DATE>.</PMATERIALCONDITIONS> In his autobiography <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> gives the date as 1909, <RDESTRUCTIONOFWORK DESTROYEDBY="SELF">though he also reports that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> burned several drafts of the novel when she found them in a closet.</RDESTRUCTIONOFWORK> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 158" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">158</BIBCIT></BIBCITS> Hermione Lee suggests that manuscript material which <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> sent to <NAME STANDARD="Dickinson, Violet" REF="https://commons.cwrc.ca/orlando:45ef0a4f-a6b8-4238-aa7f-4274acd6e362">Violet Dickinson</NAME> in <DATE VALUE="1906-08">August, 1906</DATE>, may have been <QUOTE DIRECT="Y">the start</QUOTE> of this novel.<BIBCITS><BIBCIT PLACEHOLDER="Lee 219" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">219</BIBCIT></BIBCITS>The word <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> created for the working title of her first novel—<SOCALLED>melymbrosia</SOCALLED>—brings together the Greek words for <SOCALLED>honey</SOCALLED> and <SOCALLED>ambrosia</SOCALLED>, and in so doing powerfully links this text to <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s recent trip to <PLACE><GEOG>Greece</GEOG></PLACE> in September 1906, a trip which ended with the catastrophe of Thoby's death. <PMATERIALCONDITIONS>These events create an informing context for this first novel.</PMATERIALCONDITIONS> <SCHOLARNOTE>Several scholarly reflections on the possible meanings of <SOCALLED>melymbrosia</SOCALLED>, including <NAME STANDARD="Grundy, Isobel" REF="https://commons.cwrc.ca/orlando:08377149-df79-4797-8557-fd83ed42df2b">Isobel Grundy</NAME>'s suggestion that it evokes a dark inspiration, are detailed by Mark Hussey.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 157" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">157</BIBCIT></BIBCITS></SCHOLARNOTE><PMANUSCRIPTHISTORY><RDESTRUCTIONOFWORK DESTROYEDBY="SELF">Composition of <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE> stretched over nine years, and <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> produced several versions of the text, including those she burned. </RDESTRUCTIONOFWORK> <PARCHIVALLOCATION>Scholars <NAME STANDARD="DeSalvo, Louise" REF="https://commons.cwrc.ca/orlando:f6f8f242-f6ab-4ac9-bc98-54696cb20de3">Louise DeSalvo</NAME> and <NAME STANDARD="Heine, Elizabeth" REF="https://commons.cwrc.ca/orlando:5ba19b83-1b03-4149-8628-2e6ef8416470">Elizabeth Heine</NAME>, working separately on materials in the <ORGNAME STANDARD="Berg Collection" REF="https://commons.cwrc.ca/orlando:c3ce9d3d-5950-4555-a79f-109f9b3f0ca8">Berg Collection</ORGNAME> of the <ORGNAME STANDARD="New York Public Library" REF="https://commons.cwrc.ca/orlando:6ce70f83-fd2a-4495-91b3-04f082079df3">New York Public Library</ORGNAME>, reconstructed two different versions of the novel, each significantly different from the published version. DeSalvo edited and published <TITLE TITLETYPE="MONOGRAPHIC">Melymbrosia: An early version of The Voyage Out</TITLE>, 1982; Heine edited <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE> for <ORGNAME STANDARD="Hogarth Press" REG="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth</ORGNAME>'s <QUOTE DIRECT="Y">definitive edition</QUOTE> in 1990 with full textual apparatus and editorial discussion.<BIBCITS><BIBCIT PLACEHOLDER="OCLC" DBREF="1709" REF="https://commons.cwrc.ca/orlando:e22bf210-8f2e-4862-9dec-3b131136861e"/></BIBCITS></PARCHIVALLOCATION></PMANUSCRIPTHISTORY></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1913-03-09">9 March 1913</DATE> <CHRONPROSE><PSUBMISSIONSREJECTIONS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> submitted the completed manuscript of her first <TGENRE GENRENAME="NOVEL">novel</TGENRE>, <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE>, to her half-brother <NAME STANDARD="Duckworth, Gerald" REF="https://commons.cwrc.ca/orlando:a790547e-89d4-4111-9513-dae24783c12e">Gerald Duckworth</NAME>, who, on the advice of <NAME STANDARD="Garnett, Edward" REF="https://commons.cwrc.ca/orlando:70c35212-daa7-4e95-83c8-dc54b078fda8">Edward Garnett</NAME>, accepted it for publication on <DATE VALUE="1913-04-12">12 April</DATE>.</PSUBMISSIONSREJECTIONS></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 10-11" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 10-11</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1915-03-26">26 March 1915</DATE> <CHRONPROSE><PDEDICATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s first <TGENRE GENRENAME="NOVEL">novel</TGENRE>, <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE>, dedicated <QUOTE DIRECT="Y">To <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">L. W.</NAME></QUOTE>, was published by <ORGNAME STANDARD="Duckworth" REG="Duckworth" REF="https://commons.cwrc.ca/orlando:532f6241-c9bf-4178-8816-b97213738dc3">Duckworth and Company</ORGNAME>.</PDEDICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 328, 335" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">328, 335</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>It appeared the day after she had been taken to a nursing home because of symptoms of madness: manic this time rather than depressive.<BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 25" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 25</BIBCIT></BIBCITS> <PCIRCULATION>The novel <QUOTE DIRECT="Y">took fifteen years to sell 2,000 copies <PEARNINGS>and in those years earned less than £120.</PEARNINGS></QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 325-6" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">325-6</BIBCIT></BIBCITS></PCIRCULATION></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>Hermione Lee sees <TPLOT><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s first novel as <QUOTE DIRECT="Y">about the <TTHEMETOPIC>death of childhood</TTHEMETOPIC> and the <TTHEMETOPIC>confused awakening of adult sexuality</TTHEMETOPIC>.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 154" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">154</BIBCIT></BIBCITS> Julia Briggs writes: <QUOTE DIRECT="Y">Death and love lie beneath the surface of life like monsters on the sea-bed, mysterious forces that at any moment may rise and explode.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 6" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">6</BIBCIT></BIBCITS> It focuses on <TCHARACTERNAME>Rachel Vinrace</TCHARACTERNAME>, who, having lost her mother when she was eleven, has been brought up in London by her aunts. As the novel begins, she is preoccupied by issues of growing up—by <TTHEMETOPIC>self-definition</TTHEMETOPIC>, relationships, <TTHEMETOPIC>marriage</TTHEMETOPIC> and <TTHEMETOPIC>sex</TTHEMETOPIC>, and by exploration both of the <TTHEMETOPIC>world of books</TTHEMETOPIC> and of the <SOCALLED>real</SOCALLED> world of experience. Her unfolding discovery of her own sexuality is central, as is the social question of her gender role: will she develop into the social hostess her father wishes, or will she define her own future? <TSETTINGPLACE SETTINGPLACETYPE="REAL" SETTINGCLASS="MIDDLECLASS">The action opens on the <PLACE><SETTLEMENT>London</SETTLEMENT> <ADDRESS><ADDRLINE>Embankment</ADDRLINE></ADDRESS><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>, as Rachel joins her aunt and uncle <TCHARACTERNAME REG="Ambrose, Helen">Helen</TCHARACTERNAME> and <TCHARACTERNAME>Ridley Ambrose</TCHARACTERNAME></TSETTINGPLACE> for a trip to an imaginary South American country, on board the <RS REG="ship">Euphrosyne</RS>, a ship captained by Rachel's father, <TCHARACTERNAME>Willoughby Vinrace</TCHARACTERNAME>. (The name of the ship is in part a private joke, since this was the title of a book of poems by <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME>, <NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME>, <NAME STANDARD="Lamb, Walter" REF="https://commons.cwrc.ca/orlando:a33e7410-88ab-42cc-a94c-eae27ba6193a">Walter Lamb</NAME>, <NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby Stephen</NAME>, <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME>, and others, which had moved <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> to satirical comment on the self-satisfaction of literary young men. But it is also an allusion to the exclusion of women from formal education, about which she wrote in her review of it. Education and books figure largely in this novel.)<BIBCITS><BIBCIT PLACEHOLDER="Henke" DBREF="12569" REF="https://commons.cwrc.ca/orlando:ea5947c9-b688-4776-b257-2c2eb300e828"/> <BIBCIT PLACEHOLDER="Hussey 83-4" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">83-4</BIBCIT> <BIBCIT PLACEHOLDER="Froula 20-1" DBREF="38086" REF="https://commons.cwrc.ca/orlando:b8347c31-3626-4210-b324-092d70e70b95">20-1</BIBCIT></BIBCITS></TPLOT>Rachel voyages first to <PLACE><SETTLEMENT>Lisbon</SETTLEMENT><GEOG REG="Portugal"/></PLACE>, where the passengers are joined by <TCHARACTERNAME REG="Dalloway, Richard">Richard</TCHARACTERNAME> and <TCHARACTERNAME>Clarissa Dalloway</TCHARACTERNAME> (a couple not much like those of the later novel <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE>). Richard provokes a crisis when he kisses Rachel: at first excited by his touch, she later has a grotesque nightmare about entrapment. <TSETTINGPLACE SETTINGPLACETYPE="FICTIVE" SETTINGCLASS="MIDDLECLASS">At the end of the ship's voyage, at a place called Santa Marina in a remote, unidentified, non-existent <PLACE><GEOG REG="South America">South American</GEOG></PLACE> country, Rachel meets a company of English tourists including two young men, <TCHARACTERNAME>St John Hirst </TCHARACTERNAME> and <TCHARACTERNAME>Terence Hewet</TCHARACTERNAME>. She falls in love with Terence, and, on a further stage of the voyage out, travels with him up-river to a native village.</TSETTINGPLACE> While they are there, they become engaged: for Rachel a step towards, or perhaps away from, freedom and fulfilment. Back at the hotel her growing ambivalence and anxiety tip over into medical symptoms. <TMOTIF MOTIFNAME="illness">She has picked up an infection and becomes fevered and hallucinatory</TMOTIF>; <TMOTIF MOTIFNAME="death of heroine">the book ends shockingly on her death</TMOTIF>.<TINTERTEXTUALITY INTERTEXTTYPE="ALLUSIONUNACKNOWLEDGED" GENDEROFAUTHOR="MAN"><TINTERTEXTUALITY INTERTEXTTYPE="ALLUSIONACKNOWLEDGED">Woolf's wide experience not only of English literature, but also of the classics and of French and Russian writing, together with her familiarity with any number of other studies (in natural history, for instance), is always present in her own work. From first to last her works are richly allusive. Her references, widely suffused memories, imitations, and spoofs of other writers, other texts, other genres make her the most intertextual of writers. This is an important dynamic of her texts, a means of making her prose carry an exceptional freight of meaning.</TINTERTEXTUALITY></TINTERTEXTUALITY><TINTERTEXTUALITY INTERTEXTTYPE="ANSWER" GENDEROFAUTHOR="MAN">Several critics have observed the influence of <NAME STANDARD="Conrad, Joseph" REF="https://commons.cwrc.ca/orlando:8221f5f2-4c8d-4ceb-aee3-8becb1237d13">Joseph Conrad</NAME> in <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE>: in <TITLE TITLETYPE="MONOGRAPHIC">Heart of Darkness</TITLE> (published in <DATE VALUE="1899">1899</DATE>) the voyage into the unknown represents a dark and unspeakable self-discovery. The structure of <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE> links <QUOTE DIRECT="Y">the horror</QUOTE> at the end of <TCHARACTERNAME>Marlowe</TCHARACTERNAME>'s quest with Rachel's sexual fears.</TINTERTEXTUALITY> <RRESPONSES RESPONSETYPE="RE-EVALUATION" FORMALITY="FORMAL"><NAME STANDARD="Beer, Gillian" REF="https://commons.cwrc.ca/orlando:fa814d79-4aa2-45e1-b092-6e777f39b545">Gillian Beer</NAME> examines Woolf's <PINFLUENCESHER INFLUENCETYPE="INTELLECTUAL">intertextual conversation with <NAME STANDARD="Darwin, Charles" REF="https://commons.cwrc.ca/orlando:27138ed6-2764-42e6-83e4-29f4f0ba632b">Charles Darwin</NAME>: she argues that it is profound and shaping in several works, including <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE>, where it provides not only <QUOTE DIRECT="Y">local colour</QUOTE> but also an <QUOTE DIRECT="Y">awareness of the survival of prehistory,</QUOTE> and of <QUOTE DIRECT="Y">the simultaneity of the prehistoric in our present moment.</QUOTE></PINFLUENCESHER> This awareness, Beer claims, <QUOTE DIRECT="Y">absolves [<NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>] from the causal forms she associates with nineteenth-century narratives.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Beer 15, 17" DBREF="38110" REF="https://commons.cwrc.ca/orlando:79ece586-fd6a-45de-ba4e-c6fd4a61c187">15, 17</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL"><TSETTINGPLACE SETTINGPLACETYPE="FICTIVE" SETTINGCLASS="MIDDLECLASS"><NAME STANDARD="Henke, Suzette A." REF="https://commons.cwrc.ca/orlando:8af9820d-b19c-4a6b-a0b6-1e3e1bcb30dd">Suzette Henke</NAME>, who points out that the Spanish (not Portuguese) name of Santa Marina suggests the mouth of the <PLACE><REGION REG="River Orinoco">River Oroonoko</REGION><GEOG REG="South America"/></PLACE> rather than the Amazon,</TSETTINGPLACE> thinks Woolf may have chosen South America for its Darwinian associations.<BIBCITS><BIBCIT PLACEHOLDER="Henke" DBREF="12569" REF="https://commons.cwrc.ca/orlando:ea5947c9-b688-4776-b257-2c2eb300e828"/></BIBCITS></RRESPONSES><TSETTINGPLACE SETTINGPLACETYPE="FICTIVE" SETTINGCLASS="MIDDLECLASS">Rachel leaves home on her voyage hoping to broaden her experience and come to understand herself and the world, but finds herself in a physical space and a society that are <TTHEMETOPIC>constricting</TTHEMETOPIC>.</TSETTINGPLACE> <TCHARACTERIZATION>Although <QUOTE DIRECT="Y">it seemed possible that each new person might remove the mystery which burdened her,</QUOTE> the mystery remains, and the new people are presented with a delicate balance of satire and respect.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Voyage 1975, 308" DBREF="38268" REF="https://commons.cwrc.ca/orlando:01c1004b-fef1-43f5-91cc-4c8a980175c2">308</BIBCIT></BIBCITS></TCHARACTERIZATION> Several male characters try to shape Rachel's mind by giving her books to read. (Books are everywhere; even the <TCHARACTERTYPEROLE>indomitable spinster</TCHARACTERTYPEROLE> Miss Allan is writing a <TTHEMETOPIC>history of English literature</TTHEMETOPIC>.) <TINTERTEXTUALITY INTERTEXTTYPE="ALLUSIONACKNOWLEDGED" GENDEROFAUTHOR="MAN">Hirst is amazed to hear that Rachel has lived to twenty-four without reading <NAME STANDARD="Gibbon, Edward" REF="https://commons.cwrc.ca/orlando:03112a18-4382-4d5f-892a-3cfe2ce75d60">Gibbon</NAME>: <QUOTE DIRECT="Y">can one really talk to you? Have you got a mind, or are you like the rest of your sex?</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Voyage 1975, 180" DBREF="38268" REF="https://commons.cwrc.ca/orlando:01c1004b-fef1-43f5-91cc-4c8a980175c2">180</BIBCIT></BIBCITS> And her sympathetic uncle Ambrose exclaims: <QUOTE DIRECT="Y">what's the use of reading if you don't read Greek?</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Voyage 1975, 202" DBREF="38268" REF="https://commons.cwrc.ca/orlando:01c1004b-fef1-43f5-91cc-4c8a980175c2">202</BIBCIT></BIBCITS> Rachel cannot talk to Hirst without feeling stupid, but she can freely confide in Hewet that Gibbon's style <QUOTE DIRECT="Y">goes round, round, round, like a roll of oil-cloth.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Voyage 1975, 237" DBREF="38268" REF="https://commons.cwrc.ca/orlando:01c1004b-fef1-43f5-91cc-4c8a980175c2">237</BIBCIT></BIBCITS></TINTERTEXTUALITY> <TCHARACTERIZATION>Hewet, unlike the self-complacent Hirst, is a <TCHARACTERTYPEROLE PROTAGONIST="MALE">seeker and wonderer, an unfixed bundle of potential like herself, with feminine as well as masculine attributes</TCHARACTERTYPEROLE>. He finds that Rachel's face becomes less attractive <QUOTE DIRECT="Y">as her brain began to work,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Voyage 1975, 251" DBREF="38268" REF="https://commons.cwrc.ca/orlando:01c1004b-fef1-43f5-91cc-4c8a980175c2">251</BIBCIT></BIBCITS> yet he has thought hard about relations between the sexes, and feels that men are bullies to women, and that women are indoctrinated to <QUOTE DIRECT="Y">see us three times as big as we are or they'd never obey us.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Voyage 1975, 252" DBREF="38268" REF="https://commons.cwrc.ca/orlando:01c1004b-fef1-43f5-91cc-4c8a980175c2">252</BIBCIT></BIBCITS></TCHARACTERIZATION> Until the tragic ending Rachel seems in danger of being stranded in a funny but sterile comedy of manners, which offers no purchase to her <TCHARACTERTYPEROLE PROTAGONIST="FEMALE">questioning mind or her sensitive heart</TCHARACTERTYPEROLE>, or else of <TMOTIF MOTIFNAME="happy ending">dwindling into a romance-style happy ending that would leave all her questions unanswered</TMOTIF>. <TMOTIF MOTIFNAME="death of heroine">On the one hand she seems to die because no other ending offers itself; on the other hand, the ending drives home a message about the contingency of life, the shocking arbitrariness of death</TMOTIF>. <TTONESTYLE><TTHEMETOPIC>Death</TTHEMETOPIC> is also ironically presented.</TTONESTYLE> Terence Hewet, who has been in anguish for days, separated from Rachel by her illness, is sitting with her as she dies, and feels restored, ecstatic. (He thinks or speaks some words which were to recur, little changed, in <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s suicide note almost thirty years later: <QUOTE DIRECT="Y">No two people have ever been so happy as we have been.</QUOTE>)<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Voyage 1975, 431" DBREF="38268" REF="https://commons.cwrc.ca/orlando:01c1004b-fef1-43f5-91cc-4c8a980175c2">431</BIBCIT></BIBCITS> He begins shrieking and struggling only when people come to lead him out of the room, and the book closes not on him but on the other lives re-forming themselves.</SHORTPROSE></TEXTUALFEATURES></DIV2><DIV2><HEADING>An Abandoned Novel</HEADING><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1915-01">January 1915</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> began to write a book whose female protagonist, <TCHARACTERNAME>Effie</TCHARACTERNAME>, opposes political action on grounds of feminism and sees the war, as Woolf did herself, as a <QUOTE DIRECT="Y">preposterous masculine fiction</QUOTE>. <PNONSURVIVAL TYPEOFNONSURVIVAL="UNKNOWN">The book is lost.</PNONSURVIVAL></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 344" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">344</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TTECHNIQUES TECHNIQUETYPE="IMAGERY">Its war imagery, however, is amply present elsewhere. The <TOPIC STANDARD="World War I">Great War</TOPIC> <QUOTE DIRECT="Y">overshadows</QUOTE> <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s work. <QUOTE DIRECT="Y">Her books are full of images of war: armies, battles, guns, bombs, air-raids, battleships, shell-shock victims, war reports, photographs of war-victims, voices of dictators.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 341" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">341</BIBCIT></BIBCITS></TTECHNIQUES></SHORTPROSE></TEXTUALFEATURES></DIV2><DIV2><HEADING><TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE></HEADING><TEXTSCOPE DBREF="38235" PLACEHOLDER="VW, Night and Day, 1919" REF="https://commons.cwrc.ca/orlando:5d66c74e-40be-44de-a06a-608c152f4853"/><PRODUCTION><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> may have begun work on her second novel in 1913; from summer 1913 to autumn 1915, she suffered <QUOTE DIRECT="Y">her worst breakdown ever,</QUOTE> <PMATERIALCONDITIONS>Years afterwards, she wrote to Ethel Smyth that when she composed <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE> she <QUOTE DIRECT="Y">was so tremblingly afraid of my own insanity</QUOTE> that she wrote it in bed (during the rationed half-hours of writing time that she was allowed, and copying life like an art student copying plaster casts) <QUOTE DIRECT="Y">to prove to my own satisfaction that I could keep entirely off that dangerous ground.</QUOTE></PMATERIALCONDITIONS> <RSELFDESCRIPTION>At this date (in October 1930) she felt that <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE> was a bad book, though she added that some people thought it her best.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 231" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 231</BIBCIT></BIBCITS></RSELFDESCRIPTION> Julia Briggs writes: <QUOTE DIRECT="Y">If the completion of <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE> through all its various drafts and difficulties had been an amazing achievement . . . the writing of <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE>, a long, complex and carefully orchestrated comedy of love, was little short of a miracle.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 34-5" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">34-5</BIBCIT></BIBCITS> <TINTERTEXTUALITY INTERTEXTTYPE="ANSWER" GENDEROFAUTHOR="MAN">Briggs further considers that the novel <QUOTE DIRECT="Y">reworks</QUOTE> <TITLE TITLETYPE="MONOGRAPHIC">The Wise Virgins</TITLE>, 1914, <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME>'s second novel, a bitterly painful and personal <FOREIGN>roman à clef</FOREIGN>, to create <QUOTE DIRECT="Y">a fable of reconciliation and integration.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 31" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">31</BIBCIT></BIBCITS></TINTERTEXTUALITY></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1919-04-01">1 April 1919</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> submitted the completed manuscript of <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE> to <NAME STANDARD="Duckworth, Gerald" REF="https://commons.cwrc.ca/orlando:a790547e-89d4-4111-9513-dae24783c12e">Gerald Duckworth</NAME>, who accepted it for publication by <ORGNAME STANDARD="Duckworth" REG="Duckworth" REF="https://commons.cwrc.ca/orlando:532f6241-c9bf-4178-8816-b97213738dc3">Duckworth's</ORGNAME> on <DATE VALUE="1919-05-07">7 May</DATE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 232" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 232</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PSUBMISSIONSREJECTIONS>The acceptance was, she said, perhaps with irony, almost a disappointment: she meant that the alternative would have been for her and Leonard to take the plunge and publish this long novel themselves through the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 2: 353" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">2: 353</BIBCIT></BIBCITS></PSUBMISSIONSREJECTIONS></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1919-10-20">20 October 1919</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s second <TGENRE GENRENAME="NOVEL">novel</TGENRE>, <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE>, was published by <ORGNAME STANDARD="Duckworth" REG="Duckworth" REF="https://commons.cwrc.ca/orlando:532f6241-c9bf-4178-8816-b97213738dc3">Duckworth</ORGNAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 233" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 233</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1919-11-28">28 November 1919</DATE> <CHRONPROSE><PEDITIONS><PPLACEOFPUBLICATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> negotiated with American publishers over the rights to <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE> and <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE>; <ORGNAME STANDARD="Bantam Doubleday Dell Publishing Group" REG="Bantam Doubleday Dell Publishing Group" REF="https://commons.cwrc.ca/orlando:91b260de-5125-422c-a0ed-05f10c28d7a9">George H. Doran</ORGNAME> of <PLACE><SETTLEMENT REG="New York City">New York</SETTLEMENT><REGION REG="New York"/><GEOG REG="USA"/></PLACE> became her first American publisher.</PPLACEOFPUBLICATION></PEDITIONS></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 2: 401, 403" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">2: 401, 403</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1929-04" CERTAINTY="C">March or April 1929</DATE> <CHRONPROSE><PEDITIONS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published the first <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> edition of <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE> and <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE>.</PEDITIONS></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 120" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">120</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>She and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME> took over the sheets from the original publisher, her half-brother <NAME STANDARD="Duckworth, Gerald" REF="https://commons.cwrc.ca/orlando:a790547e-89d4-4111-9513-dae24783c12e">Gerald Duckworth</NAME>.Sales of the novel were slow until it was published in <DATE VALUE="1969">1969</DATE> by <ORGNAME STANDARD="Penguin" REF="https://commons.cwrc.ca/orlando:d4bafcfa-5739-480a-ad02-bc11ac21bf33">Penguin</ORGNAME>, when things changed. Julia Briggs observes that with <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <QUOTE DIRECT="Y">popularity still growing, even a neglected novel now commands substantial sales.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 57" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">57</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TINTERTEXTUALITY INTERTEXTTYPE="IMITATION" GENDEROFAUTHOR="MAN"><TSETTINGPLACE SETTINGPLACETYPE="REAL" SETTINGCLASS="MIDDLECLASS"><TSETTINGDATE SETTINGDATETYPE="PAST">This is the first of Woolf's a <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> novels, and is set unambiguously in the recent past, in the period of the suffrage struggle before the first world war.</TSETTINGDATE></TSETTINGPLACE> It is a <TGENRE GENRENAME="COURTSHIPFICTION">story of courtship</TGENRE>, designed to have the tone of <NAME STANDARD="Shakespeare, William" REF="https://commons.cwrc.ca/orlando:cf31f8e7-ff5a-463a-adb8-20d1e1c5d8a3">Shakespearean</NAME> comedy.</TINTERTEXTUALITY> <TCHARACTERNAME>Katharine Hilbery</TCHARACTERNAME> gets engaged to <TCHARACTERNAME>William Rodney</TCHARACTERNAME> (whom Lyndall Gordon calls <QUOTE DIRECT="Y">effete</QUOTE>): he is <TCHARACTERTYPEROLE>scholarly, a little pompous</TCHARACTERTYPEROLE>, and the kind of person that Katharine's parents would like her to marry. She disengages herself, however, in order to marry <TCHARACTERNAME>Ralph Denham</TCHARACTERNAME> (whom Gordon calls <QUOTE DIRECT="Y">ungentlemanly but life-giving</QUOTE>).<BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> <PINFLUENCESHER INFLUENCETYPE="LITERARY">The early scene of Denham's rage and despair when he discovers her engagement to Rodney exemplifies the way this novel manages to combine <QUOTE DIRECT="Y">the ordeal of consciousness, as developed by <NAME STANDARD="Eliot, George" REF="https://commons.cwrc.ca/orlando:dca30947-feee-44db-820e-bbcc21038396">George Eliot</NAME> and <NAME STANDARD="James, Henry" REF="https://commons.cwrc.ca/orlando:6695041d-35b1-45ba-b37d-f328ecee9471">Henry James</NAME></QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> <TVOICENARRATION>with the comedy provided by the faintly amused narrator:</TVOICENARRATION></PINFLUENCESHER> <QUOTE DIRECT="Y">Katharine was engaged, and she had deceived him, too. He felt for corners of his being untouched by his disaster; but there was no limit to the flood of damage; not one of his possessions was safe now. Katharine had deceived him.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Night and Day 1977, 162" DBREF="38269" REF="https://commons.cwrc.ca/orlando:78e34101-9182-4394-a9ed-bebacdf6c9d0">162</BIBCIT></BIBCITS> William Rodney meanwhile realises that he loves and wants to marry <TCHARACTERNAME>Cassandra Otway</TCHARACTERNAME>, a <TCHARACTERTYPEROLE>musician</TCHARACTERTYPEROLE>, who looks up to him with more conviction than Katharine ever did. The couples re-sort themselves, to the bafflement of onlookers. When William Rodney changes his mind and chooses Cassandra, she expects Katharine to react conventionally, that is to be deeply wounded and jealous. Katharine has no difficulty in accepting Rodney's rethinking, though her aunts feel him to be a villain. Her father, as Julia Briggs writes, <QUOTE DIRECT="Y">the gentle, musical <TCHARACTERNAME>Mr Hilbery</TCHARACTERNAME>, is transformed by fatherly possessiveness,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 50" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">50</BIBCIT></BIBCITS> first enraged at the insult to his daughter, then enraged afresh when he realises that she actually loves Denham, which gives him a greater pang than he had ever felt over Rodney. He uttered perfunctory congratulations, but <QUOTE DIRECT="Y">he never looked at his daughter, and strode out of the room, <TTECHNIQUES TECHNIQUETYPE="IMAGERY">leaving in the minds of the women a sense, half of awe, half of amusement, at the extravagant, inconsiderate, uncivilized male, outraged somehow and gone bellowing to his lair.</TTECHNIQUES></QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Night and Day 1977, 530" DBREF="38269" REF="https://commons.cwrc.ca/orlando:78e34101-9182-4394-a9ed-bebacdf6c9d0">530</BIBCIT></BIBCITS> But the young people are trying to cut loose from stereotypes and be honest about what they feel: Katharine and Ralph both alternate moments of delighted love with what they call <SOCALLED>lapses</SOCALLED>, when one or the other withdraws emotionally and cannot remember how they felt before.Lyndal Gordon observes that <QUOTE DIRECT="Y">biographically, the novel offers a rationale for the Woolf marriage, while it circles the unknown and unused potentialities of women in the context of their struggle for the vote.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> The one among the young people who stands out at the end, <TCHARACTERTYPEROLE>unpaired, is <TCHARACTERNAME>Mary Datchet</TCHARACTERNAME>, a suffragist and <TMOTIF MOTIFNAME="rights of women">women's-rights activist</TMOTIF></TCHARACTERTYPEROLE>. Mary is lonely, but she has stimulating work and a compelling goal.<SCHOLARNOTE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL" GENDEREDRESPONSE="GENDEREDYES">Julia Briggs writes that <QUOTE DIRECT="Y">her comic depiction of the suffrage office, with its absurd and self-important voluntary workers, seemed something of a betrayal to her feminist friends . . . neither <NAME STANDARD="Case, Janet" REF="https://commons.cwrc.ca/orlando:763d21e4-12a5-4c1c-b66d-70e27b6fa67f">Janet [Case]</NAME> nor <NAME STANDARD="Davies, Margaret Llewelyn" REF="https://commons.cwrc.ca/orlando:300f2b0c-b32e-444d-b381-b60ced8a5f4c">Margaret Llewelyn Davies</NAME> had cared for it.</QUOTE></RRESPONSES> <TCHARACTERIZATION>Briggs also notes that the character of Mary Datchet had been inspired by <NAME STANDARD="Davies, Margaret Llewelyn" REF="https://commons.cwrc.ca/orlando:300f2b0c-b32e-444d-b381-b60ced8a5f4c">Margaret Llewelyn Davies</NAME>.</TCHARACTERIZATION> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 53-4" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">53-4</BIBCIT></BIBCITS></SCHOLARNOTE> Katharine can believe only intermittently in the value of Mary's lists and committees, or even that of the <TTHEMETOPIC>suffrage</TTHEMETOPIC>, but she has no doubts about her desire to escape the past in the form of the <TTHEMETOPIC>ancestor-worship</TTHEMETOPIC> practised in her own family. <TCHARACTERIZATION>Her maternal grandfather was a famous poet, and her mother, <TCHARACTERNAME>Mrs Hilbery</TCHARACTERNAME>, tends his flame with a filial devotion (said to be modelled on that of <NAME STANDARD="Ritchie, Anne Thackeray" REF="https://commons.cwrc.ca/orlando:5f0f5485-d14f-4c47-8ee2-6493336c5cb7">Anne Thackeray Ritchie</NAME> for her famous literary <NAME STANDARD="Thackeray, William Makepeace" REF="https://commons.cwrc.ca/orlando:71a8743a-4705-4d4e-8ede-df06c173487f">father</NAME>),</TCHARACTERIZATION> though with little prospect of ever finishing her hagiographical biography. Mrs Hilbery can write for a page at a time <QUOTE DIRECT="Y">as instinctively as a thrush sings,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Night and Day 1977, 34" DBREF="38269" REF="https://commons.cwrc.ca/orlando:78e34101-9182-4394-a9ed-bebacdf6c9d0">34</BIBCIT></BIBCITS> but is incapable either of keeping at her writing for more than ten minutes at a stretch, or of ordering (either chronologically or by any other means) what she has written. She cannot decide whether or not to reveal that the poet separated from his wife, and tends to omit altogether years in which she finds <QUOTE DIRECT="Y">something distasteful to her.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Night and Day 1977, 37" DBREF="38269" REF="https://commons.cwrc.ca/orlando:78e34101-9182-4394-a9ed-bebacdf6c9d0">37</BIBCIT></BIBCITS> In the religion of her grandfather Katharine plays the role of <TCHARACTERTYPEROLE PROTAGONIST="FEMALE">research assistant as well as that of pouring tea</TCHARACTERTYPEROLE> for the worshippers.</SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><PATTITUDES>Quentin Bell reports that <QUOTE DIRECT="Y">[a]s always, [Woolf] found publication an agitating business,</QUOTE></PATTITUDES> <PCIRCULATION>and that when she received her own six copies, on 20 October, she immediately dispatched one to each of <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa</NAME>, <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME>, <NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME>, <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">Morgan Forster</NAME>, and <NAME STANDARD="Dickinson, Violet" REF="https://commons.cwrc.ca/orlando:45ef0a4f-a6b8-4238-aa7f-4274acd6e362">Violet Dickinson</NAME>.</PCIRCULATION> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL">While Clive <QUOTE DIRECT="Y">immediately declared it a work of the highest genius,</QUOTE> Forster liked this novel less than <TITLE TITLETYPE="MONOGRAPHIC">The Voyage Out</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 68" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 68</BIBCIT></BIBCITS> In private—writing to <NAME STANDARD="Murry, John Middleton" REF="https://commons.cwrc.ca/orlando:51f676b4-ed30-42e1-ab92-d461f57e29d9">John Middleton Murry</NAME>—<NAME STANDARD="Mansfield, Katherine" REF="https://commons.cwrc.ca/orlando:c30b4595-64b0-49a1-8c4a-265a4e848409">Katherine Mansfield</NAME> sounded irritated and almost insulted: the novel perpetrated <QUOTE DIRECT="Y">a lie in the soul,</QUOTE> she said, by delivering the message that <QUOTE DIRECT="Y">[t]he war never has been,</QUOTE> and it was intellectually snobbish: <QUOTE DIRECT="Y">so long and so tahsome.</QUOTE></RRESPONSES> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">In public—her review of the novel in the <TITLE TITLETYPE="JOURNAL">Athenaeum</TITLE>—<NAME STANDARD="Mansfield, Katherine" REF="https://commons.cwrc.ca/orlando:c30b4595-64b0-49a1-8c4a-265a4e848409">she</NAME> pronounced it backward-looking, non-modernist or even anti-modernist: <QUOTE DIRECT="Y">a novel in the tradition of the English novel. In the midst of our admiration it makes us feel old and chill. We had not thought to look upon its like again.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 69" DBREF="16052" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 69</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL"><NAME STANDARD="Bell, Quentin" REF="https://commons.cwrc.ca/orlando:1898063e-bfed-48ec-9b81-067fc14d8651">Quentin Bell</NAME> concurs: he writes that <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE><QUOTE DIRECT="Y">was a very orthodox performance</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 69" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 69</BIBCIT></BIBCITS><NAME STANDARD="Hussey, Mark" REF="https://commons.cwrc.ca/orlando:e059df63-d572-46d1-8fa3-715335590838">Mark Hussey</NAME> writes that Mansfield's opinion of the novel <QUOTE DIRECT="Y">dominated critical responses to it for a considerable time.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Hussey 189" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">189</BIBCIT></BIBCITS></RRESPONSES> <RSELFDESCRIPTION>And, indeed, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> herself reflected about this novel that <QUOTE DIRECT="Y">the process of discarding the old, when one is by no means certain what to put in <SIC>their</SIC> place, is a sad one</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 1: 259" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">1: 259</BIBCIT></BIBCITS>—her admission, says Briggs, that <QUOTE DIRECT="Y">she had failed to solve her riddle of how a modern novel should be written.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 51" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">51</BIBCIT></BIBCITS></RSELFDESCRIPTION> <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL">More recently, however, this novel has been revalued <QUOTE DIRECT="Y">in terms of its critique of the patriarchal family—a kind of prototype of <TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE>—and its examination of the question of women and work in the modern world. </QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 69" DBREF="16052" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 69</BIBCIT> <BIBCIT PLACEHOLDER="Hussey 189,190" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">189, 190</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING>Essays</HEADING><DIV2><HEADING>A Brilliant and Robust Art</HEADING><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL"><TTECHNIQUES TECHNIQUETYPE="DICTION"><TTONESTYLE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>, says <NAME STANDARD="McNeillie, Andrew" REF="https://commons.cwrc.ca/orlando:1111a362-6114-401e-9259-3e3edd220c59">Andrew McNeillie</NAME>, editor of her essays, is <QUOTE DIRECT="Y">arguably the last of the great English essayists.</QUOTE> Her <QUOTE DIRECT="Y">brilliant and robust</QUOTE> art made the form her own in the course of more than a million words of <QUOTE DIRECT="Y">fluent, witty and unwaveringly demotic prose.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="McNeillie, 1986, ix" DBREF="38111" REF="https://commons.cwrc.ca/orlando:3a6d7c50-bf8e-4b54-887f-7baf2e82d416">ix</BIBCIT></BIBCITS></TTONESTYLE></TTECHNIQUES></RRESPONSES></SHORTPROSE></RECEPTION><PRODUCTION><SHORTPROSE><TGENREISSUE>The earliest published piece among <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <TGENRE GENRENAME="ESSAY">essay</TGENRE>s which is not a book-review is <TITLE TITLETYPE="ANALYTIC">On a Faithful Friend</TITLE>, the <TGENRE GENRENAME="OBITUARY">obituary</TGENRE> of a family <TTHEMETOPIC>dog</TTHEMETOPIC> named Shag. It mines the vein of <TGENRE GENRENAME="BIOGRAPHY">biography</TGENRE>, and explores character, all this with an irony pitched not to undermine authenticity of feeling but gently to spoof the features of the form</TGENREISSUE>: <QUOTE DIRECT="Y">As he advanced in middle life he became certainly rather autocratic, not only with his own kind, but with us, his masters and mistresses.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf Essays 1: 13" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">1: 13</BIBCIT></BIBCITS> This was published in the <TITLE TITLETYPE="JOURNAL" REG="The Guardian, 1846 - 1951">Guardian</TITLE>, <QUOTE DIRECT="Y">a weekly newspaper for the clergy,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="McNeillie xi" DBREF="38111" REF="https://commons.cwrc.ca/orlando:3a6d7c50-bf8e-4b54-887f-7baf2e82d416">xi</BIBCIT></BIBCITS> on <DATE VALUE="1905-01-18">18 January 1905</DATE>. <BIBCITS><BIBCIT PLACEHOLDER="Woolf Essays 1: 15" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">1: 15</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION></DIV2><DIV2><PRODUCTION><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> continued to write <TGENRE GENRENAME="ESSAY">personal essays</TGENRE> on a range of subjects, some weighty, some witty, but her literary and <TGENRE GENRENAME="LITERARYCRITICISM">critical essays</TGENRE> are the centre of her work in this genre. In these she wrote about a lifetime of wide, reflective, joyful reading. She also explored in her literary essays the writerly issues she was dealing with in her own fiction. Her essays had great impact. Lyndall Gordon writes that <RSHEINFLUENCED>although <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> may have <QUOTE DIRECT="N">failed</QUOTE> to break the traditional form in <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE>, the essays she wrote from 1919 onwards <QUOTE DIRECT="Y">shaped the modern novel.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS></RSHEINFLUENCED> Julia Briggs notes that a few days after criticising herself for failing to solve the problems of the modern novel in <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> <QUOTE DIRECT="Y">reworked these self-criticisms into an article for the <TITLE TITLETYPE="JOURNAL">Times Literary Supplement</TITLE> on <TITLE TITLETYPE="ANALYTIC" REG="Modern Fiction">Modern Novels</TITLE>.</QUOTE> She says that this essay, later revised as <TITLE TITLETYPE="ANALYTIC">Modern Fiction</TITLE>, <QUOTE DIRECT="Y">became a manifesto for <PLITERARYSCHOOLS INVOLVEMENT="INVOLVEMENTYES">modernism</PLITERARYSCHOOLS> as well as a programme for her own future as a writer.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 51" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">51</BIBCIT></BIBCITS> Gordon believes that together, the essays <TITLE TITLETYPE="ANALYTIC" REG="Modern Fiction"><TTHEMETOPIC>Modern Novels</TTHEMETOPIC></TITLE> (1919) and <TITLE TITLETYPE="ANALYTIC"><TTHEMETOPIC>Poetry</TTHEMETOPIC>, Fiction and the Future</TITLE> (1927) <QUOTE DIRECT="Y">introduce a principle that writers have no need of sensational events: any day can suffice. She rejects the narrative coherence of Victorian fiction in favour of <QUOTE DIRECT="N">an ordinary mind on an ordinary day</QUOTE>, often several minds.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> Hermione Lee shapes the matter a little differently: although <TITLE TITLETYPE="ANALYTIC" REG="Modern Fiction">Modern Novels</TITLE>, she writes (later <TITLE TITLETYPE="ANALYTIC">Modern Fiction</TITLE>), is <QUOTE DIRECT="Y">always cited as [Woolf's] manifesto for the <SOCALLED>new</SOCALLED> kind of novel she is now going to write, it is as much about reading as writing. . . . in fact it mostly talks about the present in terms of our relation to the past.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 405" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">405</BIBCIT></BIBCITS> To these observations, all surely accurate, a third should be added here: that <TITLE TITLETYPE="ANALYTIC">Modern Fiction</TITLE> is also about the mind in the world and the ways life is experienced. Its famous observations on perception, experience and the <QUOTE DIRECT="Y">chief task</QUOTE> of the novelist come as part of this discussion: <QUOTE DIRECT="Y">The mind, exposed to the ordinary course of life, receives upon its surface a myriad impressions. . . . From all sides they come, an incessant shower of innumerable atoms, composing in their sum what we might venture to call life itself. . . . Is it not perhaps the chief task of the novelist to convey this incessantly varying spirit with whatever stress or sudden deviation it may display . . .?<BIBCITS><BIBCIT PLACEHOLDER="Woolf Essays 3: 33" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">3: 33</BIBCIT></BIBCITS></QUOTE> Students of modernism will note a very great difference between this as a point of departure for fiction and the <SOCALLED>mythic method</SOCALLED> which <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME> identified in <NAME STANDARD="Joyce, James" REF="https://commons.cwrc.ca/orlando:27c08a0a-133b-4483-85a8-ae29b1c3849b">Joyce</NAME>.</SHORTPROSE></PRODUCTION></DIV2><DIV2><HEADING><TITLE TITLETYPE="ANALYTIC">Mr. Bennett and Mrs. Brown</TITLE>, <TITLE TITLETYPE="ANALYTIC">Character in Fiction</TITLE></HEADING><TEXTSCOPE DBREF="38237" PLACEHOLDER="VW, Mr. Bennett and Mrs. Brown, 1923" REF="https://commons.cwrc.ca/orlando:92889753-f3c2-4557-9f1c-7ef819febecb"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1923-11-17">17 November 1923</DATE> <CHRONPROSE><PPERIODICALPUBLICATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published in the <TITLE TITLETYPE="JOURNAL">Literary Review of the New York Evening Post</TITLE> the first printed version of her influential <TGENRE GENRENAME="LITERARYCRITICISM"><TGENRE GENRENAME="ESSAY">essay</TGENRE></TGENRE> (another work claimed as her <QUOTE DIRECT="Y">literary manifesto</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="McNeillie, 1984, x" DBREF="38188" REF="https://commons.cwrc.ca/orlando:52dac19f-7b80-44b4-9f88-39fa008812a6">x</BIBCIT></BIBCITS>) <TITLE TITLETYPE="ANALYTIC"><NAME STANDARD="Bennett, Arnold" REF="https://commons.cwrc.ca/orlando:eb3621cd-f3f8-4568-a027-cb5fc23fc9f6">Mr. Bennett</NAME> and Mrs. Brown</TITLE>.</PPERIODICALPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 78" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">78</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PPERIODICALPUBLICATION> It was reprinted in <TITLE TITLETYPE="JOURNAL">The Nation and Athenæum</TITLE> (of which Leonard Woolf was then literary editor) on <DATE VALUE="1923-12-01">1 December 1923</DATE> and in the <TITLE TITLETYPE="JOURNAL">Living Age</TITLE> (Boston) on <DATE VALUE="1924-02-02">2 February 1924</DATE>.<BIBCITS><BIBCIT PLACEHOLDER="Kirkpatrick 157" DBREF="40630" REF="https://commons.cwrc.ca/orlando:7e8a1c80-cf24-436b-84e1-c94c0f7a6d5e">157</BIBCIT></BIBCITS></PPERIODICALPUBLICATION> <PMOTIVES MOTIVETYPE="ASCRIBED"><TINTERTEXTUALITY INTERTEXTTYPE="ANSWER" GENDEROFAUTHOR="MAN"><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">This essay was a <TGENRE GENRENAME="ANSWER">riposte</TGENRE> to <NAME STANDARD="Bennett, Arnold" REF="https://commons.cwrc.ca/orlando:eb3621cd-f3f8-4568-a027-cb5fc23fc9f6">Arnold Bennett</NAME>'s assertion in his review of <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE> that Woolf could not draw character.<BIBCITS><BIBCIT PLACEHOLDER="Briggs 124-5" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">124-5</BIBCIT></BIBCITS> Her radically new novel had <QUOTE DIRECT="Y">provoked Arnold Bennett in <DATE VALUE="1923-03">March 1923</DATE> to make what proved to be a rash criticism,</QUOTE></RRESPONSES> says Andrew McNeillie. <QUOTE DIRECT="Y">Stung by his criticism, Woolf declared war; not at once, but after some months' rumination.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="McNeillie, Intro to Essays, 3: xiii" DBREF="38111" REF="https://commons.cwrc.ca/orlando:3a6d7c50-bf8e-4b54-887f-7baf2e82d416">3: xiii</BIBCIT></BIBCITS></TINTERTEXTUALITY></PMOTIVES>The article <QUOTE DIRECT="Y">formed the basis</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 168" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">168</BIBCIT></BIBCITS> of a <TGENRE GENRENAME="SPEECH">paper</TGENRE> titled <TITLE TITLETYPE="UNPUBLISHED">Character in Fiction</TITLE> that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> read to the <ORGNAME STANDARD="Heretics Society" REF="https://commons.cwrc.ca/orlando:bba6d93a-2689-447c-a8c9-24d8576d4706">Heretics Society</ORGNAME> in <ORGNAME STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge</ORGNAME> on <DATE VALUE="1924-05-18">18 May 1924</DATE>. <PPERIODICALPUBLICATION>The paper was published, as <TITLE TITLETYPE="ANALYTIC">Character in Fiction</TITLE>, in the <TITLE TITLETYPE="JOURNAL">Criterion</TITLE> in <DATE VALUE="1924-07">July 1924</DATE>.</PPERIODICALPUBLICATION> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 54, 168" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">54, 168</BIBCIT> <BIBCIT PLACEHOLDER="Kirkpatrick 159" DBREF="40630" REF="https://commons.cwrc.ca/orlando:7e8a1c80-cf24-436b-84e1-c94c0f7a6d5e">159</BIBCIT></BIBCITS> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL"><NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME> told <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> that the essay was important; it <QUOTE DIRECT="Y">expresses for me what I have always been very sensible of, the absence of any masters in the previous generation whose work one could carry on.</QUOTE></RRESPONSES> <BIBCITS><BIBCIT PLACEHOLDER="Lee 445" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">445</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1924-10">October 1924</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> re-published <TITLE TITLETYPE="ANALYTIC">Mr. Bennett and Mrs. Brown</TITLE> with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> as the first of the <TITLE TITLETYPE="SERIES">Hogarth <TGENRE GENRENAME="ESSAY">Essay</TGENRE>s</TITLE> series.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 85" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">85</BIBCIT></BIBCITS> <SCHOLARNOTE>This series was reprinted in a single volume, <TITLE TITLETYPE="MONOGRAPHIC" REG="Leonard Wolf, comp., and Virginia Woolf, comp., The Hogarth Essays, 1970">The Hogarth Essays</TITLE>, at <PLACE><SETTLEMENT>Freeport</SETTLEMENT>, <REGION>New York</REGION><GEOG REG="USA"/></PLACE>, by the <ORGNAME STANDARD="Books for Libraries Press" REF="https://commons.cwrc.ca/orlando:9c4e89a2-83e4-4fd2-b0cc-d5249f285f04">Books for Libraries Press</ORGNAME> in 1970.<BIBCITS><BIBCIT PLACEHOLDER="NEOS" DBREF="2742" REF="https://commons.cwrc.ca/orlando:a02f032c-176f-4c9f-9125-4e2c6ccc583b"/></BIBCITS></SCHOLARNOTE></CHRONSTRUCT></PRODUCTION></DIV2><DIV2><TEXTUALFEATURES><SHORTPROSE><TTONESTYLE><TITLE TITLETYPE="ANALYTIC">Character in Fiction</TITLE>, the further essay which emerged from <TITLE TITLETYPE="ANALYTIC">Mr. Bennett and Mrs. Brown</TITLE>, is reflective, philosophical, fictional, its tone assertive, witty, ironical, and serious.</TTONESTYLE> It <QUOTE DIRECT="Y">ranges</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 3: 421" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">3: 421</BIBCIT></BIBCITS> living writers into two camps, the Edwardians (Wells, Bennett and Galsworty) and the <TTHEMETOPIC>Georgians (<NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">Forster</NAME>, <NAME STANDARD="Lawrence, D. H." REF="https://commons.cwrc.ca/orlando:2e311818-3f6a-465a-b26d-e6cd59f3ef71">Lawrence</NAME>, <NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Strachey</NAME>, <NAME STANDARD="Joyce, James" REF="https://commons.cwrc.ca/orlando:27c08a0a-133b-4483-85a8-ae29b1c3849b">Joyce</NAME>, <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">Eliot</NAME>)</TTHEMETOPIC>, and it asserts, famously, that <QUOTE DIRECT="Y">on or about December 1910 human character changed,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 3: 421" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">3: 421</BIBCIT></BIBCITS> <TSETTINGPLACE SETTINGPLACETYPE="REAL" SETTINGCLASS="WIDERANGE"><TSETTINGDATE SETTINGDATETYPE="PRESENT">illustrating this assertion with the story of the very ordinary woman <TCHARACTERNAME>Mrs Brown</TCHARACTERNAME>, encountered in a railway carriage travelling through suburban <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>.</TSETTINGDATE></TSETTINGPLACE> She is the <QUOTE DIRECT="Y">will-o'-the-wisp</QUOTE> who challenges the novelist: <QUOTE DIRECT="Y">Come and catch me if you can.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 3: 420" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">3: 420</BIBCIT></BIBCITS> She proves elusive to <TTHEMETOPIC><NAME STANDARD="Bennett, Arnold" REF="https://commons.cwrc.ca/orlando:eb3621cd-f3f8-4568-a027-cb5fc23fc9f6">Bennett,</NAME> <NAME STANDARD="Galsworthy, John" REF="https://commons.cwrc.ca/orlando:23dfa2d6-20b6-4ca2-a6a7-945559268add">Galsworthy</NAME>, and <NAME STANDARD="Wells, H. G." REF="https://commons.cwrc.ca/orlando:a50d94c5-ba03-437a-b2b4-bb5da61a1009">Wells</NAME></TTHEMETOPIC>, whose idea of describing her is to relate various aspects of her material and financial situation and her ability to pay her rent, with no concern for her consciousness, her memories, or her being. The <QUOTE DIRECT="Y">Edwardian tools are the wrong ones for us to use,</QUOTE> <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> asserts, since they fail to catch the character, and so <QUOTE DIRECT="Y">the Georgian writer had to begin by throwing away the method that was in use at the moment.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 3: 432" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">3: 432</BIBCIT></BIBCITS> <TINTERTEXTUALITY INTERTEXTTYPE="ALLUSIONACKNOWLEDGED" GENDEROFAUTHOR="MAN">She sees great promise, however, in <QUOTE DIRECT="Y"><TITLE TITLETYPE="MONOGRAPHIC" REND="normal">Ulysses</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC" REND="normal">Queen Victoria</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC" REG="Prufrock and Other Observations" REND="normal">Mr. Prufrock</TITLE>—to give Mrs. Brown some of the names she has made famous lately,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 3: 435" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">3: 435</BIBCIT></BIBCITS></TINTERTEXTUALITY> and she concludes that if Mrs. Brown can be captured, we will enter <QUOTE DIRECT="Y">one of the great ages of English literature.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 3: 436" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">3: 436</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2><DIV2><HEADING>Women and Literary History</HEADING><PRODUCTION><SHORTPROSE>By 1912 <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> had published on <TTHEMETOPIC><NAME STANDARD="Cavendish, Margaret" REF="https://commons.cwrc.ca/orlando:8f64fc23-cef9-408c-a4b9-553b7466e605">Margaret Cavendish</NAME> (as Duchess of Newcastle)</TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Fanshawe, Ann,,, Lady" REF="https://commons.cwrc.ca/orlando:de6380c7-b4ab-451d-b0e0-efb6e4da730a">Ann, Lady Fanshawe</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Carter, Elizabeth" REF="https://commons.cwrc.ca/orlando:5b3ab4d6-947b-4c52-b05d-0ff31d9425c1">Elizabeth Carter</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Seward, Anna" REF="https://commons.cwrc.ca/orlando:1d9d00b8-db27-4dab-be9d-797dbe0ce83e">Anna Seward</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Holland, Elizabeth Fox,,, Baroness" REF="https://commons.cwrc.ca/orlando:706b6369-b683-4ee8-a224-b5a91fac59a3">Elizabeth, Lady Holland</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Edgeworth, Maria" REF="https://commons.cwrc.ca/orlando:ce9dd632-a24f-4deb-ba9c-3c1e9f0c3d05">Maria Edgeworth</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Stanhope, Lady Hester" REF="https://commons.cwrc.ca/orlando:5e4ef221-f372-4e1f-b900-54b3d04f7a49">Lady Hester Stanhope</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Brontë, Charlotte" REF="https://commons.cwrc.ca/orlando:a017e41e-6e1c-4c16-a575-82d25f7ec038">the</NAME> <NAME STANDARD="Brontë, Emily" REF="https://commons.cwrc.ca/orlando:8e599794-3bb5-47d6-87dc-713ce02c2a7f">Brontë</NAME> <NAME STANDARD="Brontë, Anne" REF="https://commons.cwrc.ca/orlando:2ec044e6-30f3-4fba-970e-676ec81c79fc">sisters</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Bury, Lady Charlotte" REF="https://commons.cwrc.ca/orlando:6710f94f-b6c8-4edf-9258-6411a7a46467">Lady Charlotte Bury</NAME> (her diary</TTHEMETOPIC> not her novels), <TTHEMETOPIC><NAME STANDARD="Carlyle, Jane Welsh" REF="https://commons.cwrc.ca/orlando:6b535565-ffb3-4ed2-b883-e12733d8a95b">Jane Welsh Carlyle</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Gaskell, Elizabeth" REF="https://commons.cwrc.ca/orlando:19a1e66b-a359-47ce-b49e-372f35196d42">Elizabeth Gaskell</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Lee, Vernon" REF="https://commons.cwrc.ca/orlando:437ce0fc-2437-4f8b-9927-18d9ed5dfcb1">Vernon Lee</NAME></TTHEMETOPIC>, <RSELFDESCRIPTION><NAME STANDARD="Nevill, Lady Dorothy" REF="https://commons.cwrc.ca/orlando:3652ef6f-7e06-45eb-ac57-16d72e343a5f">Lady Dorothy Nevill</NAME> (in a piece which <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> later classified as a heartless, though clever, <QUOTE DIRECT="Y">youthful spree</QUOTE>),<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 320" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 320</BIBCIT></BIBCITS></RSELFDESCRIPTION> her own <TTHEMETOPIC>aunt <NAME STANDARD="Stephen, Caroline Emelia" REF="https://commons.cwrc.ca/orlando:678cb682-0896-4609-826f-dcdd695b8d08">Caroline Emelia Stephen</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="von Arnim, Elizabeth" REF="https://commons.cwrc.ca/orlando:8a49a714-de4d-4cec-b8c4-32b71943461f">Elizabeth von Arnim</NAME></TTHEMETOPIC>, <TTHEMETOPIC><NAME STANDARD="Robins, Elizabeth" REF="https://commons.cwrc.ca/orlando:352b2264-6d4f-43f6-97c3-12bc9169cfdd">Elizabeth Robins</NAME></TTHEMETOPIC>, and <TTHEMETOPIC><NAME STANDARD="Harraden, Beatrice" REF="https://commons.cwrc.ca/orlando:8bbb9a03-3e40-40dc-9c15-6cd482dafa3c">Beatrice Harraden</NAME></TTHEMETOPIC>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Essays 1: passim" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">1: passim</BIBCIT></BIBCITS> Though the texts she reviewed by these women included novels and other genres, the greatest number were <TTHEMETOPIC>memoirs and other life-writing</TTHEMETOPIC>.</SHORTPROSE></PRODUCTION></DIV2><DIV2><HEADING>Ordinary Lives</HEADING><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1924-01">January 1924</DATE> <CHRONPROSE><PPERIODICALPUBLICATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <TGENRE GENRENAME="ESSAY">essay</TGENRE> <TITLE TITLETYPE="ANALYTIC">The Lives of the Obscure</TITLE> was published in the <TITLE TITLETYPE="JOURNAL">London Mercury</TITLE>.</PPERIODICALPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 79" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">79</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Essays 3: 396" DBREF="13579" REF="https://commons.cwrc.ca/orlando:cdf77c9f-38b4-4322-984d-e4d531e91a34">3: 396</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Eighteen months later she was planning to develop this project further: <QUOTE DIRECT="Y">to read voraciously &amp; gather material for the Lives of the Obscure—which is to tell the <TTHEMETOPIC>whole history of <PLACE><GEOG>England</GEOG></PLACE></TTHEMETOPIC> in one obscure life after another.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 37" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 37</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION></DIV2><DIV2><HEADING><TITLE TITLETYPE="ANALYTIC">Mary Wollstonecraft</TITLE></HEADING><TEXTSCOPE DBREF="38772" PLACEHOLDER="VW, Mary Wollstonecraft, 1929" REF="https://commons.cwrc.ca/orlando:a7e7e789-d5dc-4521-8c22-7cc45868234e"/><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1929-10-05">5 October 1929</DATE> <CHRONPROSE><PPERIODICALPUBLICATION>The <TITLE TITLETYPE="JOURNAL" REG="New Statesman">Nation and Athenæum</TITLE> printed <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <TGENRE GENRENAME="LITERARYCRITICISM"><TGENRE GENRENAME="ESSAY">essay</TGENRE></TGENRE> on <TTHEMETOPIC><NAME STANDARD="Wollstonecraft, Mary" REF="https://commons.cwrc.ca/orlando:25504fac-570f-4fb6-bee5-73314bed90ae">Mary Wollstonecraft</NAME></TTHEMETOPIC>.</PPERIODICALPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Women and Writing 96" DBREF="350" REF="https://commons.cwrc.ca/orlando:71e5e1d9-fa18-4f3e-bbfa-d50f031b4ed6">96</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TTONESTYLE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s presentation of Wollstonecraft's struggles and experiments, <QUOTE DIRECT="Y">the high-handed and quick-blooded manner in which she cut her way to the quick of life,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Women and Writing 103" DBREF="350" REF="https://commons.cwrc.ca/orlando:71e5e1d9-fa18-4f3e-bbfa-d50f031b4ed6">103</BIBCIT></BIBCITS> is warm, admiring, and touched with amused irony.</TTONESTYLE> She sees some naivety in the hope of changing the world that characterised that earlier <PLACE><SETTLEMENT CURRENT="London">Bloomsbury</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> group of Wollstonecraft, <TTHEMETOPIC><NAME STANDARD="Godwin, William" REF="https://commons.cwrc.ca/orlando:8a4d5074-7c65-4376-a5c8-3f804adc1d16">Godwin</NAME></TTHEMETOPIC>, and their friends. She notes that the immense originality of Wollstonecraft's ideas no longer strikes people because they are accepted and have come to seem commonplace. Wollstonecraft, however, has achieved immortality in that <QUOTE DIRECT="Y">she is alive and active, she argues and experiments, we hear her voice and trace her influence even now among the living.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Women and Writing 103" DBREF="350" REF="https://commons.cwrc.ca/orlando:71e5e1d9-fa18-4f3e-bbfa-d50f031b4ed6">103</BIBCIT></BIBCITS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s interest in the <TTHEMETOPIC>writing of women</TTHEMETOPIC> of earlier generations is often fused with interest in their historical predicament and their personal achievements. In the late essay <TITLE TITLETYPE="ANALYTIC">Anon.</TITLE> she returned to <TTHEMETOPIC><NAME STANDARD="Clifford, Lady Anne" REF="https://commons.cwrc.ca/orlando:a55d5666-47a1-41e9-a34f-fb4064a88487">Lady Anne Clifford</NAME></TTHEMETOPIC> (whom she had written of before) and, by identifying her as the first person in England known to have read for pleasure, succeeded in building women into the early development of literature as it exists today.<BIBCITS><BIBCIT PLACEHOLDER="Acheson 31-2" DBREF="7789" REF="https://commons.cwrc.ca/orlando:e6f9e756-f4d2-4948-b612-bb7f40db353e">31-2</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2><DIV2><HEADING>On Walter Sickert</HEADING><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1934-10">October 1934</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> the <QUOTE DIRECT="Y">dazzling</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 643" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">643</BIBCIT></BIBCITS> <TGENRE GENRENAME="ESSAY">essay</TGENRE> <TITLE TITLETYPE="MONOGRAPHIC"><TTHEMETOPIC><NAME STANDARD="Sickert, Walter" REF="https://commons.cwrc.ca/orlando:7855f394-1bce-4b1b-8e9a-012193d13c3d">Walter Sickert</NAME></TTHEMETOPIC>: A Conversation</TITLE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 642-3, 852n35" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">642-3, 852n35</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>She classed Sickert as a <TTHEMETOPIC>literary painter</TTHEMETOPIC>, even while admitting that words could not touch or grasp the core of his paintings. <PINFLUENCESHER INFLUENCETYPE="INTELLECTUAL"><NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> sees <NAME STANDARD="Sickert, Walter" REF="https://commons.cwrc.ca/orlando:7855f394-1bce-4b1b-8e9a-012193d13c3d">Sickert</NAME>'s paintings of squalid London interiors as a major influence on <TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE>.</PINFLUENCESHER> <BIBCITS><BIBCIT PLACEHOLDER="Lee 643" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">643</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2></DIV1><DIV1><HEADING>Early Published Stories</HEADING><DIV2><HEADING><TITLE TITLETYPE="MONOGRAPHIC">Two Stories</TITLE></HEADING><TEXTSCOPE DBREF="38865" PLACEHOLDER="VW and Leonard Woolf, Two Stories, 1917" REF="https://commons.cwrc.ca/orlando:cad37221-c4e7-4424-97de-2a4275b7b73c"/><PRODUCTION><CHRONSTRUCT RESP="PDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="PERIOD1"><DATE VALUE="1917-07">July 1917</DATE> <CHRONPROSE>The first publication of the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> was <TITLE TITLETYPE="MONOGRAPHIC" REG="Two Stories">Two <TGENRE GENRENAME="SHORTSTORY">Stories</TGENRE>, Written and Printed by <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia Woolf</NAME> and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">L. S. Woolf</NAME></TITLE>: her <TITLE TITLETYPE="ANALYTIC">The Mark on the Wall</TITLE> and his <TITLE TITLETYPE="ANALYTIC">Three Jews</TITLE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 43" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 43</BIBCIT> <BIBCIT PLACEHOLDER="Bishop 38" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">38</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Writing this story, she said later, was like <QUOTE DIRECT="Y">flying, after being kept stone breaking for months.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 231" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 231</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TVOICENARRATION>The unidentifiable mark in <TITLE TITLETYPE="ANALYTIC">The Mark on the Wall</TITLE> propels the apparently female narrator into all kinds of musings, each train of thought based on something that the mark might be: a nailhead, a hole left by a nail, a scrap of dirt?</TVOICENARRATION> <QUOTE DIRECT="Y">How readily our thoughts swarm upon a new object, lifting it a little way, as ants carry a blade of straw so feverishly, and then leave it.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Complete Shorter 77" DBREF="38253" REF="https://commons.cwrc.ca/orlando:d93cc20c-9d22-4c25-a0a6-790b4faccf74">77</BIBCIT></BIBCITS> In the end: <QUOTE DIRECT="Y">Where was I? What has it all been about? A tree? A river? . . . The fields of asphodel? . . . There is a vast upheaval of matter. Someone is standing over me and saying—</QUOTE> This unnamed person, apparently the narrator's male partner, is in a rage about the ongoing war and is going to buy a newspaper. <QUOTE DIRECT="Y">All the same,</QUOTE> he says, <QUOTE DIRECT="Y">I don't see why we should have a snail on our wall.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Complete Shorter 83" DBREF="38253" REF="https://commons.cwrc.ca/orlando:d93cc20c-9d22-4c25-a0a6-790b4faccf74">83</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL" GENDEREDRESPONSE="GENDEREDNO"><NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME> told Leonard Woolf that Virginia's story was <QUOTE DIRECT="Y">a work of genius. The liquidity of the style fills me with envy . . . . How on earth does she make the English language float and float? And then the wonderful way in which the modern point of view is suggested. <FOREIGN REG="Wow!" LANG="fr">Tiens!</FOREIGN></QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 43n" DBREF="16052" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 43n</BIBCIT></BIBCITS><NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME> and <NAME STANDARD="Garnett, David" REF="https://commons.cwrc.ca/orlando:e051949f-7d8c-470b-8fc0-391c48702b1b">David Garnett</NAME> each wrote expressing admiration.</RRESPONSES> <RSELFDESCRIPTION>To the latter, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> replied that in a way it was <QUOTE DIRECT="Y">easier to do a short thing, all in one flight</QUOTE> than to tackle the <QUOTE DIRECT="Y">frightfully clumsy and overpowering</QUOTE> form of the novel. Again here she expressed her desire for <QUOTE DIRECT="Y">a completely new form.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 2: 167" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">2: 167</BIBCIT></BIBCITS></RSELFDESCRIPTION></SHORTPROSE></RECEPTION></DIV2><DIV2><HEADING><TITLE TITLETYPE="MONOGRAPHIC">Kew Gardens</TITLE></HEADING><TEXTSCOPE DBREF="39226" PLACEHOLDER="VW, Kew Gardens, 1919" REF="https://commons.cwrc.ca/orlando:95e36cd3-c90d-4240-8955-2e00a20de10c"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1919-05-12">12 May 1919</DATE> <CHRONPROSE><PRARITIESFEATURESDECORATIONS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published <TGENRE GENRENAME="SHORTSTORY"><TITLE TITLETYPE="MONOGRAPHIC">Kew Gardens</TITLE></TGENRE> at the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>, with illustrations drawn by <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Bell</NAME> and done as woodcuts by <NAME STANDARD="Carrington, Dora" REF="https://commons.cwrc.ca/orlando:6c2c2c05-0038-4556-8975-e856ab905d10">Carrington</NAME>;</PRARITIESFEATURESDECORATIONS> they were printing in November 1918 and choosing paper for a cover in late January.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 2: 353n3, 294, 323" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">2: 353n3, 294, 323</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>The press issued this little book on the same day as <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">Eliot</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC" REG="T. S. Eliot, Poems, 1919">Poems</TITLE> and <NAME STANDARD="Murry, John Middleton" REF="https://commons.cwrc.ca/orlando:51f676b4-ed30-42e1-ab92-d461f57e29d9">John Middleton Murry</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC">The Critic in Judgment</TITLE>.</SHORTPROSE></PRODUCTION><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL"><TITLE TITLETYPE="MONOGRAPHIC">Kew Gardens</TITLE> was enthusiastically reviewed in the <TITLE TITLETYPE="JOURNAL">Times Literary Supplement</TITLE>,</RRESPONSES> <PCIRCULATION>and the first edition sold out in less than a month.</PCIRCULATION> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 2: 353n3, 264" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">2: 353n3, 264</BIBCIT></BIBCITS></SHORTPROSE></RECEPTION></DIV2><DIV2><HEADING><TITLE TITLETYPE="MONOGRAPHIC">Monday or Tuesday</TITLE></HEADING><TEXTSCOPE DBREF="39227" PLACEHOLDER="VW, Monday or Tuesday, 1921" REF="https://commons.cwrc.ca/orlando:bcb4313e-cdb2-434e-8de0-ebef04cd5989"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1921-04-07">7 April 1921</DATE> <CHRONPROSE><PRARITIESFEATURESDECORATIONS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">Virginia</NAME> and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME>'s <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> published her <TGENRE GENRENAME="SHORTSTORY"><TITLE TITLETYPE="MONOGRAPHIC">Monday or Tuesday</TITLE></TGENRE>, with woodcuts by <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Bell</NAME>.</PRARITIESFEATURESDECORATIONS></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 62" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">62</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>This was a collection of eight <TGENRE GENRENAME="SHORTSTORY">stories</TGENRE>, including the title story, a revision of <TITLE TITLETYPE="ANALYTIC">The Mark on the Wall</TITLE>, <TITLE TITLETYPE="ANALYTIC">An Unwritten Novel</TITLE>, and <TITLE TITLETYPE="ANALYTIC">Kew Gardens</TITLE>.</SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE> These experimental fictions are sometimes seen as the bridge between <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <SOCALLED>Victorian</SOCALLED> early novels and her <PLITERARYSCHOOLS INVOLVEMENT="INVOLVEMENTYES">modernist</PLITERARYSCHOOLS> work.</SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RSELFDESCRIPTION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote to <NAME STANDARD="Smyth, Ethel" REF="https://commons.cwrc.ca/orlando:bb2555cb-6507-44f1-a979-dadd82a6ee37">Ethel Smyth</NAME> that the stories were <QUOTE DIRECT="Y">diversions</QUOTE> or <QUOTE DIRECT="Y">treats I allowed myself when I had done my exercise in the conventional style.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 231" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 231</BIBCIT></BIBCITS> <TGENREISSUE><TTECHNIQUES><TITLE TITLETYPE="ANALYTIC">An Unwritten Novel</TITLE>, she said, showed her <QUOTE DIRECT="Y">how I could embody all my deposit of experience in a shape that fitted it—not that I have ever reached that end; but anyhow I saw, branching out of the tunnel I made, when I discovered that method of approach, <TITLE TITLETYPE="MONOGRAPHIC" REG="Jacob's Room" REND="normal">Jacobs Room</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC" REND="normal">Mrs. Dalloway</TITLE> etc—How I trembled with excitement; and then Leonard came in, and I drank my milk, and concealed my excitement.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 231" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 231</BIBCIT></BIBCITS></QUOTE></TTECHNIQUES></TGENREISSUE></RSELFDESCRIPTION> <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDNO"><NAME STANDARD="Gordon, Lyndall" REF="https://commons.cwrc.ca/orlando:2a7f45fb-915e-44ad-a99a-b50a64c2928b">Lyndall Gordon</NAME> sees these stories as <QUOTE DIRECT="Y">theoretical expositions of the new form of fiction that she had come upon, back in 1905, in the course of tramps in <PLACE><REGION>Cornwall</REGION><GEOG REG="England"/></PLACE>. Her aim was to find in the <QUOTE DIRECT="N"><TTHEMETOPIC>moment of being</TTHEMETOPIC></QUOTE> a climactic inward event, parallel to what her friend <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME> termed <QUOTE DIRECT="N">unattended moments</QUOTE> and what <NAME STANDARD="Joyce, James" REF="https://commons.cwrc.ca/orlando:27c08a0a-133b-4483-85a8-ae29b1c3849b">James Joyce</NAME> termed <QUOTE DIRECT="N">epiphany</QUOTE>.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> Eliot and Woolf, says Gordon here, sought to <QUOTE DIRECT="Y">cross the frontiers of consciousness where words fail.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2><DIV2><HEADING><TITLE TITLETYPE="ANALYTIC">Mrs. Dalloway in Bond Street</TITLE></HEADING><TEXTSCOPE DBREF="39234" PLACEHOLDER="VW, Mrs. Dalloway in Bond Street, 1923" REF="https://commons.cwrc.ca/orlando:c4a94b93-e65b-4abb-8cd6-091998c038e8"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1923-07">July 1923</DATE> <CHRONPROSE><PSUBMISSIONSREJECTIONS><PPERIODICALPUBLICATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published in <TITLE TITLETYPE="JOURNAL" REG="The Dial, 1880-1929">The Dial</TITLE> her <TGENRE GENRENAME="SHORTSTORY">short story</TGENRE> <TITLE TITLETYPE="ANALYTIC"><TCHARACTERNAME REG="Dalloway, Clarissa">Mrs. Dalloway</TCHARACTERNAME> in <PLACE><ADDRESS><ADDRLINE>Bond Street</ADDRLINE></ADDRESS><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE></TITLE>, after <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">Eliot</NAME> had declined to take it for <TITLE TITLETYPE="JOURNAL">The Criterion</TITLE>.</PPERIODICALPUBLICATION></PSUBMISSIONSREJECTIONS></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 130n3" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">130n3</BIBCIT> <BIBCIT PLACEHOLDER="Lee 444-5" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">444-5</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PMOTIVES MOTIVETYPE="ASCRIBED">Quentin Bell later believed that she had written this story largely in order to protect herself against expected hostile criticism directed at the highly experimental <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 87" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 87</BIBCIT></BIBCITS></PMOTIVES> In any case, she later developed it into the novel <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE>.</SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>The story begins with a just-slightly-different version of the novel's famous opening: <QUOTE DIRECT="Y">Mrs Dalloway said she would buy the gloves herself.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 130" DBREF="38169" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">130</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2></DIV1><DIV1><HEADING>Modernist Breakthrough: <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE></HEADING><DIV2><TEXTSCOPE DBREF="38236" PLACEHOLDER="VW, Jacob's Room, 1922" REF="https://commons.cwrc.ca/orlando:e2cf6219-8ea7-4903-bb03-482dfde18c1c"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1922-10-27">27 October 1922</DATE> <CHRONPROSE>The <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> published <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s third <TGENRE GENRENAME="NOVEL">novel</TGENRE>, <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE>: both a literary experiment and an <TGENRE GENRENAME="ELEGY">elegy</TGENRE>, for <NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby</NAME> and all the <TTHEMETOPIC>young men lost in the <TOPIC STANDARD="World War I">Great War</TOPIC></TTHEMETOPIC>, a protest against the <QUOTE DIRECT="Y">shocking impersonality of its killing machine.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 84" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">84</BIBCIT></BIBCITS></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 207n8" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 207n8</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TGENREISSUE>From about this time <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> frequently expressed dissatisfaction with the term <TGENRE GENRENAME="NOVEL"><SOCALLED>novel</SOCALLED></TGENRE>, suggesting that she might stop using it. Her preference for a new term was <SOCALLED><TGENRE GENRENAME="ELEGY">elegy</TGENRE></SOCALLED>.</TGENREISSUE><TVOICENARRATION><TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE> departs sharply from her two earlier novels in both its method and its subject. <TCHARACTERIZATION><NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> felt on first reading it that Virginia's characters were <QUOTE DIRECT="Y">ghosts</QUOTE> or <QUOTE DIRECT="Y">puppets</QUOTE>. <TTECHNIQUES>It is fragmentary, like Eliot's <TITLE TITLETYPE="MONOGRAPHIC" REG="The Waste Land">Waste Land</TITLE>; and Jacob's portrait is <QUOTE DIRECT="Y">a collage of broken impressions</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="ODNB" DBREF="29268" REF="https://commons.cwrc.ca/orlando:13d11df6-4f37-4f3d-8fba-12ff683f3f7e"/></BIBCITS> made up of the quick glances of a large cast of character who see him and comment on him, often questioningly.</TTECHNIQUES> Most of these flash past the reader's consciousness without imprinting anything of their personality or circumstances. <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 186" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 186</BIBCIT></BIBCITS></TCHARACTERIZATION></TVOICENARRATION> This method is rich in suggestion: it conveys a sense of the inwardness and unreadability of human personality. (The interrogative attitude of so many of its characters underlines this powerful sense of the unknowability of character.) And, once <TCHARACTERNAME REG="Flanders, Jacob">Jacob</TCHARACTERNAME> has vanished, disappeared into death with all of the unknown others of his generation, it powerfully evokes an awareness of the inevitable erasure of death. <QUOTE DIRECT="Y">What did he expect? Did he think he would come back?</QUOTE> muses his friend Bonamy with a hint of exasperation.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Jacob's Room 1980, 176" DBREF="38172" REF="https://commons.cwrc.ca/orlando:587d96ca-ac78-462d-89ac-c7b9d92a906b">176</BIBCIT></BIBCITS> <TTONESTYLE>In this experimental novel <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> <TGENRE GENRENAME="POLITICALWRITING">expresses her <TTHEMETOPIC>anti-war convictions</TTHEMETOPIC></TGENRE>, but she does so with <PLITERARYSCHOOLS REG="modernism">modernist</PLITERARYSCHOOLS> indirection.</TTONESTYLE> The <TOPIC STANDARD="World War I">war</TOPIC> could seem to be almost as absent from this book as <NAME STANDARD="Mansfield, Katherine" REF="https://commons.cwrc.ca/orlando:c30b4595-64b0-49a1-8c4a-265a4e848409">Katherine Mansfield</NAME> had complained it was from <TITLE TITLETYPE="MONOGRAPHIC">Night and Day</TITLE>, but in fact in this novel the war is a dreadful, though largely undescribed, presence. We hear nothing of Jacob's joining up, nothing of his life in the army, only of distant guns which sound like <QUOTE DIRECT="Y">nocturnal women . . . beating great carpets</QUOTE> and of the folly of expecting to come back from the Front.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Jacob's Room 1980, 175" DBREF="38172" REF="https://commons.cwrc.ca/orlando:587d96ca-ac78-462d-89ac-c7b9d92a906b">175</BIBCIT></BIBCITS> <QUOTE DIRECT="Y">Jacob Flanders is the unknown warrior,</QUOTE> writes Julia Briggs. <QUOTE DIRECT="Y">There is nothing military about him, for this was a war fought largely by civilians in uniform.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 93" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">93</BIBCIT></BIBCITS> His death, when it is understood, casts the pall of loss backwards over the whole fractured narrative of his life. This is the first novel in which <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> represents the impact of war on ordinary people: the <TOPIC>First World War</TOPIC> was to be similarly present <SOCALLED>in the air</SOCALLED> in <TITLE TITLETYPE="MONOGRAPHIC">Mrs Dalloway</TITLE>—in the largely unspoken consciousness of characters, and in the unendurable pain of Septimus Smith— and the darkly impending <TOPIC>Second World War</TOPIC> in the fighter planes raking the sky of <TITLE TITLETYPE="MONOGRAPHIC">Between the Acts</TITLE>. In <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> presents the pompousness and destructiveness of <TCHARACTERTYPEROLE>old men in the military establishment</TCHARACTERTYPEROLE> whose decisions direct the course of history and cause the deaths of young men.<TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE> is often said to be the first of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s fictional recreations of her brother Thoby (the others being <TITLE TITLETYPE="MONOGRAPHIC">The Waves</TITLE> and <TITLE TITLETYPE="ANALYTIC">A Sketch of the Past</TITLE>). Hermione Lee calls the work a <QUOTE DIRECT="Y">fictional biography</QUOTE> which <QUOTE DIRECT="Y">aroused and composed her feelings about <TTHEMETOPIC><NAME STANDARD="Stephen, Thoby" REF="https://commons.cwrc.ca/orlando:40e64a5f-93cf-44dd-bbef-1d3c64d92bcd">Thoby</NAME></TTHEMETOPIC> and her <TTHEMETOPIC>memories of Greece, pre-war London, Cambridge, and the early days of <SOCALLED>Bloomsbury</SOCALLED></TTHEMETOPIC></QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 436" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">436</BIBCIT></BIBCITS> Yet she gives Jacob an individuality which makes him a significant participant in the anonymity of the thousands of dead in the war—<QUOTE DIRECT="Y">almost a million British and Commonwealth soldiers killed</QUOTE>, not to mention civilians nor soldiers and civilians on the other side.<BIBCITS><BIBCIT PLACEHOLDER="Briggs 92" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">92</BIBCIT></BIBCITS> He is a little boy when the novel begins, in 1905, with his widowed mother, <TCHARACTERNAME>Betty Flanders</TCHARACTERNAME>, at the seaside, writing a letter which reflects as her thoughts usually do on the death of her husband, <TCHARACTERNAME>Seabrook</TCHARACTERNAME>. Jacob is a generation younger than Thoby, and grows up as one of the genteel poor before his charm and talents bring him the generalised prospect of a distinguished future. He leaves a number of women to mourn him besides his mother: <TCHARACTERNAME>Florinda</TCHARACTERNAME>, the <TCHARACTERTYPEROLE>working-class prostitute</TCHARACTERTYPEROLE> who now faces the catastrophe of <TMOTIF MOTIFNAME="pregnancy">pregnancy</TMOTIF>, <TCHARACTERNAME>Fanny Elmer</TCHARACTERNAME>, who loves and idealises him, Clara, the <TCHARACTERTYPEROLE>marriageable young lady</TCHARACTERTYPEROLE> who had had hopes of him, and Sandra, the <TCHARACTERTYPEROLE>dissatisfied wife</TCHARACTERTYPEROLE>. These women's voices, writes Lee, <QUOTE DIRECT="Y">speak loudly but unheard at the edges of his story</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 437" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">437</BIBCIT></BIBCITS> <SCHOLARNOTE><TSETTINGPLACE SETTINGPLACETYPE="REAL" SETTINGCLASS="MIDDLECLASS">Lee follows this comment with a reading of the scene in the <ORGNAME STANDARD="British Library" REG="British Library" REF="https://commons.cwrc.ca/orlando:4cad5fae-7739-454b-b92d-69171be5e6e2">British Museum Round Reading Room</ORGNAME> as a summary of the exclusion of women from his story.</TSETTINGPLACE></SCHOLARNOTE></SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL">As a manifesto for modernism, <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE> divided the critics. <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME> wrote in a letter that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> had now succeeded in freeing her <QUOTE DIRECT="Y">original gift</QUOTE> from compromise with the traditional novel.<BIBCITS><BIBCIT PLACEHOLDER="Lee 444" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">444</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL"><NAME STANDARD="Bennett, Arnold" REF="https://commons.cwrc.ca/orlando:eb3621cd-f3f8-4568-a027-cb5fc23fc9f6">Arnold Bennett</NAME>, taking the book as <QUOTE DIRECT="Y">characteristic of the new novelists,</QUOTE> praised its cleverness, originality, and exquisite style (in print), but only to pronounce them outweighed by the damning fact that <QUOTE DIRECT="Y">the characters do not vitally survive in the mind.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Briggs 108" DBREF="38169" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">108</BIBCIT></BIBCITS> The creation of character, he insisted, was the foundation of good fiction, while cleverness was <QUOTE DIRECT="Y">perhaps the lowest of all artistic qualities.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Briggs 123" DBREF="38169" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">123</BIBCIT></BIBCITS> For her part <NAME STANDARD="West, Rebecca" REF="https://commons.cwrc.ca/orlando:c4c21211-2589-4d70-8599-284d6dcc5b83">Rebecca West</NAME> took <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE> as a demonstration that Woolf was <QUOTE DIRECT="Y">at once a negligible novelist and a supremely important writer.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Majumdar and McLaurin 101" DBREF="42167" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:76e13fcf-b07b-49c8-a57f-ef558e24776f">101</BIBCIT></BIBCITS> It was <QUOTE DIRECT="Y">authentic poetry, cognisant of the soul.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Majumdar and McLaurin 102" DBREF="42167" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:76e13fcf-b07b-49c8-a57f-ef558e24776f">102</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING>1925: <TITLE TITLETYPE="MONOGRAPHIC">The Common Reader</TITLE></HEADING><DIV2><PRODUCTION><SHORTPROSE><NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> points out that in this year—a typical one, though <QUOTE DIRECT="Y">broken by illness</QUOTE>—Woolf's productivity included making final pre-publication revisions to a novel and an essay collection, beginning work on another novel, writing eight short stories, and publishing thirty-seven review articles, besides her regular output of diary and letters, and of course large amounts of reading.<BIBCITS><BIBCIT PLACEHOLDER="Lee 4" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">4</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION></DIV2><DIV2><TEXTSCOPE DBREF="7148" PLACEHOLDER="VW, The Common Reader, 1925" REF="https://commons.cwrc.ca/orlando:2bb6f066-22b3-4dc1-9ee2-3ee0c3edc7a6"/><TEXTSCOPE DBREF="7150" PLACEHOLDER="VW, The Second Common Reader, 1932" REF="https://commons.cwrc.ca/orlando:ea459400-e2c3-4ba9-8a17-a6a4fcb19c3b"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1925-04-23">23 April 1925</DATE> <CHRONPROSE><PPRESSRUN><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published <TITLE TITLETYPE="MONOGRAPHIC">The Common Reader</TITLE>, her first volume of collected <TGENRE GENRENAME="LITERARYCRITICISM"><TGENRE GENRENAME="ESSAY">essays</TGENRE></TGENRE>, with her own <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>, in an edition of 1,250 copies. A second impression of 1,000 copies was issued in November.</PPRESSRUN></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 12n17" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 12n17</BIBCIT> <BIBCIT PLACEHOLDER="Kirkpatrick 21" DBREF="40630" REF="https://commons.cwrc.ca/orlando:7e8a1c80-cf24-436b-84e1-c94c0f7a6d5e">21</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Later reprints often appeared as <TITLE TITLETYPE="MONOGRAPHIC" REG="The Common Reader">The Common Reader, First Series</TITLE>. <TINTERTEXTUALITY INTERTEXTTYPE="ALLUSIONACKNOWLEDGED" GENDEROFAUTHOR="MAN"><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> took her title from a formulation of <NAME STANDARD="Johnson, Samuel" REF="https://commons.cwrc.ca/orlando:6453330b-80b2-4de6-ae99-e284dc22dd75">Samuel Johnson</NAME>'s, meaning that non-specialist, non-academic reader to whose taste, said Johnson, he was always willing as a professional man of letters to defer.</TINTERTEXTUALITY> <NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> notes that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s comparatively random (and also topical) reading facilitated her thinking about the <SOCALLED>common reader</SOCALLED>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 142-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">142-3</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>The book's contents consisted largely of <QUOTE DIRECT="Y">already published <TGENRE GENRENAME="JOURNALISM">journalism</TGENRE>,</QUOTE> carefully revised for the collection.<BIBCITS><BIBCIT PLACEHOLDER="McNeillie, 1984, x" DBREF="38188" REF="https://commons.cwrc.ca/orlando:52dac19f-7b80-44b4-9f88-39fa008812a6">x</BIBCIT></BIBCITS> Woolf had put detailed consideration into the idea of making a structure for the book, but she ended by rejecting ideas for a frame.<BIBCITS><BIBCIT PLACEHOLDER="McNeillie, 1984, x-xi" DBREF="38188" REF="https://commons.cwrc.ca/orlando:52dac19f-7b80-44b4-9f88-39fa008812a6">x-xi</BIBCIT></BIBCITS> Falling back largely on chronological order, she supplied three new, as opposed to reprinted, essays to head the volume and to block in the early period of English literature: <TITLE TITLETYPE="ANALYTIC">The <TTHEMETOPIC><NAME STANDARD="Paston, Margaret" REF="https://commons.cwrc.ca/orlando:10f4ea73-c4e0-47e1-946b-436f1feb4ac6">Paston</NAME></TTHEMETOPIC>s and <TTHEMETOPIC><NAME STANDARD="Chaucer, Geoffrey" REF="https://commons.cwrc.ca/orlando:3eb0571a-7124-436f-a276-0a577e7a30dd">Chaucer</NAME></TTHEMETOPIC></TITLE>, <TITLE TITLETYPE="ANALYTIC">On <TTHEMETOPIC>Not Knowing Greek</TTHEMETOPIC></TITLE>, and <TITLE TITLETYPE="ANALYTIC">The Elizabethan Lumber Room</TITLE>. She gestured away from chronology in setting <TITLE TITLETYPE="ANALYTIC"><TTHEMETOPIC>Modern Fiction</TTHEMETOPIC></TITLE> only a little past the centre of the book (far ahead of <TITLE TITLETYPE="ANALYTIC">The <TTHEMETOPIC>Modern Essay</TTHEMETOPIC></TITLE>), between <TITLE TITLETYPE="ANALYTIC"><NAME STANDARD="Austen, Jane" REF="https://commons.cwrc.ca/orlando:772c02be-78f8-4c43-bf10-2be3ee77ce92">Jane Austen</NAME></TITLE> and <TTHEMETOPIC><NAME STANDARD="Brontë, Anne" REF="https://commons.cwrc.ca/orlando:2ec044e6-30f3-4fba-970e-676ec81c79fc">the</NAME> <NAME STANDARD="Brontë, Charlotte" REF="https://commons.cwrc.ca/orlando:a017e41e-6e1c-4c16-a575-82d25f7ec038">Brontë</NAME> <NAME STANDARD="Brontë, Emily" REF="https://commons.cwrc.ca/orlando:8e599794-3bb5-47d6-87dc-713ce02c2a7f">essay</NAME></TTHEMETOPIC> <TITLE TITLETYPE="ANALYTIC">'Jane Eyre' and 'Wuthering Heights'</TITLE>. The book also prints <TITLE TITLETYPE="ANALYTIC">Joseph Conrad</TITLE>, <TITLE TITLETYPE="ANALYTIC">How It Strikes a Contemporary</TITLE> <TTECHNIQUES TECHNIQUETYPE="IMAGERY">, and <TITLE TITLETYPE="ANALYTIC">Modern Fiction</TITLE> (which is discussed above). The latter, which ranks among her famous enunciations of revolutionary intent, contains one of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s best-known statements about what a new generation of novelists might attempt to do. <QUOTE DIRECT="Y">Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end. Is it not the task of the novelist to convey this varying, this unknown and uncircumscribed spirit . . . ?</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Common Reader 1984, 150" DBREF="38189" REF="https://commons.cwrc.ca/orlando:c665ae5d-3adb-44f3-93e0-ea550512e7e1">150</BIBCIT></BIBCITS></TTECHNIQUES> In writing of earlier periods, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> is often at pains to emphasize their otherness, which may be obscured by reading only the great landmarks of literature—<NAME STANDARD="Shakespeare, William" REF="https://commons.cwrc.ca/orlando:cf31f8e7-ff5a-463a-adb8-20d1e1c5d8a3">Shakespeare</NAME>, for instance—and ignoring his contemporaries. But it is a whole body of literature, she says, which <QUOTE DIRECT="Y">will not suffer itself to be read passively, but takes us and reads us; flouts our preconceptions; questions principles which we had got in the habit of taking for granted.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Common Reader 1984, 48" DBREF="38189" REF="https://commons.cwrc.ca/orlando:c665ae5d-3adb-44f3-93e0-ea550512e7e1">48</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> waited more than a week for comment of any kind on this publication, and was driven to dismiss her own disappointment as something she had now put behind her, writing the book off as a failure. Then came a batch of mixed responses.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 12, 15-16, 17" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 12, 15-16, 17</BIBCIT></BIBCITS> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL" GENDEREDRESPONSE="GENDEREDNO"><NAME STANDARD="Dickinson, Goldsworthy Lowes" REF="https://commons.cwrc.ca/orlando:d33c4595-1dca-4675-918e-f9ab75493096">Goldsworthy Lowes Dickinson</NAME> pronounced it <QUOTE DIRECT="Y">the best criticism in English—humorous, witty &amp; profound.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 17" DBREF="108708" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 17</BIBCIT></BIBCITS> T. S. Eliot's friend <NAME STANDARD="Hayward, John Davy" REF="https://commons.cwrc.ca/orlando:dab2f3a6-9cb0-4743-8864-9a1c4f8fc5ce">John Hayward</NAME> thought the essay on the <TTHEMETOPIC>Elizabethans</TTHEMETOPIC><QUOTE DIRECT="Y">extraordinarily good</QUOTE>,<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 16" DBREF="108708" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 16</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">though a review in <TITLE TITLETYPE="JOURNAL">Country Life</TITLE> sneered at <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME><PRARITIESFEATURESDECORATIONS>and another in the <TITLE TITLETYPE="JOURNAL">Star</TITLE> sneered at <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Bell</NAME>'s dustjacket.</PRARITIESFEATURESDECORATIONS><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 16" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 16</BIBCIT></BIBCITS> That in the <TITLE TITLETYPE="JOURNAL">Times Literary Supplement</TITLE> offered <QUOTE DIRECT="Y">sober &amp; sensible praise,</QUOTE> though <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> remained a little disappointed that it did not rise to enthusiasm.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 17" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 17</BIBCIT></BIBCITS></RRESPONSES> <RSELFDESCRIPTION>When she re-read her own essays years later she was sorry for their <QUOTE DIRECT="Y">suavity, their politeness, their sidelong approach,</QUOTE> which she blamed on her <QUOTE DIRECT="Y">tea-table training</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="McNeillie, 1984, xiii" DBREF="38188" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:52dac19f-7b80-44b4-9f88-39fa008812a6">xiii</BIBCIT></BIBCITS></RSELFDESCRIPTION></SHORTPROSE></RECEPTION></DIV2><DIV2><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1932-10-13">13 October 1932</DATE> <CHRONPROSE><PPRESSRUN><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published another volume of <TGENRE GENRENAME="LITERARYCRITICISM">literary</TGENRE> <TGENRE GENRENAME="ESSAY">essay</TGENRE>s, <TITLE TITLETYPE="MONOGRAPHIC">The Second Common Reader</TITLE> (later sometimes appearing as <TITLE TITLETYPE="MONOGRAPHIC" REG="The Second Common Reader">The Common Reader, Second Series</TITLE>), with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>.</PPRESSRUN></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 244" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 244</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION></DIV2></DIV1><DIV1><HEADING>1925: <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE></HEADING><DIV2><TEXTSCOPE DBREF="38238" PLACEHOLDER="VW, Mrs. Dalloway, 1925" REF="https://commons.cwrc.ca/orlando:55eaee1e-4df7-40b5-b6af-28011a994210"/><PRODUCTION><SHORTPROSE><RSELFDESCRIPTION><PATTITUDES><QUOTE DIRECT="Y">There's no doubt in my mind that I have found out how to begin (at 40) to say something in my own voice,</QUOTE> <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote after finishing <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE>, three months before publication.</PATTITUDES> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 186" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 186</BIBCIT></BIBCITS></RSELFDESCRIPTION> That voice was strikingly her own, quite unlike those of key male contemporaries.<PINFLUENCESHER INFLUENCETYPE="LITERARY">Yet, though her voice (and her social and political views) were and would remain quite different from theirs, she was keenly attentive to the works of male contemporaries who were, like her, working to create a literature for their time. <NAME STANDARD="Eliot, T. S." REF="https://commons.cwrc.ca/orlando:467d3de9-afa8-4b78-b16d-b647703eeb8e">T. S. Eliot</NAME>, for instance, was a spur to her <PLITERARYSCHOOLS INVOLVEMENT="INVOLVEMENTYES" REG="modernism">modernist</PLITERARYSCHOOLS> development. Both had an acute and learned consciousness of tradition and its value, and they also shared a common cause in breaking with the past, finding a voice for their own time, and creating what would become literary modernism. The Hogarth Press published his <TITLE TITLETYPE="MONOGRAPHIC" REG="T. S. Eliot, Poems, 1919">Poems</TITLE>, <DATE VALUE="1919-05">May 1919</DATE>; in June 1922 he visited Woolf at Hogarth House and read her his new poem, <TITLE TITLETYPE="MONOGRAPHIC">The Waste Land</TITLE>. This too the Hogarth Press published, in 1923, and while she was working on <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE> Woolf was setting type for <TITLE TITLETYPE="MONOGRAPHIC">The Waste Land</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 440, 442-3" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">440, 442-3</BIBCIT></BIBCITS> Eliot himself has been pointed to as the model for Louis in <TITLE TITLETYPE="MONOGRAPHIC">The Waves</TITLE>, and fragments of his poetry appear in Woolf's texts. She did not share his admiration for <NAME STANDARD="Pound, Ezra" REF="https://commons.cwrc.ca/orlando:9bcc66c7-b8be-4562-b314-eebb50218962">Ezra Pound</NAME> or <NAME STANDARD="Lewis, Wyndham" REF="https://commons.cwrc.ca/orlando:dee4421e-0c8e-4f14-95a8-003f2252e474">Wyndham Lewis</NAME> (whom she thought misogynist and detestable), but Eliot made her think about their writing.<BIBCITS><BIBCIT PLACEHOLDER="Lee 439" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">439</BIBCIT></BIBCITS> He also kept her in touch with what <NAME STANDARD="Joyce, James" REF="https://commons.cwrc.ca/orlando:27c08a0a-133b-4483-85a8-ae29b1c3849b">Joyce</NAME> was doing, even though his enthusiasm for <TITLE TITLETYPE="MONOGRAPHIC">Ulysses</TITLE> may have dampened rather than encouraged her own. In her always intertextual texts these voices surface, reshaped. Although Woolf's <TCHARACTERNAME>Clarissa Dalloway</TCHARACTERNAME>, the character, is the very antithesis of Joyce's Leopold Bloom, the fictions they inhabit and the means of their making have key elements in common. Though Woolf had used the structuring metaphor of the sea voyage in her first novel, Clarissa's mermaid voyages in London (which provide structure for the representation of her complex consciousness) establish an intertextual dialogue with Bloom's Dublin odyssey.</PINFLUENCESHER> Of course <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> creates a voyage with a very great difference: her fiction is of a woman's voyage and episodes in a woman's experience.The idea for <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s fourth novel, <NAME STANDARD="Briggs, Julia" REF="https://commons.cwrc.ca/orlando:54738cde-00a5-4470-8bda-eaf20e010ead">Julia Briggs</NAME> observes, goes back to a plan she had thought of twenty years earlier, for a <TGENRE GENRENAME="DRAMA">play</TGENRE> about <QUOTE DIRECT="Y">a man and a woman—show them growing up—never meeting—not knowing each other—but all the time you'll feel them coming nearer and nearer.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 130" DBREF="38169" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">130</BIBCIT></BIBCITS> She worked first on this new project under the title of <TITLE TITLETYPE="UNPUBLISHED">The Hours</TITLE>: by August 1922 she was writing hard, <QUOTE DIRECT="Y">laboriously dredging my mind . . . &amp; bringing up light buckets.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 189" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 189</BIBCIT></BIBCITS> At first, Clarissa was the only character; Septimus emerged later.<BIBCITS><BIBCIT PLACEHOLDER="Hussey 172" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">172</BIBCIT></BIBCITS> A whole year later it was <QUOTE DIRECT="Y">proving one of my most tantalising &amp; refractory of books. Parts are so bad, parts so good; I'm much interested, can't stop making it up yet—yet. What is the matter with it?</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 262" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 262</BIBCIT></BIBCITS> As she worked on the novel, in 1922, she was reading Proust and Joyce, and, as Hussey points out, <QUOTE DIRECT="Y">[a]s she struggled with the creation of one of the most famous of her characters, she also wrote the first version of her essay <TITLE TITLETYPE="ANALYTIC">Mr. Bennett and Mrs. Brown</TITLE>, published in 1924.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 173" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">173</BIBCIT></BIBCITS> <TTECHNIQUES><TCHARACTERIZATION>Under the next day's date (but with an incompatible day of the week, signalling confusion) she wrote triumphantly of her <QUOTE DIRECT="Y">discovery; how I dig out beautiful caves behind my characters; I think that gives exactly what I want; humanity, humour, depth. The idea is that the caves shall connect, &amp; each comes to daylight at the present moment.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 2: 263" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">2: 263</BIBCIT></BIBCITS></TCHARACTERIZATION></TTECHNIQUES></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1925-05-14">14 May 1925</DATE> <CHRONPROSE><RBESTKNOWNWORK><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published her <TGENRE GENRENAME="NOVEL">novel</TGENRE> <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE> with her own <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>. Two thousand copies were printed. The American edition was published the same day by <ORGNAME STANDARD="Harcourt Brace" REF="https://commons.cwrc.ca/orlando:f198662b-62f3-4d14-a5cb-df063e9f3af4">Harcourt, Brace and Company</ORGNAME>.</RBESTKNOWNWORK></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 237" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 237</BIBCIT> <BIBCIT PLACEHOLDER="Kirkpatrick 25" DBREF="40630" REF="https://commons.cwrc.ca/orlando:7e8a1c80-cf24-436b-84e1-c94c0f7a6d5e">25</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PCIRCULATION>The first edition sold about 1,550 copies in the first two months. A second impression, of 1,000 copies, was issued in September.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 32" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 32</BIBCIT> <BIBCIT PLACEHOLDER="Kirkpatrick 25" DBREF="40630" REF="https://commons.cwrc.ca/orlando:7e8a1c80-cf24-436b-84e1-c94c0f7a6d5e">25</BIBCIT></BIBCITS></PCIRCULATION></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>Briggs observes that in this novel, as in the short stories preceding it, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> aimed to write about what, in <TITLE TITLETYPE="ANALYTIC">Modern Fiction</TITLE>, she had called <QUOTE DIRECT="Y">an ordinary mind on an ordinary day</QUOTE>. Here, as in <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE>, she set out to obey her own injunction and to correct the devaluation of the <TTHEMETOPIC>ordinary flow of life</TTHEMETOPIC> which is brought about by the concentration of traditional fiction on the significant or highly charged moment: readers of Woolf's new fiction were to be left without maps or signposts and brought face to face with <QUOTE DIRECT="Y">everyday life, in all its confusion, mystery and uncertainty.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 130" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">130</BIBCIT></BIBCITS> In the writing, however, this novel turned into something quite unordinary, both in the action and the characters it represents and in the interior monologue in which it represents them.<TCHARACTERIZATION><TPLOT>The man and woman who never meet but whose lives are drawn together</TPLOT> are the politician's wife <TCHARACTERNAME>Clarissa Dalloway</TCHARACTERNAME>, who loves to give parties not out of restlessness or social ambition but as an offering to life, and <TCHARACTERNAME REG="Smith, Septimus">Septimus Smith</TCHARACTERNAME>, who has returned from the <TOPIC>First World War</TOPIC> physically unharmed but <TMOTIF MOTIFNAME="madness"><SOCALLED>shell shocked</SOCALLED>.<SCHOLARNOTE><QUOTE DIRECT="Y">The term <SOCALLED>shell shock</SOCALLED> itself became familiar in the autumn of 1922 (as Woolf began work on the novel) with the publication of a government report on its <SOCALLED>deferred effects</SOCALLED>.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 133" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">133</BIBCIT></BIBCITS></SCHOLARNOTE> He is maimed in his mind and feelings</TMOTIF>, a <QUOTE DIRECT="Y">last relic straying on the edge of the world, this outcast, who gazed back at the inhabited regions, who lay, like a drowned sailor on the shore of the world.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Mrs. Dalloway 1980, 103" DBREF="38270" REF="https://commons.cwrc.ca/orlando:8291e3d9-8cc7-4ba5-b2b2-74e200da4ab4">103</BIBCIT></BIBCITS> <SCHOLARNOTE> Critic <NAME STANDARD="Bradshaw, David" REF="https://commons.cwrc.ca/orlando:1dd48044-53ed-417b-9ae4-97712123dc6d">David Bradshaw</NAME>, emphasizing the centrality in the novel of the <TOPIC>First World War</TOPIC>, has noted that <TCHARACTERNAME>Lady Bruton</TCHARACTERNAME>'s obsession with <TTHEMETOPIC><PLACE><GEOG>Canada</GEOG></PLACE></TTHEMETOPIC> in the early text is largely due to the slaughter of Canadian troops at <PLACE><REGION>Vimy Ridge</REGION><GEOG REG="France"/></PLACE> in <DATE VALUE="1917-04-12" CERTAINTY="BY">April 1917</DATE> (obscured in a recent edition by the printing of <SOCALLED>Vimy</SOCALLED> as <SOCALLED>Virny</SOCALLED>) and that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> moved the war service of <TCHARACTERNAME>Septimus Smith</TCHARACTERNAME> and his commanding officer, Evans, to the <TTHEMETOPIC><PLACE><GEOG REG="Italy">Italian</GEOG></PLACE> front</TTHEMETOPIC> because this was the forgotten front.<BIBCITS><BIBCIT PLACEHOLDER="Bradshaw, Forgotten" DBREF="9505" REF="https://commons.cwrc.ca/orlando:01b60a08-781f-4686-b819-a39e91c9258e"/></BIBCITS>Canada also had a second significance for Lady Bruton: that of the linked topics of eugenics and emigration.<BIBCITS><BIBCIT PLACEHOLDER="Bradshaw, Forgotten" DBREF="9505" REF="https://commons.cwrc.ca/orlando:01b60a08-781f-4686-b819-a39e91c9258e"/></BIBCITS></SCHOLARNOTE> The characters in the novel criss-cross London in the present, which is the day of <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE>'s action; they also relive strong feelings in their pasts. The novel is structured as two plots: one domestic, <SOCALLED>ordinary</SOCALLED>, female, the planning and giving of a party; the other military, masculine, tragic, an enactment of war's cost. The sounding of Big Ben moves the action inexorably forward. Clarissa moves through the day to an epiphanic recognition, in the face of death, of the value of life; the shell-shocked Septimus is led through a day which ends in his <TMOTIF MOTIFNAME="suicide">suicide</TMOTIF>. (<QUOTE DIRECT="Y">It was their idea of tragedy, not his or Rezia's (for she was with him). Holmes and Bradshaw liked that sort of thing.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Mrs. Dalloway 1980, 164" DBREF="38270" REF="https://commons.cwrc.ca/orlando:8291e3d9-8cc7-4ba5-b2b2-74e200da4ab4">164</BIBCIT></BIBCITS></TCHARACTERIZATION>Meanwhile Clarissa's own intermittent sense of disaster, the wavering in her conviction of the value of life, is intensified by the reader's awareness of Septimus and his pain—and yet, when he finally <TMOTIF MOTIFNAME="suicide">kills himself</TMOTIF> and the news is brought to her party by the Bradshaws, Clarissa is overcome by a heightened feeling for life. He has, she feels, had the courage to fling away something of infinite value and by so doing has preserved the value which other people <QUOTE DIRECT="Y">let drop every day in corruption, lies, chatter.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Mrs. Dalloway 1980, 202" DBREF="38270" REF="https://commons.cwrc.ca/orlando:8291e3d9-8cc7-4ba5-b2b2-74e200da4ab4">202</BIBCIT></BIBCITS>Around Clarissa and Septimus clusters a wealth of people and activity. Richard Dalloway, who loves his wife, spends a long time mustering his courage to tell her so, but fails to do it. (<QUOTE DIRECT="Y">Here he was walking across London to say to Clarissa in so many words that he loved her. Which one never does say, he thought. Partly one's lazy; partly one's shy.</QUOTE>)<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Mrs. Dalloway 1980, 127" DBREF="38270" REF="https://commons.cwrc.ca/orlando:8291e3d9-8cc7-4ba5-b2b2-74e200da4ab4">127</BIBCIT></BIBCITS> <TCHARACTERNAME>Peter Walsh</TCHARACTERNAME>, whom Clarissa might once have married, comes back from India and renews his ancient connection with her, on the verge of his marriage (for motives of grasping love) to a younger woman. <TCHARACTERNAME>Sally Seton</TCHARACTERNAME>, who inspired the earliest and possibly the strongest passion of Clarissa's life, is still handsome and laughing if no longer <QUOTE DIRECT="Y">aglow</QUOTE> with daring and recklessness.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Mrs. Dalloway 1980, 199" DBREF="38270" REF="https://commons.cwrc.ca/orlando:8291e3d9-8cc7-4ba5-b2b2-74e200da4ab4">199</BIBCIT></BIBCITS>Clarissa's seventeen-year-old daughter Elizabeth stands on the verge of an independent life, though she is pursued with possessive hunger by the <TCHARACTERTYPEROLE>bigotedly religious, university-graduate teacher</TCHARACTERTYPEROLE> <TCHARACTERNAME>Doris Kilman</TCHARACTERNAME>. For Clarissa and Elizabeth, as for their creator, a foray across <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> becomes an excursion into the scenes of a history which moves them powerfully. In Elizabeth's jaunt through the city on an omnibus, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> writes into her novel a difference in generational attitudes about what women can do. Clarissa has become a wife and a hostess; Elizabeth, joyfully on her own in London, immersed in the activity and work of the city, decides that she would like to have a profession: <QUOTE DIRECT="Y">She would become a doctor, a farmer, possibly go into Parliament if she found it necessary</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Mrs. Dalloway 1980, 150-51" DBREF="38270" REF="https://commons.cwrc.ca/orlando:8291e3d9-8cc7-4ba5-b2b2-74e200da4ab4">150-51</BIBCIT></BIBCITS>Attached to Septimus is a different cluster of characters that includes his anxious young Italian wife and his doctors, the bluff <TCHARACTERNAME>Dr Holmes</TCHARACTERNAME>, who tells him to pull himself together, and the dogmatic and unfeeling <TCHARACTERNAME>Sir William Bradshaw</TCHARACTERNAME>, who proposes to incarcerate him in a rest-cure establishment. The idea of the mystery of the human personality, which pervades the novel, reaches its extreme in Septimus, who is utterly alienated from the present, absorbed in his past, which included, before the war, the works of <NAME STANDARD="Shakespeare, William" REF="https://commons.cwrc.ca/orlando:cf31f8e7-ff5a-463a-adb8-20d1e1c5d8a3">Shakespeare</NAME> and a woman in a green dress, and, in the war, his dead friend Evans.</SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">The first reviews of <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE> came out in the same month as those of <TITLE TITLETYPE="MONOGRAPHIC">The Common Reader</TITLE> (first series). Both the <TITLE TITLETYPE="JOURNAL">Western Mail</TITLE> and the <TITLE TITLETYPE="JOURNAL">Scotsman</TITLE> dismissed the novel as beyond the general reader: the former thought it not interesting to any but <QUOTE DIRECT="Y">readers of preternaturally nimble intellect</QUOTE> and the latter similarly designated it as suitable for <QUOTE DIRECT="Y">[n]one but the mentally fit</QUOTE>—adding: <QUOTE DIRECT="Y">It may be said such is life, but is it art?</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 21n24" DBREF="108708" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 21n24</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDYES">A journal of more intellectual pretensions, the <TITLE TITLETYPE="JOURNAL">Calendar of Modern Letters</TITLE>, pronounced that <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE> was <QUOTE DIRECT="Y">sentimental in conception and texture, and is accordingly aesthetically worthless.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 35n4" DBREF="108708" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 35n4</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL"><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> said it was a weight off her mind when <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME> registered his approbation, briefly but persuasively, saying he had liked <QUOTE DIRECT="Y">the style being simpler, more like other peoples this time.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 24" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 24</BIBCIT></BIBCITS><NAME STANDARD="Strachey, Lytton" REF="https://commons.cwrc.ca/orlando:76a23592-fc08-4a31-a5a4-7a2476b7f147">Lytton Strachey</NAME> sounds as if, like the provincial newspapers, he had missed the point when he said the writing was beautiful but that what happens in the book was <QUOTE DIRECT="Y">rather ordinary—or unimportant.</QUOTE> Paradoxically, Woolf found his picking of holes more stimulating that having her novel called a masterpiece by others such as <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 32" DBREF="108708" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 32</BIBCIT></BIBCITS></RRESPONSES> <NAME STANDARD="Briggs, Julia" REF="https://commons.cwrc.ca/orlando:54738cde-00a5-4470-8bda-eaf20e010ead">Julia Briggs</NAME> in her book on Woolf singles out the review by <NAME STANDARD="Hughes, Richard" REF="https://commons.cwrc.ca/orlando:10b4ede9-337b-402e-a830-e063ff015f31">Richard Hughes</NAME> as the most perceptive, in praising Woolf for <QUOTE DIRECT="Y">touch[ing] all the time the verge of the problem of reality.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 157" DBREF="38169" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">157</BIBCIT></BIBCITS> <RSHEINFLUENCED>Briggs also enumerates some recent incarnations of this novel, which has fascinated the late twentieth-century imagination: its use in an opera by <NAME STANDARD="Larsen, Libby" REF="https://commons.cwrc.ca/orlando:851d5fdb-cde0-4e91-8417-f223f8bc43c7">Libby Larsen</NAME> (libretto by <NAME STANDARD="Grice, Bonnie" REF="https://commons.cwrc.ca/orlando:95c377e6-2cce-48a0-a86b-bd3d8a6c16bc">Bonnie Grice</NAME>), in <NAME STANDARD="Cunningham, Michael" REF="https://commons.cwrc.ca/orlando:f50ceb7a-ff84-4d33-aa32-fa6fdfc8fda4">Michael Cunningham</NAME>'s novel <TITLE TITLETYPE="MONOGRAPHIC">The Hours</TITLE> and <NAME STANDARD="Daldry, Stephen" REF="https://commons.cwrc.ca/orlando:11c8d606-f236-4249-b0d6-a52634258fac">Stephen Daldry</NAME>'s film of that, and in <NAME STANDARD="Lippincott, Robin" REF="https://commons.cwrc.ca/orlando:ebfdc9e3-1e12-4330-8f48-75e399eb4557">Robin Lippincott</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC">Mr. Dalloway</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Briggs 157-8" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">157-8</BIBCIT></BIBCITS></RSHEINFLUENCED> <RRESPONSES FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDNO" RESPONSETYPE="RECENT">Considering these works, says <NAME STANDARD="Briggs, Julia" REF="https://commons.cwrc.ca/orlando:54738cde-00a5-4470-8bda-eaf20e010ead">Briggs</NAME>, reinforces her sense of how astonishingly <QUOTE DIRECT="Y">easy and uncontrived, but at the same time how inward, experimental and still startlingly modern</QUOTE> is Woolf's novel.<BIBCITS><BIBCIT PLACEHOLDER="Briggs 158" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">158</BIBCIT></BIBCITS></RRESPONSES>A stage adaptation by <NAME STANDARD="Coase, Hal" REF="https://commons.cwrc.ca/orlando:847be491-ad6e-495e-82b2-64e36dbb17d3">Hal Coase</NAME> opened in London in September 2018.</SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING><TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE></HEADING><DIV2><TEXTSCOPE DBREF="38239" PLACEHOLDER="VW, To the Lighthouse, 1927" REF="https://commons.cwrc.ca/orlando:f5620eef-95df-4f72-a5c3-32bac75bdee9"/><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1925-08-06">6 August 1925</DATE> <CHRONPROSE><PMANUSCRIPTHISTORY><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> began writing her draft of <TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE> at <PLACE><PLACENAME>Monk's House</PLACENAME><SETTLEMENT REG="Rodmell"/><REGION REG="Sussex"/><GEOG REG="England"/></PLACE>, in a bound writing book with a shiny sea-green cover. She filled two pages with notes before she began her narrative.</PMANUSCRIPTHISTORY></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Dick 11" DBREF="38209" REF="https://commons.cwrc.ca/orlando:18614644-f4e3-429e-b180-53d6b2fb9eaa">11</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><TTECHNIQUES TECHNIQUETYPE="AURALEFFECTS">In the early stages, nearly two years before publication, she wrote, <QUOTE DIRECT="Y">the sea is to be heard all through it.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 34" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 34</BIBCIT></BIBCITS></TTECHNIQUES> In February 1926: <QUOTE DIRECT="Y">Never never have I written so easily, imagined so profusely.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 58" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 58</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1927-05-05">5 May 1927</DATE> <CHRONPROSE><PPLACEOFPUBLICATION><PEDITIONS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published her <TGENRE GENRENAME="NOVEL">novel</TGENRE> <TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE> with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>; the <PLACE><GEOG REG="USA">US</GEOG></PLACE> edition came out on the same day, but the two texts were far from identical.</PEDITIONS></PPLACEOFPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 127n5" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 127n5</BIBCIT> <BIBCIT PLACEHOLDER="Dick 34n28" DBREF="38209" REF="https://commons.cwrc.ca/orlando:18614644-f4e3-429e-b180-53d6b2fb9eaa">34n28</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PPERIODICALPUBLICATION><PPLACEOFPUBLICATION>The centre section, <TITLE TITLETYPE="ANALYTIC">Time Passes</TITLE>, had already appeared in French the previous winter, in a <PLACE><SETTLEMENT>Paris</SETTLEMENT><GEOG REG="France"/></PLACE> journal called <TITLE TITLETYPE="JOURNAL">Commerce</TITLE>, translated by Roger Fry's friend <NAME STANDARD="Mauron, Charles" REF="https://commons.cwrc.ca/orlando:9bf76277-97d5-49b8-8aaa-4550efbeca6c">Charles Mauron</NAME>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 127n5" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 127n5</BIBCIT></BIBCITS></PPLACEOFPUBLICATION></PPERIODICALPUBLICATION> <PCIRCULATION>The volume sold 1,690 copies before publication: twice the analogous sales of <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 134" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 134</BIBCIT></BIBCITS></PCIRCULATION> Eighteen months after it was published, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote in her diary how she used to think about both her parents daily, <QUOTE DIRECT="Y">but writing <TITLE TITLETYPE="MONOGRAPHIC" REG="To the Lighthouse" REND="normal">The Lighthouse</TITLE> laid them in my mind.</QUOTE> By writing of them, she then felt, she had performed a necessary cure for an unhealthy obsession.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 208" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 208</BIBCIT></BIBCITS> <PMANUSCRIPTHISTORY><NAME STANDARD="Dick, Susan" REF="https://commons.cwrc.ca/orlando:1d7e6a4b-8435-45d5-8905-bac24e533859">Susan Dick</NAME> has transcribed and edited the original manuscript of this novel, showing interlineations, marginal additions, and the pen-strokes with which Woolf crossed out rejected passages.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Lighthouse holograph" DBREF="38208" REF="https://commons.cwrc.ca/orlando:26f13d4a-5d59-4b12-a715-ae0e83431775"/></BIBCITS></PMANUSCRIPTHISTORY></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TSETTINGPLACE SETTINGPLACETYPE="FICTIVE" SETTINGCLASS="MIDDLECLASS"><TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE> consists of three parts, <TITLE TITLETYPE="ANALYTIC">The Window</TITLE>, <TITLE TITLETYPE="ANALYTIC">Time Passes</TITLE>, and <TITLE TITLETYPE="ANALYTIC">The Lighthouse</TITLE>. In the first, the Ramsay family and their guests at their holiday home in the <PLACE><REGION REG="Skye">Isle of Skye</REGION><GEOG REG="Scotland"/></PLACE></TSETTINGPLACE> <TSETTINGPLACE SETTINGPLACETYPE="IDENTIFIABLE" SETTINGCLASS="MIDDLECLASS">(a fictional version of Woolf's remembered <PLACE><REGION>Cornwall</REGION><GEOG REG="England"/></PLACE>) plan to visit the lighthouse,</TSETTINGPLACE> but, to the intense disappointment of James, the youngest, the weather makes it impossible. In the last, after the intervention of the <TOPIC>First World War</TOPIC> and the deaths of <TCHARACTERNAME>Mrs Ramsay</TCHARACTERNAME> and two of her children, the two youngest, the now grown-up Cam (Camilla) and James, make the trip to the lighthouse with their father: a little voyage no longer of ecstasy, but of remembrance.<TVOICENARRATION>The book, particularly the centre section, makes some use of an omniscient narrating voice (including the parenthetical relation of the sudden deaths of Mrs Ramsay, of the recently-married Prue Ramsay <QUOTE DIRECT="Y">in some illness connected with childbirth,</QUOTE> and of Andrew Ramsay in the <TOPIC>First World War</TOPIC>).<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Lighthouse 1982, 205" DBREF="38272" REF="https://commons.cwrc.ca/orlando:bd78cc51-d063-4c4f-ae3c-10d8cc5c85f9">205</BIBCIT></BIBCITS> But almost always both narrative and description are filtered through the minds of one or other of the characters.</TVOICENARRATION>This book sets out a transfigured version of the <TTHEMETOPIC>Victorian family</TTHEMETOPIC>, modelled on Woolf's own. The <TCHARACTERTYPEROLE PROTAGONIST="FEMALE">matriarch</TCHARACTERTYPEROLE> Mrs Ramsay <QUOTE DIRECT="Y">had the whole of the other sex under her protection; for reasons she could not explain, for their chivalry and valour, for the fact that they negotiated treaties, ruled India, controlled finance,</QUOTE> and because of their trustful and reverential attitude towards women.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Lighthouse 1982, 15" DBREF="38272" REF="https://commons.cwrc.ca/orlando:bd78cc51-d063-4c4f-ae3c-10d8cc5c85f9">15</BIBCIT></BIBCITS> <TTECHNIQUES TECHNIQUETYPE="IMAGERY"><TCHARACTERNAME>Mr Ramsay</TCHARACTERNAME> is a <TCHARACTERTYPEROLE PROTAGONIST="MALE">great scholar</TCHARACTERTYPEROLE>, battling his way through the deserts of abstract thought like explorers through the Arctic wastes;</TTECHNIQUES> he is <QUOTE DIRECT="Y">petty, selfish, vain, egotistical; he is spoilt; he is a tyrant,</QUOTE> but he has also <QUOTE DIRECT="Y">a fiery unworldliness</QUOTE> and he loves dogs and his eight children.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Lighthouse 1982, 43" DBREF="38272" REF="https://commons.cwrc.ca/orlando:bd78cc51-d063-4c4f-ae3c-10d8cc5c85f9">43</BIBCIT></BIBCITS> This character of him comes from the mind of <TCHARACTERNAME>Lily Briscoe</TCHARACTERNAME>, the woman who got away from Mrs Ramsay's match-making projects because of her lack of coventional beauty and her vocation as an artist. Lily, the most memorable among the Ramsays' guests, is without delusions of grandeur. She knows people will not cherish her paintings (she expects them to remain rolled up in attics) but she faces down <TCHARACTERNAME>Charles Tansley</TCHARACTERNAME>'s sneering: <QUOTE DIRECT="Y">Women can't paint, women can't write,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Lighthouse 1982, 247" DBREF="38272" REF="https://commons.cwrc.ca/orlando:bd78cc51-d063-4c4f-ae3c-10d8cc5c85f9">247</BIBCIT></BIBCITS> <TTECHNIQUES TECHNIQUETYPE="IMAGERY">and struggles to get just right a painting of Mrs Ramsay and James which has a three-cornered form parallel to that of the novel itself. She finally completes her work with a line down the centre, as the novel is completed by the break between its two major sections.</TTECHNIQUES> Whereas in the first section of the novel Mrs Ramsay drew together all the <TTHEMETOPIC>disparate and jarring personalities</TTHEMETOPIC> round the evening meal of her famous <FOREIGN LANG="fr">boeuf en daube</FOREIGN>, in the final section Lily feels uncomfortably the pressure on her to take up the mantle of Mrs Ramsay and to minister to Mr Ramsay's colossal <TTHEMETOPIC>need for feminine sympathy</TTHEMETOPIC>, while Cam, the youngest Ramsay girl, feels the pressure to break her pact with her brother James of resistance to their father. Opposition lies closer to the surface in this section of the novel, to be dissolved in the double ending, as Mr Ramsay leaps ashore like a young man at the lighthouse, after giving James the praise he thirsts for, while Lily completes her painting and provides the closing words: <QUOTE DIRECT="Y">I have had my vision.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Lighthouse 1982, 320" DBREF="38272" REF="https://commons.cwrc.ca/orlando:bd78cc51-d063-4c4f-ae3c-10d8cc5c85f9">320</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDYES"><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> found the <TITLE TITLETYPE="JOURNAL">Times Literary Supplement</TITLE> notice depressingly similar to the same journal's views of <TITLE TITLETYPE="MONOGRAPHIC">Jacob's Room</TITLE> and <TITLE TITLETYPE="MONOGRAPHIC">Mrs. Dalloway</TITLE>: that is, in her summary, <QUOTE DIRECT="Y">gentlemanly, kindly, timid &amp; praising beauty, doubting character.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 134" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 134</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL" GENDEREDRESPONSE="GENDEREDNO">Again <NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME> delivered thoughtful approbation: <QUOTE DIRECT="Y">awfully sad, very beautiful . . . it stirs me much more to questions of whether &amp; why than anything else you have written. . . . I am inclined to think it your best work.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 137" DBREF="108708" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 137</BIBCIT></BIBCITS></RRESPONSES> <RSELFDESCRIPTION>Woolf herself was provoked to careful self-scrutiny. <QUOTE DIRECT="Y">I am now almost an established figure—as a writer. They dont laugh at me any longer. Soon they will take me for granted. Possibly I shall be a celebrated writer. Anyhow, <TITLE TITLETYPE="MONOGRAPHIC" REG="To the Lighthouse" REND="normal">The Lighthouse</TITLE> is much more nearly a success, in the usual sense of the word, than any other book of mine.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 137" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 137</BIBCIT></BIBCITS></RSELFDESCRIPTION></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1928-05-02">2 May 1928</DATE> <CHRONPROSE><RRECOGNITIONS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> received the <RRECOGNITIONNAME REG="Prix Femina">Femina Vie Heureuse Prize</RRECOGNITIONNAME> (foreign book category) for <TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE>. The award had been announced by the <TITLE TITLETYPE="JOURNAL">Times</TITLE> on <DATE VALUE="1928-03-28">28 March</DATE>.</RRECOGNITIONS></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 3: 479 and n1" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">3: 479 and n1</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><RRECOGNITIONS>Woolf's attitude to this honour (which, however, was unusual in that she did not decline it) remained deprecating and satirical. She called it <QUOTE DIRECT="Y">the most insignificant and ridiculous of prizes</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 3: 479" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">3: 479</BIBCIT></BIBCITS> and <QUOTE DIRECT="Y">my dog show prize</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 3: 491" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">3: 491</BIBCIT></BIBCITS> She sounded scornful of <NAME STANDARD="Benson, Stella" REF="https://commons.cwrc.ca/orlando:94dd172c-8862-44b7-a3bc-d31706078ff7">Stella Benson</NAME> (who came second and took the evaluation seriously). The prospect of being given a cheque for <RRECOGNITIONVALUE>forty pounds</RRECOGNITIONVALUE> by <NAME STANDARD="Walpole, Hugh" REF="https://commons.cwrc.ca/orlando:0d38dc6a-2e24-49a0-93b5-472484ada59c">Hugh Walpole</NAME> provoked the comment: <QUOTE DIRECT="Y">My god! Is it worth it? Echo answers no.</QUOTE> But not all of this can be taken at face value: much of it was addressed to her student nephew <NAME STANDARD="Bell, Julian,, 1908 - 1937" REF="https://commons.cwrc.ca/orlando:69af7417-5078-4267-8023-9743eda824a9">Julian Bell</NAME>, and in the same breath she called <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE>, then in progress, <QUOTE DIRECT="Y">an extremely foolish book.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 3: 491" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">3: 491</BIBCIT></BIBCITS> She felt the occasion of the award to be <QUOTE DIRECT="Y">of a horror indescribable</QUOTE>;<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 3: 498" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">3: 498</BIBCIT></BIBCITS> Walpole concurred in thinking it <QUOTE DIRECT="Y">frightful</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 3: 492" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">3: 492</BIBCIT></BIBCITS> It took place <QUOTE DIRECT="Y">in a South Kensington drawing room full of elderly fur bearing women,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 3: 495" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">3: 495</BIBCIT></BIBCITS> some of them novelists of an earlier generation, like <NAME STANDARD="Robins, Elizabeth" REF="https://commons.cwrc.ca/orlando:352b2264-6d4f-43f6-97c3-12bc9169cfdd">Elizabeth Robins</NAME> and <NAME STANDARD="Harraden, Beatrice" REF="https://commons.cwrc.ca/orlando:8bbb9a03-3e40-40dc-9c15-6cd482dafa3c">Beatrice Harraden</NAME>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 3: 498" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">3: 498</BIBCIT></BIBCITS> Apparently for Woolf the formal atmosphere was at odds with her sense of what it was (or what she had made it) to be a writer.</RRECOGNITIONS><RRESPONSES RESPONSETYPE="RE-EVALUATION" FORMALITY="FORMAL"><NAME STANDARD="Auerbach, Erich" REF="https://commons.cwrc.ca/orlando:3f8b6a39-d99b-4bb7-84c7-d93fd08d63cb">Erich Auerbach</NAME> chose a passage from early in <TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE>, which he calls <TITLE TITLETYPE="ANALYTIC">The Brown Stocking</TITLE>, to close his influential work <TITLE TITLETYPE="MONOGRAPHIC" REG="Mimesis">Mimesis: The Representation of Reality in Western Literature</TITLE>, 1946 (which begins with <NAME STANDARD="Homer" REF="https://commons.cwrc.ca/orlando:4f4ea353-9796-4001-bd7b-f674eaea6937">Homer</NAME>, and spends so long with what used to be called the Dark and the Middle Ages that <NAME STANDARD="Rabelais, François" REF="https://commons.cwrc.ca/orlando:bab23a2f-594e-49b4-887c-532042b48c04">Rabelais</NAME> comes just past the half-way mark). In Woolf's writing, Auerbach justly observes, the objective narrator almost entirely vanishes, giving way to narration through multiple consciousness; the treatment of time approximates more closely to the workings of a remembering consciousness than to literal sequence; the events related are minor, random, unimpressive, whereas turning-points and catastrophes occur offstage if at all. In this way, he suggests, <QUOTE DIRECT="Y">something new and elemental appeared: nothing less than the wealth of reality and depth of life in every moment to which we surrender ourselves without prejudice.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Auerbach 552" DBREF="22187" REF="https://commons.cwrc.ca/orlando:71d35996-d90f-43c9-a9e7-1f000c571d32">552</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING><TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE></HEADING><DIV2><TEXTSCOPE DBREF="38240" PLACEHOLDER="VW, Orlando, 1928" REF="https://commons.cwrc.ca/orlando:58431039-924d-45f8-be20-342fad31cb0e"/><PRODUCTION><SHORTPROSE><PATTITUDES>Woolf's <TGENRE GENRENAME="DIARY">diary</TGENRE> records almost a year of her love-affair with this book. On 22 October 1927 she was <QUOTE DIRECT="Y">launched somewhat furtively but with all the more passion</QUOTE> on writing it, and expected it to be a small book, finished by Christmas. <QUOTE DIRECT="Y">I walk making up phrases; sit, contriving scenes; am in short of the thick of the greatest rapture known to me.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 161" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 161</BIBCIT></BIBCITS> She <QUOTE DIRECT="Y">felt happier than for months; as if put in the sun, or laid on cushions; &amp; after two days entirely gave up my time chart &amp; abandoned myself to the pure delight of this farce.</QUOTE> She said she was writing it <QUOTE DIRECT="Y">half in a mock style very clear &amp; plain, so that people will understand every word,</QUOTE> holding a careful balance between truth and fantasy.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 162" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 162</BIBCIT></BIBCITS></PATTITUDES> In December (having given up any idea of publishing by Christmas) she wrote: <QUOTE DIRECT="Y">How extraordinarily unwilled by me but potent in its own right by the way <TITLE TITLETYPE="MONOGRAPHIC" REND="normal">Orlando</TITLE> was! as if it shoved everything aside to come into existence.</QUOTE> Yet she realised that even before she thought of its central idea she had been hoping to write something of this kind: <QUOTE DIRECT="Y">the spirit to be satiric, the structure wild.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 168" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 168</BIBCIT></BIBCITS> <PATTITUDES>Writing the last chapter, in February, she felt that pleasure and excitement had given way to boredom and anxiety,<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 175" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 175</BIBCIT></BIBCITS> yet the next month, having finished the first draft, she felt she had written more quickly than ever before, and that <QUOTE DIRECT="Y">it is all a joke, &amp; yet gay &amp; quick reading, I think; a writers holiday.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 177" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 177</BIBCIT></BIBCITS></PATTITUDES></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1927-10-28">28 October 1927</DATE> <CHRONPROSE><PRARITIESFEATURESDECORATIONS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> visited <PLACE><PLACENAME REG="Knole House">Knole</PLACENAME> in <SETTLEMENT REG="Sevenoaks"/> <REGION>Kent</REGION><GEOG REG="England"/></PLACE> with <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> to choose portraits of the Sackville family for <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE> (three were used in the book).</PRARITIESFEATURESDECORATIONS></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 3: 434n1" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">3: 434n1</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><TGENREISSUE>This she imagined as <QUOTE DIRECT="Y">a <TGENRE GENRENAME="BIOGRAPHY">biography</TGENRE> beginning in the year <DATE VALUE="1500">1500</DATE> and continuing to the present day, called Orlando: <TCHARACTERIZATION>Vita; only with a change from one sex to another.</TCHARACTERIZATION></QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 161" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 161</BIBCIT></BIBCITS></TGENREISSUE></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1928-10-11">11 October 1928</DATE> <CHRONPROSE><TGENREISSUE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> <TITLE TITLETYPE="MONOGRAPHIC" REG="Orlando">Orlando, A Biography</TITLE> (a <TGENRE GENRENAME="NOVEL">fictional</TGENRE> <TGENRE GENRENAME="BIOGRAPHY">biography</TGENRE> which is also a <TGENRE GENRENAME="MOCKFORMS">spoof</TGENRE> <TGENRE GENRENAME="HISTORY">literary history</TGENRE>).</TGENREISSUE></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 199" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 199</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PCIRCULATION>It its first six months it sold 8,104 copies in England (twice as many as <TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE>) and 13,031 from <ORGNAME STANDARD="Harcourt Brace" REF="https://commons.cwrc.ca/orlando:f198662b-62f3-4d14-a5cb-df063e9f3af4">Harcourt Brace</ORGNAME> in the <PLACE><GEOG>USA</GEOG></PLACE>.<BIBCITS><BIBCIT PLACEHOLDER="Glendinning 205" DBREF="294" REF="https://commons.cwrc.ca/orlando:0a13cd4f-1328-4f2c-9064-b0bc6c9c05b9">205</BIBCIT></BIBCITS> The Hogarth office boy, <NAME STANDARD="Kennedy, Richard" REF="https://commons.cwrc.ca/orlando:da4522e7-baad-44c0-bf9b-993efec1dce6">Richard Kennedy</NAME>, later recalled it <QUOTE DIRECT="Y">selling like hot cakes.</QUOTE> His job was to ensure they did not run out of stock, by counting the packages as they came from the binders. <QUOTE DIRECT="Y">I count them several times a day, but there are always fewer than I expect.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Kennedy 42" DBREF="37825" REF="https://commons.cwrc.ca/orlando:0f815425-f391-4926-8b63-9bb43c5f1b2b">42</BIBCIT></BIBCITS></PCIRCULATION> <PEARNINGS>This made it a high point in <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s earnings.<BIBCITS><BIBCIT PLACEHOLDER="Glendinning 205" DBREF="294" REF="https://commons.cwrc.ca/orlando:0a13cd4f-1328-4f2c-9064-b0bc6c9c05b9">205</BIBCIT></BIBCITS></PEARNINGS> <PARCHIVALLOCATION><PMANUSCRIPTHISTORY><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> gave the beautifully bound manuscript of <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE> to <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita</NAME>, who kept it as a treasure.<BIBCITS><BIBCIT PLACEHOLDER="Glendinning 207" DBREF="294" REF="https://commons.cwrc.ca/orlando:0a13cd4f-1328-4f2c-9064-b0bc6c9c05b9">207</BIBCIT></BIBCITS> It is still regularly on display in the Great Hall at <PLACE><PLACENAME>Knole House</PLACENAME><SETTLEMENT REG="Sevenoaks"/><REGION REG="Kent"/><GEOG REG="England"/></PLACE>.</PMANUSCRIPTHISTORY></PARCHIVALLOCATION></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TSETTINGDATE SETTINGDATETYPE="PAST"><TSETTINGPLACE SETTINGPLACETYPE="IDENTIFIABLE" SETTINGCLASS="UPPERCLASS">The protagonist of <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE> notoriously begins as a <TCHARACTERTYPEROLE PROTAGONIST="MALE">sixteen-year-old romantic boy</TCHARACTERTYPEROLE> in the attic of a palatial great house in the late sixteenth century, practising sword-thrusts at the shrunken head of a Moor killed by one of his ancestors on the Crusades, and working at his <TITLE TITLETYPE="UNPUBLISHED">Æthelbert, A Tragedy in Five Acts</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 18" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">18</BIBCIT></BIBCITS> <TCHARACTERNAME>Orlando</TCHARACTERNAME> charms <NAME STANDARD="Elizabeth I, Queen" REF="https://commons.cwrc.ca/orlando:5ac060d4-2d7e-4684-a2ab-537a0c86e4ba">Queen Elizabeth</NAME> and engages in innumerable affairs culminating in his love for the <TCHARACTERTYPEROLE>Russian princess</TCHARACTERTYPEROLE> Sasha, whom he loses at the conclusion of the book's first great set piece from this period, the <TTHEMETOPIC>frost fair on the frozen <PLACE><REGION>Thames</REGION><GEOG REG="England"/></PLACE></TTHEMETOPIC>.</TSETTINGPLACE></TSETTINGDATE> <TMOTIF MOTIFNAME="rural retirement">Orlando retires to his estate after this</TMOTIF>, and turns from his <QUOTE DIRECT="Y">forty-seven plays, histories, romances, poems</QUOTE> concerning mythological personages, <QUOTE DIRECT="Y">all romantic, and all long,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 72" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">72</BIBCIT></BIBCITS> to the only slim manuscript among them, his poem <TITLE TITLETYPE="UNPUBLISHED">The Oak Tree</TITLE> (<QUOTE DIRECT="Y">the only monosyllabic title among the lot</QUOTE>) about the spot on his estate which is his constant musing-place in time of difficulty.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 73" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">73</BIBCIT></BIBCITS> He now confirms his central identity as a <TCHARACTERTYPEROLE PROTAGONIST="MALE">writer</TCHARACTERTYPEROLE> and seeks advice from the disreputable but successful poet <TCHARACTERNAME>Nick Greene</TCHARACTERNAME>. Greene, however, first snubs and then satirises him, so that Orlando, <QUOTE DIRECT="Y">at the age of thirty, or thereabouts . . . . burnt in a great conflagration fifty-seven poetical works, only retaining <TITLE TITLETYPE="ANALYTIC">The Oak Tree</TITLE>.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 90" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">90</BIBCIT></BIBCITS> He turns his attention to breeding hounds, thinking, and furnishing his great house. <TSETTINGDATE SETTINGDATETYPE="PAST"><TSETTINGPLACE SETTINGPLACETYPE="REAL" SETTINGCLASS="WIDERANGE">Meanwhile he outlives his Elizabethan beginnings, and during the reign of <NAME STANDARD="Charles II, King" REF="https://commons.cwrc.ca/orlando:72379002-6824-4956-a68a-6734cf90fd18">Charles II</NAME> is sent as British Ambassador to <PLACE><SETTLEMENT CURRENT="Istanbul" REG="Istanbul">Constantinople</SETTLEMENT><GEOG REG="Turkey"/></PLACE>.</TSETTINGPLACE></TSETTINGDATE> <TTECHNIQUES TECHNIQUETYPE="IMAGERY">There, in a <TGENRE GENRENAME="MASQUE">masque</TGENRE>-like metamorphosis featuring (on one side) <QUOTE DIRECT="Y">Truth, Candour, and Honesty, the austere Gods who keep watch and ward by the inkpot of the biographer,</QUOTE> and on the other side <QUOTE DIRECT="Y">our Lady of Purity,</QUOTE> <QUOTE DIRECT="Y">our Lady of Chastity,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 123" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">123</BIBCIT></BIBCITS> and <QUOTE DIRECT="Y">our Lady of Modesty,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 124" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">124</BIBCIT></BIBCITS> the awful truth is revealed that <QUOTE DIRECT="Y">he was a woman.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 126" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">126</BIBCIT></BIBCITS></TTECHNIQUES>The new, female Orlando (though his gender has always been subject to hints and dubious suggestions) is essentially unchanged—in identity if not in future. After an interlude among the gipsies, Orlando's new status as an English gentlewoman provides scope for some finely contradictory musings on the topic of gender. She has no sooner concluded it better <QUOTE DIRECT="Y">to be clothed with poverty and ignorance, which are the dark garments of the female sex; better to leave the rule and discipline of the world to others,</QUOTE> and to be left free for the enjoyment of <QUOTE DIRECT="Y">contemplation, solitude, love,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 146" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">146</BIBCIT></BIBCITS> than she realises that making <TMOTIF MOTIFNAME="rights of women">a woman's life in England <QUOTE DIRECT="Y">meant conventionality, meant slavery, meant deceit, meant denying her love, fettering her limbs, pursing her lips, and restraining her tongue.</QUOTE></TMOTIF> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 149" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">149</BIBCIT></BIBCITS> She is offered courtship and worship by the <TCHARACTERNAME>Archduke Harry</TCHARACTERNAME> (formerly <TMOTIF MOTIFNAME="cross-dressing">masquerading</TMOTIF> as the <TCHARACTERNAME>Archduchess Harriet</TCHARACTERNAME>) and forced to get rid of him by humiliating him. <TINTERTEXTUALITY INTERTEXTTYPE="ALLUSIONACKNOWLEDGED" GENDEROFAUTHOR="MAN">She tries to associate herself with literary men, and thinks that future ages will envy her the honour of pouring tea for <NAME STANDARD="Pope, Alexander" REF="https://commons.cwrc.ca/orlando:7bd29feb-f197-4fb5-bf53-8dd3f6574d59">Alexander Pope</NAME>, till she unwittingly insults him and realises he is willing, <QUOTE DIRECT="Y">though the rapier is denied him, to run her through the body with his pen.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 194" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">194</BIBCIT></BIBCITS></TINTERTEXTUALITY> She sees the eighteenth century out, and the nineteenth encroaches like a cloud spreading across the sky. <TTECHNIQUES TECHNIQUETYPE="IMAGERY">Damp <QUOTE DIRECT="Y">now began to make its way into every house.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 205" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">205</BIBCIT></BIBCITS> Shrubberies and beards sprouted, <QUOTE DIRECT="Y">sentences swelled, adjectives multiplied . . . and little trifles that had been essays a column long were now encyclopaedias in ten or twenty volumes.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Orlando 1978, 207" DBREF="38273" REF="https://commons.cwrc.ca/orlando:58869d9c-e0dd-4f64-b492-9467479f333d">207</BIBCIT></BIBCITS></TTECHNIQUES> In due course Orlando meets the love of her life, <TCHARACTERNAME>Marmaduke Bonthrop Shelmerdine</TCHARACTERNAME>, Esquire, and nearly thirty pages before the end of the book the narrative reaches the present moment (meticulously dated): a present interlayered with memories of the past, in which <TTECHNIQUES TECHNIQUETYPE="IMAGERY">the rush of modern life is conveyed by shopping and driving in a car, and ecstasy is conveyed by the flight of a kingfisher.</TTECHNIQUES><TGENREISSUE>Though the story is sprinkled throughout with cleverly tailored allusions to the specifics of <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME>'s <TGENRE GENRENAME="BIOGRAPHY">life</TGENRE> (such as the lawsuit about the inheritance of <PLACE><PLACENAME REG="Knole House">Knole</PLACENAME><SETTLEMENT REG="Sevenoaks"/><REGION REG="Kent"/><GEOG REG="England"/></PLACE>), Woolf does not lose sight of the element of <TGENRE GENRENAME="MOCKFORMS">mock <TGENRE GENRENAME="HISTORY">history</TGENRE></TGENRE> of literature and of English culture.</TGENREISSUE></SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE> set a new level in <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s public reputation. <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">The usual polarization of reviews was represented by <NAME STANDARD="Squire, Sir John Collings" REF="https://commons.cwrc.ca/orlando:c1a3bce0-76a8-4e48-a937-f54da5a92af5">J. C. Squire</NAME> in <TITLE TITLETYPE="JOURNAL">The Observer</TITLE> calling it <QUOTE DIRECT="Y">a very pleasant trifle</QUOTE> that would <QUOTE DIRECT="Y">entertain the drawing-rooms for an hour</QUOTE> and <NAME STANDARD="West, Rebecca" REF="https://commons.cwrc.ca/orlando:c4c21211-2589-4d70-8599-284d6dcc5b83">Rebecca West</NAME> in the <TITLE TITLETYPE="JOURNAL">Morning Post</TITLE> calling it <QUOTE DIRECT="Y">a poetic masterpiece of the first rank.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 200n3" DBREF="108708" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 200n3</BIBCIT></BIBCITS> At the end of November the <TITLE TITLETYPE="JOURNAL">Daily Chronicle</TITLE> pronounced: <QUOTE DIRECT="Y">The book in Bloomsbury is a joke, in Mayfair a necessity, and in America a classic.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Glendinning 205" DBREF="294" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:0a13cd4f-1328-4f2c-9064-b0bc6c9c05b9">205</BIBCIT></BIBCITS></RRESPONSES> <RPENALTIES><NAME STANDARD="Sackville, Victoria Sackville-West,,, Baroness" REF="https://commons.cwrc.ca/orlando:75c3dc1f-7963-47ac-9d65-707b86a9d909">Lady Sackville</NAME> (Vita's mother) waged a campaign against it, defacing her own copy, writing letters to influential friends to vilify it, and visiting bookshops to hide their copies. <PAUTHORSHIP AUTHORSHIPCONTROVERSY="MISATTRIBUTION" CONTROVERSYDATE="HISTORICAL">She also publicised her suspicion that it was actually written by <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita</NAME>.</PAUTHORSHIP></RPENALTIES> <BIBCITS><BIBCIT PLACEHOLDER="Glendinning 206" DBREF="294" REF="https://commons.cwrc.ca/orlando:0a13cd4f-1328-4f2c-9064-b0bc6c9c05b9">206</BIBCIT></BIBCITS> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL">In a letter to <NAME STANDARD="Lawrence, D. H." REF="https://commons.cwrc.ca/orlando:2e311818-3f6a-465a-b26d-e6cd59f3ef71">D. H. Lawrence</NAME> on <DATE VALUE="1928-12-12">12 December 1928</DATE>, <NAME STANDARD="Huxley, Aldous" REF="https://commons.cwrc.ca/orlando:a412f2f1-254f-4ea8-b001-d207a3d46bee">Aldous Huxley</NAME> described the text as <QUOTE DIRECT="Y">so terribly literary and <SOCALLED>fantaisiste</SOCALLED> that nothing is left in it at all. It's almost the most highly exhausted vacuum I've ever known.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Huxley, Letters 305" DBREF="11121" REF="https://commons.cwrc.ca/orlando:54a4bb94-22cd-4fac-bc4d-e16047ef9fea">305</BIBCIT></BIBCITS></RRESPONSES><RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL" GENDEREDRESPONSE="ADFEMINAM"><TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE> continues to arouse strong positive and negative feeling. <NAME STANDARD="Winterson, Jeanette" REF="https://commons.cwrc.ca/orlando:61a735f3-e071-49c1-8b3b-030bf79bbda5">Jeanette Winterson</NAME>'s celebration of it in <DATE VALUE="2002-07-27">July 2002</DATE> (on a <ORGNAME STANDARD="BBC" REG="British Broadcasting Corporation" REF="https://commons.cwrc.ca/orlando:b8ac2ad8-b938-4e1d-8e71-582f5a67513e">BBC2</ORGNAME> programme entitled <TITLE TITLETYPE="SERIES">Art That Shook the World</TITLE>) as one of the great turning points in literature, evoked almost vituperative response from the <TITLE TITLETYPE="JOURNAL">Sunday Times</TITLE> television critic <NAME STANDARD="Gill, A. A." REF="https://commons.cwrc.ca/orlando:678d7dd9-0c20-4f4f-9461-be4dde71bc3d">A. A. Gill</NAME>. He undermined Winterson with demeaning praise (<QUOTE DIRECT="Y">intuitive, smart, self-assured</QUOTE>) and accused Woolf of equal and opposite crimes (cerebral and excessive in feeling, elitist and shallowly socialist).<BIBCITS><BIBCIT PLACEHOLDER="Gill 13" DBREF="13754" REF="https://commons.cwrc.ca/orlando:155fad52-493e-42b2-92ca-d0bcdd6887e9">13</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION><PRODUCTION><SHORTPROSE><PNONBOOKMEDIA><NAME STANDARD="Potter, Sally" REF="https://commons.cwrc.ca/orlando:e36d7cb9-01f9-47df-b08f-5bac8eb2575d">Sally Potter</NAME> directed a highly successful film of <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE> in <DATE VALUE="1992">1992</DATE> with <NAME STANDARD="Swinton, Tilda" REF="https://commons.cwrc.ca/orlando:c24758dc-ba35-4dd6-8957-392c7d903289">Tilda Swinton</NAME> playing the lead.<BIBCITS><BIBCIT PLACEHOLDER="IMDb under Orlando" DBREF="12265" REF="https://commons.cwrc.ca/orlando:55f6f91a-21ff-4e35-99f6-5e48f81b5cbf">under Orlando</BIBCIT></BIBCITS> In 2010 <NAME STANDARD="Ruhl, Sarah" REF="https://commons.cwrc.ca/orlando:720252c4-bb09-4e25-b946-6592cb6726bb">Sarah Ruhl</NAME> directed for <ORGNAME STANDARD="Classic Stage Company" REF="https://commons.cwrc.ca/orlando:17463276-289e-4ace-9e66-f7b4d946a205">Classic Stage Company</ORGNAME>, <PLACE><SETTLEMENT REG="New York City">New York</SETTLEMENT><REGION REG="New York"/><GEOG REG="USA"/></PLACE>, a stage version which stayed remarkably close to <QUOTE DIRECT="Y">the feminist and the fabulist</QUOTE> qualities of the original, including the sex-change scene.<BIBCITS><BIBCIT PLACEHOLDER="Isherwood" DBREF="65645" REF="https://commons.cwrc.ca/orlando:bdbcbe7b-8610-44b3-b06b-f73e950fb1a5"/></BIBCITS></PNONBOOKMEDIA></SHORTPROSE></PRODUCTION></DIV2></DIV1><DIV1><HEADING><TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE></HEADING><DIV2><TEXTSCOPE DBREF="11367" PLACEHOLDER="VW, A Room of One's Own, 1929" REF="https://commons.cwrc.ca/orlando:a69642d8-c2b9-460a-a27a-81cf2c3232c1"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1928-10-20">20 October 1928</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> delivered one of her two <TGENRE GENRENAME="ESSAY">papers</TGENRE>, <TITLE TITLETYPE="ANALYTIC">Women and Fiction</TITLE> (later revised to become <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE>), at <ORGNAME STANDARD="Newnham College,, Cambridge University" REG="Newnham College,, Cambridge University" REF="https://commons.cwrc.ca/orlando:9e4df6db-777a-46b1-9180-b1c99ce35e75">Newnham College</ORGNAME>, <PLACE><SETTLEMENT>Cambridge</SETTLEMENT><REGION REG="Cambridgeshire"/><GEOG REG="England"/></PLACE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 199" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 199</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>She travelled with <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa</NAME> and <NAME STANDARD="Bell, Angelica" REF="https://commons.cwrc.ca/orlando:3310c271-959b-4b2b-aa6d-48068dfb19d2">Angelica Bell</NAME> to Cambridge, where she stayed with <NAME STANDARD="Strachey, Pernel" REF="https://commons.cwrc.ca/orlando:2bbad8b0-15bd-4edf-a0cb-a72b6f3c64f0">Pernel Strachey</NAME>, Principal of Newnham.</SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1928-10-26">26 October 1928</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> travelled to <PLACE><SETTLEMENT>Cambridge</SETTLEMENT><REGION REG="Cambridgeshire"/><GEOG REG="England"/></PLACE> with <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> to deliver a second <TITLE TITLETYPE="ANALYTIC">Women and Fiction</TITLE> <TGENRE GENRENAME="ESSAY">paper</TGENRE> at <ORGNAME STANDARD="Girton College,, Cambridge University" REG="Girton College,, Cambridge University" REF="https://commons.cwrc.ca/orlando:9cc84e38-5023-4022-8953-1e9439299537">Girton College</ORGNAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 199" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 199</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1929-03">March 1929</DATE> <CHRONPROSE><PPLACEOFPUBLICATION><PPERIODICALPUBLICATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published <TGENRE GENRENAME="ESSAY"><TITLE TITLETYPE="ANALYTIC">Women and Fiction</TITLE></TGENRE> (from her two lectures given at the women's colleges at <ORGNAME STANDARD="Cambridge University" REG="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge</ORGNAME>) in <TITLE TITLETYPE="JOURNAL">Forum</TITLE> (<PLACE><SETTLEMENT REG="New York City">New York</SETTLEMENT><REGION REG="New York"/><GEOG REG="USA"/></PLACE>).</PPERIODICALPUBLICATION></PPLACEOFPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Hussey 368" DBREF="14649" REF="https://commons.cwrc.ca/orlando:75f48e7d-017b-44a8-a174-d92092214497">368</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1929-10-24">24 October 1929</DATE> <CHRONPROSE><RLANDMARKTEXT><PEDITIONS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE> simultaneously with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> and with <ORGNAME STANDARD="Harcourt Brace" REF="https://commons.cwrc.ca/orlando:f198662b-62f3-4d14-a5cb-df063e9f3af4">Harcourt Brace</ORGNAME> in America.</PEDITIONS></RLANDMARKTEXT></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 227n11" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 227n11</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PMODEOFPUBLICATION PUBLICATIONMODE="LIMITEDEDITION">A small, limited edition had appeared four days before this in the USA.</PMODEOFPUBLICATION> <RSELFDESCRIPTION>Before it appeared, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>, anticipating in effect antifeminist response (<QUOTE DIRECT="Y">of the evasive jocular kind</QUOTE>), noted: <QUOTE DIRECT="Y">I wrote it with ardour &amp; conviction.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 262" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 262</BIBCIT></BIBCITS></RSELFDESCRIPTION></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1929-11-22">22 November 1929</DATE> <CHRONPROSE><PPERIODICALPUBLICATION>The first of two excerpts from <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE> appeared in <TITLE TITLETYPE="JOURNAL">Time and Tide</TITLE>.</PPERIODICALPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 125" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">125</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PEARNINGS>During the year of <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s literary earnings amounted to about £3,020—which she equated to the salary of a civil servant.</PEARNINGS> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 285" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 285</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>This long essay, evolved from two lectures under the title <TITLE TITLETYPE="ANALYTIC">Women and Fiction</TITLE>, asks what conditions need to be met before women can realise their creative potential. The answers (a room of one's own and five hundred pounds a year) demonstrate a firm grasp on materialist-feminist principles, with money and personal space standing in for autonomy, independence of body and mind. <TINTERTEXTUALITY INTERTEXTTYPE="ALLUSIONUNACKNOWLEDGED">Woolf couches her argument in the form of the case-histories of three women, <TCHARACTERNAME>Mary Beton</TCHARACTERNAME> (narrator for much of the work), <TCHARACTERNAME>Mary Seton</TCHARACTERNAME> (the aunt who left Mary Beton enough money to be independent), and <TCHARACTERNAME>Mary Carmichael</TCHARACTERNAME> (a promising young novelist). These names belong to a traditional ballad, <TITLE TITLETYPE="ANALYTIC">Mary Hamilton</TITLE>, which is sometimes called <TITLE TITLETYPE="ANALYTIC">The Queen's Maries</TITLE> or <TITLE TITLETYPE="ANALYTIC">The Four Maries</TITLE>. In the ballad these are the Scots maids of honour who survive, while the protagonist, <TCHARACTERNAME>Mary Hamilton</TCHARACTERNAME>, is hanged for the murder of the bastard child she has borne to the king.</TINTERTEXTUALITY> In Woolf's essay; the silent, unmentionable Mary Hamilton, victim to her sexuality and to the class hierarchy, haunts the essay as does Woolf's posited <TCHARACTERNAME>Judith Shakespeare</TCHARACTERNAME>, sister of the poet-dramatist and born with equal genius, whom she supposes to have <TMOTIF MOTIFNAME="suicide">killed herself</TMOTIF> when she <TMOTIF MOTIFNAME="pregnancy">became pregnant by the theatre manager</TMOTIF>.<BIBCITS><BIBCIT PLACEHOLDER="Grundy, Words Without Meaning 215-16" DBREF="38286" REF="https://commons.cwrc.ca/orlando:2cc81cb7-0356-4c97-947a-b4b3843e993d">215-16</BIBCIT></BIBCITS> Only through such ahistorical myths of history does <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> suggest that the bar to women's creativity has been the exploitation of female sexuality by men.She writes more directly of <TTHEMETOPIC>money</TTHEMETOPIC>, of the riches lavished through the ages on <TTHEMETOPIC>masculine institutions like the ancient universities</TTHEMETOPIC>, but here too her clinching example is one of the imagination: her contrast of the two meals, the spare, high-minded, sustaining prunes and custard at the women's college and the celebratory gourmet's feast (every course a work of art, conspiring to create a sense of shared brilliance among those who consume it) at the men's college. She reflects a strong sense of women's presence, despite everything, in literary history. Though she writes that <NAME STANDARD="Austen, Jane" REF="https://commons.cwrc.ca/orlando:772c02be-78f8-4c43-bf10-2be3ee77ce92">Jane Austen</NAME> ought to have laid a wreath on the grave of <NAME STANDARD="Burney, Frances" REF="https://commons.cwrc.ca/orlando:ed1c2d59-1fbd-4843-bca8-ec1dec605264">Fanny Burney</NAME> (who in fact died more than twenty years later than Austen), this is excusable. Burney did belong to an earlier writing generation, and the chronology of women's lives was hardly common knowledge.</SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RSHEINFLUENCED>The original audience included <NAME STANDARD="Leavis, Q. D." REF="https://commons.cwrc.ca/orlando:3abaa60d-6e1b-4a18-b770-c8e1d002ac92">Q. D. Roth (later Leavis)</NAME> and <NAME STANDARD="Raine, Kathleen" REF="https://commons.cwrc.ca/orlando:14ef64d1-c4d9-4de9-8b03-9f443c75b4e2">Kathleen Raine</NAME>. Women writers who later counted it an important influence on them included such disparate figures as <NAME STANDARD="Box, Muriel" REF="https://commons.cwrc.ca/orlando:c8d01fb7-3c8e-4cd1-b5d9-660d7cff90ad">Muriel Box</NAME> and <NAME STANDARD="Godden, Rumer" REF="https://commons.cwrc.ca/orlando:585ce4a5-06a7-41ce-9e71-38c607af3f00">Rumer Godden</NAME>. <PCIRCULATION>It seems quite possible that during the time of the women's movement that began in the 1970s, <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE> was better known and more often read than any of Woolf's novels.</PCIRCULATION></RSHEINFLUENCED> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDYES">Immediate responses were, of course, mixed, and full of hidden agendas. <NAME STANDARD="Bennett, Arnold" REF="https://commons.cwrc.ca/orlando:eb3621cd-f3f8-4568-a027-cb5fc23fc9f6">Arnold Bennett</NAME> took this book as proof that a woman, unlike a man, cannot refrain from straying from her way to gather irrelevant flowers, that Woolf was <QUOTE DIRECT="Y">the victim of her extraordinary gift of fancy (not imagination).</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Majumdar and McLaurin 259" DBREF="42167" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:76e13fcf-b07b-49c8-a57f-ef558e24776f">259</BIBCIT></BIBCITS><NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME>, on the contrary, who urged all men and all women to read <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE>, wrote that it demonstrated the common sense for which Woolf was seldom given credit by those who called her brilliant or fantastical.<BIBCITS><BIBCIT PLACEHOLDER="Majumdar and McLaurin 257-8" DBREF="42167" REF="https://commons.cwrc.ca/orlando:76e13fcf-b07b-49c8-a57f-ef558e24776f">257-8</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING>Growing Reputation</HEADING><DIV2><RECEPTION><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s professional reputation began to shift at about this time. From the <DATE VALUE="1922" CERTAINTY="AFTER">early 1920s</DATE>, she developed an increasingly strong self-image as an adult woman and writer. More and more, her novels both won praise from critics and reached sizeable audiences.<BIBCITS><BIBCIT PLACEHOLDER="Lee 517, 558-9" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">517, 558-9</BIBCIT></BIBCITS> <PPERIODICALPUBLICATION>She contributed articles to international journals including <TITLE TITLETYPE="JOURNAL">Atlantic Monthly</TITLE>, <TITLE TITLETYPE="JOURNAL">Harper's Bazaar</TITLE>, the <TITLE TITLETYPE="JOURNAL">New Republic</TITLE>, the <TITLE TITLETYPE="JOURNAL">New York Herald Tribune</TITLE> and <TITLE TITLETYPE="JOURNAL">Vogue</TITLE> (which, under the direction of <NAME STANDARD="Todd, Dorothy" REF="https://commons.cwrc.ca/orlando:9f7cb59a-7dc7-48cc-92e1-82d31880c3f6">Dorothy Todd</NAME>,</PPERIODICALPUBLICATION> was beginning to print pieces by and on <NAME STANDARD="Brancusi, Constantin" REF="https://commons.cwrc.ca/orlando:a706e4ad-f314-46f4-b801-dd59d9f6d135">Constantin Brancusi</NAME>, <NAME STANDARD="Bell, Clive" REF="https://commons.cwrc.ca/orlando:44e8a0ac-0a0f-41d1-8e24-4a2218234649">Clive Bell</NAME>, <NAME STANDARD="Cocteau, Jean" REF="https://commons.cwrc.ca/orlando:3a34d8b0-f5ee-4e95-b368-1f703a9e3e3a">Jean Cocteau</NAME>, <NAME STANDARD="Huxley, Aldous" REF="https://commons.cwrc.ca/orlando:a412f2f1-254f-4ea8-b001-d207a3d46bee">Aldous Huxley</NAME>, and <NAME STANDARD="Ray, Man" REF="https://commons.cwrc.ca/orlando:7a036d11-8eb8-46fd-83eb-8a03593e169e">Man Ray</NAME>).<BIBCITS><BIBCIT PLACEHOLDER="Lee 470-1, 559" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">470-1, 559</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RESP="KLH" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE" CHRONCOLUMN1="WRITINGCLIMATE1" RELEVANCE1="DECADE1"><DATE VALUE="1927-08-13">13 August 1927</DATE> <CHRONPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL"><TITLE TITLETYPE="JOURNAL">Nouvelles Littéraires</TITLE> launched <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s fame in <PLACE><GEOG>France</GEOG></PLACE> when it published an interview with her by <NAME STANDARD="Blanche, Jacques-Émile" REF="https://commons.cwrc.ca/orlando:2917683e-499c-404c-95e7-321986afd034">Jacques-Émile Blanche</NAME>.</RRESPONSES></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 565-6, 843" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">565-6, 843</BIBCIT></BIBCITS></CHRONSTRUCT></RECEPTION><PRODUCTION><SHORTPROSE><PEARNINGS>The following year, for the first time in her career, she was earning more by her novels than by her essays and reviews. Her earned income grew markedly during this period, and she took much pleasure and a sense of empowerment from it. Not including the income which came to her and <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME> from inheritances, investments, and their publishing business, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> had been earning £500 a year (the sum she makes the mark of independence in <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE>) only since <DATE VALUE="1926" CERTAINTY="AFTER">1926</DATE>. But two years later her profits jumped dramatically, owing in significant part to the successes, domestic and international, of <TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE>, and the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> Uniform Edition of all her books.<BIBCITS><BIBCIT PLACEHOLDER="Lee 556-8" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">556-8</BIBCIT></BIBCITS> She <QUOTE DIRECT="Y">was intensely conscious of her value in the market-place,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 558" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">558</BIBCIT></BIBCITS> and of the emotional, intellectual, and political meanings of her financial success. In <DATE VALUE="1929-02">February 1929</DATE> she declined a £2,000 commission from <ORGNAME STANDARD="Bantam Doubleday Dell Publishing Group" REG="Bantam Doubleday Dell Publishing Group" REF="https://commons.cwrc.ca/orlando:91b260de-5125-422c-a0ed-05f10c28d7a9">Doubleday Doran</ORGNAME> to write a biography of <NAME STANDARD="Boswell, James,, 1740 - 1795" REF="https://commons.cwrc.ca/orlando:88a01f90-9336-4c3b-85f5-032849180b89">James Boswell</NAME> (<QUOTE DIRECT="Y">exactly the kind of job her father would have wanted her to do</QUOTE>).<BIBCITS><BIBCIT PLACEHOLDER="Lee 561" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">561</BIBCIT> <BIBCIT PLACEHOLDER="Bishop 128" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">128</BIBCIT></BIBCITS> Instead, she writes, <QUOTE DIRECT="Y">I have bought my freedom. A queer thought that I have actually paid for the power</QUOTE> to leave London and to think only of <TITLE TITLETYPE="MONOGRAPHIC">The Waves</TITLE>, by refusing this offer.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 295" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 295</BIBCIT></BIBCITS> In <DATE VALUE="1929-06">June 1929</DATE> (as noted above), she recorded that her income was nearly equivalent to a Cabinet Minister's salary: an indication of rising status as well as of freedom.<BIBCITS><BIBCIT PLACEHOLDER="Lee 556" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">556</BIBCIT></BIBCITS></PEARNINGS></SHORTPROSE></PRODUCTION></DIV2></DIV1><DIV1><HEADING>Broadcasts and Later Essays</HEADING><DIV2><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1937-04-20">20 April 1937</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> broadcast in a <ORGNAME STANDARD="BBC" REG="British Broadcasting Corporation" REF="https://commons.cwrc.ca/orlando:b8ac2ad8-b938-4e1d-8e71-582f5a67513e">BBC</ORGNAME> series called <TITLE TITLETYPE="SERIES">Words Fail Me</TITLE> a <TGENRE GENRENAME="SPEECH"><TGENRE GENRENAME="LITERARYCRITICISM">talk</TGENRE></TGENRE> with the title <TITLE TITLETYPE="ANALYTIC">Craftsmanship</TITLE>; however, she used her talk to attack the title as wholly inappropriate to the use of words.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, The Death of the Moth 126ff" DBREF="8348" REF="https://commons.cwrc.ca/orlando:eab3ec0d-d255-475b-9232-7c3af8da8cac">126ff</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PPERIODICALPUBLICATION>This was printed in the <TITLE TITLETYPE="JOURNAL">Listener</TITLE> on 5 May,</PPERIODICALPUBLICATION> and then in <TITLE TITLETYPE="MONOGRAPHIC">The Death of the Moth</TITLE>. <PNONBOOKMEDIA>It is now available in audio form over the internet.</PNONBOOKMEDIA> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 108n2" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 108n2</BIBCIT><BIBCIT PLACEHOLDER="BBC Audio Interviews" DBREF="19012" REF="https://commons.cwrc.ca/orlando:a719fc12-2dbc-4238-9fd8-e025bb6df138"/></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><PATTITUDES>Craft, says Woolf, in the sense either of technique or of cunning, cannot be applied to <TTHEMETOPIC>words</TTHEMETOPIC>, which live their own lives, which flatly refuse to be useful or to mean only one thing, which hate to be separated from each other, and which have meaning only in groups.</PATTITUDES> <TTECHNIQUES TECHNIQUETYPE="IMAGERY">She spoke of the <TTHEMETOPIC>autonomy and independence of words</TTHEMETOPIC>, of the <TTHEMETOPIC>promiscuous past of our mother the English language</TTHEMETOPIC>, of the poverty of words which are ranged in alphabetical order or memorised for exams.</TTECHNIQUES> The talk is a virtuoso debunking of lexical or logical approaches to words.</SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">Her nephew <NAME STANDARD="Bell, Quentin" REF="https://commons.cwrc.ca/orlando:1898063e-bfed-48ec-9b81-067fc14d8651">Quentin Bell</NAME> felt that the recording did not accurately capture the quality of her voice.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 108n2" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 108n2</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL">But critic <NAME STANDARD="Clements, Patricia" REF="https://commons.cwrc.ca/orlando:a1829c69-6648-403b-91f3-fb2a6572eba6">Patricia Clements</NAME> wrote decades later that the voice, with <QUOTE DIRECT="Y">wide musical range</QUOTE> and changing tempo, sometimes serious, sometimes playful, often ironic, gave <QUOTE DIRECT="Y">a sense of the temporal woman in the enduring words.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Clements xxxiv" DBREF="70147" REF="https://commons.cwrc.ca/orlando:3699e93a-5143-4b29-8ade-e65416e782eb">xxxiv</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2><DIV2><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1937-07-22">22 July 1937</DATE> <CHRONPROSE><PPERIODICALPUBLICATION><PAUTHORSHIP AUTHORNAMETYPE="PSEUDONYMOUS">Without her name, of course, but as <SOCALLED>an old pupil</SOCALLED>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published in the <TITLE TITLETYPE="JOURNAL">Times</TITLE> an <TGENRE GENRENAME="EULOGY"><TGENRE GENRENAME="OBITUARY">obituary</TGENRE></TGENRE>, <TITLE TITLETYPE="ANALYTIC"><TTHEMETOPIC>Miss <NAME STANDARD="Case, Janet" REF="https://commons.cwrc.ca/orlando:763d21e4-12a5-4c1c-b66d-70e27b6fa67f">Janet Case</NAME>: Classical Scholar and Teacher</TTHEMETOPIC></TITLE>.</PAUTHORSHIP></PPERIODICALPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Times Digital Archive (22 July 1937): 16" DBREF="24005" REF="https://commons.cwrc.ca/orlando:a8d85257-981c-47e5-8ef7-3c25095bfa02">(22 July 1937): 16</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>Case, a Cambridge-trained classicist with whom <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> began to study Greek in 1900 and who became a lasting friend, had died on 15 July.</SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>Woolf praised Case's <TTHEMETOPIC>working outside the institution</TTHEMETOPIC>, teaching more dilettante pupils as well as those working for exams. <QUOTE DIRECT="Y">Somehow the masterpieces of Greek drama were stormed, without grammar, without accents . . . out they shone, if inaccessible still supremely desirable.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Times Digital Archive (22 July 1937): 16" DBREF="24005" REF="https://commons.cwrc.ca/orlando:a8d85257-981c-47e5-8ef7-3c25095bfa02">(22 July 1937): 16</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2><DIV2><PRODUCTION><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s last work completed for publication was her <TGENRE GENRENAME="ESSAY">essay</TGENRE> on <TTHEMETOPIC><NAME STANDARD="Piozzi, Hester Lynch" REF="https://commons.cwrc.ca/orlando:ba14001b-f79e-45a9-aba8-19fc6bf99ae8">Hester Thrale Piozzi</NAME></TTHEMETOPIC>, in the form of a <TGENRE GENRENAME="REVIEW">review</TGENRE> of <NAME STANDARD="Clifford, James L." REF="https://commons.cwrc.ca/orlando:a87bd47f-0a02-4ce4-ac38-bfa47adf593f">James Clifford</NAME>'s recent biography of her. The review appeared on <DATE VALUE="1941-03-08">8 March 1941</DATE>. <PMANUSCRIPTHISTORY>For Clifford, a young academic, the <QUOTE DIRECT="Y">several revisions</QUOTE> of the essay, retrieved for him by Leonard Woolf from here and there (some from the wastepaper-basket) were a dazzling proof of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s professionalism even at the end of her tether.<BIBCITS><BIBCIT PLACEHOLDER="Lee 767" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">767</BIBCIT></BIBCITS></PMANUSCRIPTHISTORY> <SCHOLARNOTE>This anecdote comes from personal acquaintance with James Clifford.</SCHOLARNOTE></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>The essay is a tribute to Piozzi's vigour, energy, and prodigious <QUOTE DIRECT="Y">appetite for life,</QUOTE> even into old age.<BIBCITS><BIBCIT PLACEHOLDER="Lee 751" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">751</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2></DIV1><DIV1><HEADING><TITLE TITLETYPE="MONOGRAPHIC">The Waves</TITLE></HEADING><DIV2><TEXTSCOPE DBREF="38241" PLACEHOLDER="VW, The Waves, 1931" REF="https://commons.cwrc.ca/orlando:0d0e00bf-3224-4286-8ec4-f389ec6cc7bb"/><PRODUCTION><SHORTPROSE>The germ of this novel (which was known during its early composition as <TITLE TITLETYPE="UNPUBLISHED">The Moths</TITLE>) is often traced to a passage <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> wrote in her diary on 30 September 1926 about the <QUOTE DIRECT="Y">mystical side</QUOTE> of solitude. <QUOTE DIRECT="Y">One sees a fin passing far out.</QUOTE> She recorded <QUOTE DIRECT="Y">a curious state of mind. I hazard the guess that it may be the impulse behind another book.</QUOTE> Although, she said, her mind was so far <QUOTE DIRECT="Y">totally blank &amp; virgin of books,</QUOTE> she wanted <QUOTE DIRECT="Y">to watch &amp; see how the idea at first occurs. I want to trace my own process.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 113" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 113</BIBCIT></BIBCITS> A few days after this she wrote to <NAME STANDARD="Brenan, Gerald" REF="https://commons.cwrc.ca/orlando:54a9068a-8f51-4688-92af-f686195eb319">Gerald Brenan</NAME> of the helplessness of beginning a new work: <QUOTE DIRECT="Y">What do all the books I have written avail me? Nothing.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 97" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 97</BIBCIT></BIBCITS> Three years later, yet at a comparatively early stage, she wrote, <QUOTE DIRECT="Y">never, in my life, did I attack such a vague yet elaborate design; whenever I make a mark I have to think of its relation to a dozen others.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 259" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 259</BIBCIT></BIBCITS> <RSELFDESCRIPTION>A few months before publication she cheerfully referred to it, in a letter to her nephew Quentin, as <QUOTE DIRECT="Y">the worst novel in the language.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 309" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 309</BIBCIT></BIBCITS></RSELFDESCRIPTION></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1931-10-08">8 October 1931</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published her highly experimental <TGENRE GENRENAME="NOVEL">novel</TGENRE> <TITLE TITLETYPE="MONOGRAPHIC">The Waves</TITLE> with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 387n4" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 387n4</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PCIRCULATION>It sold about 6,500 copies by the end of the month</PCIRCULATION> <PEDITIONS>and was translated into French by <NAME STANDARD="Yourcenar, Marguerite" REF="https://commons.cwrc.ca/orlando:8613529c-833c-4979-9796-eab0fe27b04c">Marguerite Yourcenar</NAME> in 1937.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 3: 285" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">3: 285</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Letters 6: 109n1" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 109n1</BIBCIT></BIBCITS> <PRARITIESFEATURESDECORATIONS>The manuscripts were beautifully reproduced by <NAME STANDARD="Graham, J. W." REF="https://commons.cwrc.ca/orlando:341d4f10-b927-4158-b528-b2c36b996a96">J. W. Graham</NAME> in 1976.<BIBCITS><BIBCIT PLACEHOLDER="Woolf and Graham, Waves holograph drafts" DBREF="38232" REF="https://commons.cwrc.ca/orlando:b226ea3d-c165-46d1-a39c-601adf06aa52"/></BIBCITS></PRARITIESFEATURESDECORATIONS></PEDITIONS><PNONBOOKMEDIA><TITLE TITLETYPE="MONOGRAPHIC">The Waves</TITLE> (which has never been filmed, though in 2005 a film was under discussion) was transmuted into <SOCALLED>physical theatre</SOCALLED> in <DATE VALUE="2001-12-14" CERTAINTY="BY">December 2001</DATE> by <ORGNAME STANDARD="Theatre Rusticle" REF="https://commons.cwrc.ca/orlando:f41fd7c1-d906-48a3-b093-f701b42adbc7">Theatre Rusticle</ORGNAME> of <PLACE><SETTLEMENT>Toronto</SETTLEMENT><REGION REG="Ontario"/><GEOG REG="Canada"/></PLACE></PNONBOOKMEDIA>. The characters (renamed with descriptors, <SOCALLED>The Woman from the Country</SOCALLED>, <SOCALLED>The Woman from the City</SOCALLED>, <SOCALLED>The Man in the Grey Flannel Suit</SOCALLED>, etc.) danced as well as spoke. Reviewer <NAME STANDARD="Citron, Paula" REF="https://commons.cwrc.ca/orlando:5be3c796-afa5-459e-b24e-26aedbf0307e">Paula Citron</NAME> called the production a triumph.<BIBCITS><BIBCIT PLACEHOLDER="Citron R11" DBREF="10647" REF="https://commons.cwrc.ca/orlando:18acf0fb-ce14-45f8-895e-17971ce0ccfb">R11</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> calls this <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <QUOTE DIRECT="Y">novel of <TTHEMETOPIC>friendships</TTHEMETOPIC>, her Bloomsbury novel,</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 269" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">269</BIBCIT></BIBCITS> <TCHARACTERIZATION>and in the context of its six characters she recalls Woolf's tracing <SOCALLED>Bloomsbury</SOCALLED> to <QUOTE DIRECT="Y">six people</QUOTE> who were remarkable for nothing but <QUOTE DIRECT="Y">their wits</QUOTE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 268" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">268</BIBCIT></BIBCITS> Actually the characters are arguably seven. <TVOICENARRATION>The three women and three men who play together as children and meet regularly during the course of their lives <TSETTINGPLACE SETTINGPLACETYPE="REAL" SETTINGCLASS="MIDDLECLASS">(most notably for a reunion at <PLACE><PLACENAME>Hampton Court</PLACENAME><SETTLEMENT REG="Hampton"/><REGION REG="Surrey"/><GEOG REG="England"/></PLACE>)</TSETTINGPLACE> voice the novel as their separate monologues, separate discourses, chime in turn throughout it.</TVOICENARRATION> But they all remember another character: Percival the revered, who was a big boy when the novel's male characters were little boys.</TCHARACTERIZATION> Percival has no voice in the novel and plays no active part in the stories of the other characters, except—since he goes to India and dies there—that it is through him that death becomes a real part of their lives. <TTECHNIQUES TECHNIQUETYPE="IMAGERY">Their experience begins tentatively, with small children's perception of shapes, colours, sounds. <QUOTE DIRECT="Y"><QUOTE DIRECT="N">I see a ring,</QUOTE> said Bernard, <QUOTE DIRECT="N">hanging above me. It quivers and hangs in a loop of light.</QUOTE> . . . <QUOTE DIRECT="N">The leaves are gathered round the window like pointed ears,</QUOTE> said Susan.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Waves 1980, 6" DBREF="38271" REF="https://commons.cwrc.ca/orlando:bba1e543-e702-4fed-a781-d929182f7867">6</BIBCIT></BIBCITS> But their first perceptions follow on the first of the link passages describing the passage of a day, a sequence through which the waves keep breaking. In the first of these <QUOTE DIRECT="Y">The sun had not yet risen. . . . As they neared the shore each bar rose, heaped itself, broke and swept a thin veil of white water across the sand.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Waves 1980, 5" DBREF="38271" REF="https://commons.cwrc.ca/orlando:bba1e543-e702-4fed-a781-d929182f7867">5</BIBCIT></BIBCITS> <TVOICENARRATION>The final speaker in the book is Bernard, the writer among the six,</TVOICENARRATION> and his final words, about the enemy whom he now observes advancing: <QUOTE DIRECT="Y">Death is the enemy. It is death against whom I ride with my spear couched and my hair flying back like a young man's, like Percival's, when he galloped in India. I strike spurs into my horse. Against you I will fling myself, unvanquished and unyielding, O Death!</QUOTE> After this comes the shortest of all the link or background passages: <QUOTE DIRECT="Y">The waves broke on the shore.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Waves 1980, 211" DBREF="38271" REF="https://commons.cwrc.ca/orlando:bba1e543-e702-4fed-a781-d929182f7867">211</BIBCIT></BIBCITS></TTECHNIQUES><TCHARACTERIZATION>The six central characters present carefully discriminated and different ways of experiencing life. Jinny <TCHARACTERTYPEROLE>loves parties and excitement</TCHARACTERTYPEROLE>; Rhoda is <TCHARACTERTYPEROLE>full of anxiety</TCHARACTERTYPEROLE>; Susan, with deep connection to nature, becomes a <TCHARACTERTYPEROLE>nurturing mother of children, almost a fertility goddess</TCHARACTERTYPEROLE>; Louis, <TCHARACTERTYPEROLE>prim, suspicious and able, ineradicably an outsider</TCHARACTERTYPEROLE>; Neville,<TCHARACTERTYPEROLE> solitary, a scholar, a lover</TCHARACTERTYPEROLE>; Bernard with his novelist's negative capability for entering the minds of others and looking through their eyes.</TCHARACTERIZATION> But these different dispositions share a great deal as each in turn looks out at the world and at the others; the book traces their differences and their shared development and ageing, as well as, through the link passages, representing them as representative of their kind, the human race.</SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL"><NAME STANDARD="Smyth, Ethel" REF="https://commons.cwrc.ca/orlando:bb2555cb-6507-44f1-a979-dadd82a6ee37">Ethel Smyth</NAME> sent her responses to this book by telegram on publication day: <QUOTE DIRECT="Y">Book astounding so far. Agitatingly increases value of life.</QUOTE> Two days later she sent: <QUOTE DIRECT="Y">Final paragraph almost smashes machine of life with its terrible duty.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 388n1" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 388n1</BIBCIT></BIBCITS><NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Bell</NAME>, reading the death of Percival as that of their brother Thoby, wrote, <QUOTE DIRECT="Y">I think you have made one's human feelings into something less personal.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 390n1" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 390n1</BIBCIT></BIBCITS><NAME STANDARD="Forster, E. M." REF="https://commons.cwrc.ca/orlando:e3f6f4e4-f74f-4012-b97c-b11cda88fd49">E. M. Forster</NAME> wrote that he had read it with the excitement that comes from encountering a classic.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 402n2" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 402n2</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">Oddly enough, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> reported, most of the low-brow reviewers (<QUOTE DIRECT="Y">whose sense I respect</QUOTE>) liked the novel and made nothing of its presumed difficulty.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 389" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 389</BIBCIT></BIBCITS></RRESPONSES> <RSELFDESCRIPTION>Eight years later, in the first month of the Second World War, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> reported that <TITLE TITLETYPE="MONOGRAPHIC">The Waves</TITLE> was <QUOTE DIRECT="Y">the only one of my books that I can sometimes read with pleasure.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 365" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 365</BIBCIT></BIBCITS></RSELFDESCRIPTION> <PNONBOOKMEDIA>In November 2006 a multi-media production based on this novel and entitled <TITLE TITLETYPE="MONOGRAPHIC">Waves</TITLE> opened at the <ORGNAME STANDARD="National Theatre" REG="Royal National Theatre" REF="https://commons.cwrc.ca/orlando:8bf5f057-f6f1-4dc3-88db-1dc0769ae2bd">National Theatre</ORGNAME>, devised <NAME STANDARD="Mitchell, Katie" REF="https://commons.cwrc.ca/orlando:2cec1dd7-cdf9-4777-8dcb-c19998094871">Katie Mitchell</NAME> and the <ORGNAME STANDARD="National Theatre Company" REF="https://commons.cwrc.ca/orlando:efff72c1-8b54-4c88-9ba4-a244d76cfab6">company</ORGNAME>.</PNONBOOKMEDIA></SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING><TITLE TITLETYPE="MONOGRAPHIC">Flush</TITLE></HEADING><DIV2><TEXTSCOPE DBREF="38242" PLACEHOLDER="VW, Flush, 1933" REF="https://commons.cwrc.ca/orlando:e890f64b-d1bf-472b-b330-aac5f7810443"/><PRODUCTION><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> conceived her book about <NAME STANDARD="Browning, Elizabeth Barrett" REF="https://commons.cwrc.ca/orlando:7fa078f1-e346-4d74-a9c4-4e3e57e80cad">Elizabeth Barrett Browning</NAME>'s spaniel as <QUOTE DIRECT="Y">a little escapade</QUOTE>, light relief after the hard slog of writing <TITLE TITLETYPE="MONOGRAPHIC">The Waves</TITLE>. No doubt with memories of Sackville portraits for <TITLE TITLETYPE="MONOGRAPHIC">Orlando</TITLE>, she wrote to <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> to request a photo of a dog named Henry.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 4: 380" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">4: 380</BIBCIT></BIBCITS> <TINTERTEXTUALITY INTERTEXTTYPE="ALLUSIONUNACKNOWLEDGED" GENDEROFAUTHOR="WOMAN">She had already written, perhaps as early as 1904, a brief canine mock-biography, <TITLE TITLETYPE="ANALYTIC">On a Faithful Friend</TITLE>. She was, too, almost certainly familiar with <NAME STANDARD="Gore, Catherine" REF="https://commons.cwrc.ca/orlando:6b840215-75a2-46dd-be43-0892721978f6">Catherine Gore</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC">The Story of a Royal Favourite</TITLE>, 1845, though critics seem not to have picked up on this.<RESEARCHNOTE>img and agh between them have checked everywhere they cd think of.</RESEARCHNOTE></TINTERTEXTUALITY></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1933-07">July 1933</DATE> <CHRONPROSE><PPERIODICALPUBLICATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published the first of four parts of <TITLE TITLETYPE="MONOGRAPHIC" REG="Flush">Flush, A <TGENRE GENRENAME="BIOGRAPHY">Biography</TGENRE></TITLE> in the <TITLE TITLETYPE="JOURNAL">Atlantic Monthly</TITLE>.</PPERIODICALPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 158" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">158</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PSERIALIZATION FORMOFSERIALIZATION="PERIODICALFORM">The three remaining parts followed serially in the same publication in August, September, and October 1933.</PSERIALIZATION> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 159-60" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">159-60</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1933-10-05">5 October 1933</DATE> <CHRONPROSE><TGENREISSUE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published the complete <TITLE TITLETYPE="MONOGRAPHIC">Flush</TITLE>, her <TGENRE GENRENAME="AUTOBIOGRAPHY"><TGENRE GENRENAME="FICTION">fiction</TGENRE>al autobiography</TGENRE> of <NAME STANDARD="Browning, Elizabeth Barrett" REF="https://commons.cwrc.ca/orlando:7fa078f1-e346-4d74-a9c4-4e3e57e80cad">Elizabeth Barrett Browning</NAME>'s dog, with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> and with <ORGNAME STANDARD="Harcourt Brace" REF="https://commons.cwrc.ca/orlando:f198662b-62f3-4d14-a5cb-df063e9f3af4">Harcourt Brace</ORGNAME> in America.</TGENREISSUE></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 245" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 245</BIBCIT> <BIBCIT PLACEHOLDER="Bishop 160" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">160</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>The Hogarth Press was publishing work by <NAME STANDARD="Mussolini, Benito" REF="https://commons.cwrc.ca/orlando:9be34fa8-6425-4ece-92a4-6bf61f149689">Mussolini</NAME> at the same time as this work, in which an idealised Italy, site of freedom and escape, plays an important role.<BIBCITS><BIBCIT PLACEHOLDER="Snaith" DBREF="12566" REF="https://commons.cwrc.ca/orlando:fd74e160-848c-4267-b3af-679c5dac193e"/></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TITLE TITLETYPE="MONOGRAPHIC">Flush</TITLE> is both the life-story of a <TCHARACTERTYPEROLE PROTAGONIST="MALE">dog</TCHARACTERTYPEROLE> and the life-story, obliquely told, of <TTHEMETOPIC><NAME STANDARD="Browning, Elizabeth Barrett" REF="https://commons.cwrc.ca/orlando:7fa078f1-e346-4d74-a9c4-4e3e57e80cad">Elizabeth Barrett Browning</NAME></TTHEMETOPIC>. Woolf accepts the version of the poet's life that was current at the time—of her as imprisoned by her father, liberated by <NAME STANDARD="Browning, Robert" REF="https://commons.cwrc.ca/orlando:6315e747-c757-448c-be99-8f4a8ca854ad">Robert Browning</NAME>, by love, and by courage—and she accepts the story of Flush's near-human capacity for sympathy from poems that Barrett Browning wrote about her dog. She adds various spoof biographical elements: Flush's pride of birth and his youthful love-life, in both of which he resembles Orlando; his moral victory over his own jealousy when the Brownings' baby is born; <TSETTINGDATE SETTINGDATETYPE="PAST"><TSETTINGPLACE SETTINGPLACETYPE="REAL" SETTINGCLASS="WIDERANGE">his achievement of ideal liberty when he exchanges a stuffy sick-room in <PLACE><ADDRESS><ADDRLINE>Wimpole Street</ADDRLINE></ADDRESS>, <SETTLEMENT REG="London">London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>, for the convention-free and richly smelling land of <PLACE><GEOG>Italy</GEOG></PLACE>. Barrett Browning learns courage by <TMOTIF MOTIFNAME="rescue">rescuing</TMOTIF> Flush from the <PLACE><SETTLEMENT CURRENT="London" REG="Whitechapel">Whitechapel</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> dog-stealing gang,</TSETTINGPLACE></TSETTINGDATE> and in return he rescues her.</SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><PCIRCULATION><TITLE TITLETYPE="MONOGRAPHIC">Flush</TITLE> was Woolf's best-selling novel in England.</PCIRCULATION> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">Some reviewers commented on her facility, which they found damaging.</RRESPONSES> <RSELFDESCRIPTION>She feared it might harm her reputation, and called it a silly joke.</RSELFDESCRIPTION><BIBCITS><BIBCIT PLACEHOLDER="Snaith" DBREF="12566" REF="https://commons.cwrc.ca/orlando:fd74e160-848c-4267-b3af-679c5dac193e"/></BIBCITS></SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING>Biography of a Friend</HEADING><DIV2><TEXTSCOPE DBREF="6858" PLACEHOLDER="VW, Roger Fry, 1940" REF="https://commons.cwrc.ca/orlando:bd7b618f-94e4-4b81-9f3a-c3f6fc079a5e"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1934-10-30">30 October 1934</DATE> <CHRONPROSE><NAME STANDARD="Anrep, Helen" REF="https://commons.cwrc.ca/orlando:3599838b-57d3-4af6-b14a-17ca53db5e12">Helen Anrep</NAME>, with whom <NAME STANDARD="Fry, Roger" REF="https://commons.cwrc.ca/orlando:497e19ff-a249-42db-9c66-32a00759ed93">Roger Fry</NAME> had lived from 1926 until his death in September 1934, tentatively asked <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> to write a <TGENRE GENRENAME="BIOGRAPHY">biography</TGENRE> of him.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 169" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">169</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>She repeated her request on 8 November. On 20 June 1935 <NAME STANDARD="Fry, Margery" REF="https://commons.cwrc.ca/orlando:a5f7cd30-059c-4a51-8c38-04a3e266322a">Margery Fry</NAME>, Roger's sister, also asked <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> to write his life. Woolf felt acutely the difficulty of trying to please, or not to offend, so many different constituencies: Fry's Quaker relations, Helen Anrep and his other lovers, including her own sister (<QUOTE DIRECT="Y">[h]ow does one euphemise 20 different mistresses?</QUOTE>),<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 104" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 104</BIBCIT></BIBCITS> his children (by his wife, who had died insane), their many mutual friends. Biography involved on the one hand submission to the tyranny of fact, on the other hand the mitigation of fact that might give pain or offence. At a low point in composition she found that the genre that was her favourite reading was a <QUOTE DIRECT="Y">grind</QUOTE>, even <QUOTE DIRECT="Y">a barren nightmare</QUOTE> to write.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 262" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 262</BIBCIT></BIBCITS> How on earth, she demanded, <QUOTE DIRECT="Y">does one explain madness and love in sober prose, with dates attached?</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 267" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 267</BIBCIT></BIBCITS> Or as she put it to her sister, <QUOTE DIRECT="Y">how to deal with love so that we're not all blushing.</QUOTE> But she found, <QUOTE DIRECT="Y">Roger himself is so magnificent, I'm so in love with him; and see dimly such a masterpiece that<RESEARCHNOTE>kdc; no apostrophe in cant? img: nope</RESEARCHNOTE> cant be painted, that I go on.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 285" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 285</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1940-07-25">25 July 1940</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published her <TGENRE GENRENAME="BIOGRAPHY">biography</TGENRE> <TITLE TITLETYPE="MONOGRAPHIC"><NAME STANDARD="Fry, Roger" REF="https://commons.cwrc.ca/orlando:497e19ff-a249-42db-9c66-32a00759ed93">Roger Fry</NAME></TITLE> with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 406n2" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 406n2</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION><RECEPTION><SHORTPROSE><RSELFDESCRIPTION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> feared this would be thought a <QUOTE DIRECT="Y">dull meticulous book.</QUOTE> She declined to send <NAME STANDARD="Smyth, Ethel" REF="https://commons.cwrc.ca/orlando:bb2555cb-6507-44f1-a979-dadd82a6ee37">Ethel Smyth</NAME> a copy, supposing that it would be puzzling and frustrating to someone who had not known its subject.</RSELFDESCRIPTION> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL" GENDEREDRESPONSE="GENDEREDNO">She was then delighted when Smyth, she said, <QUOTE DIRECT="Y">pounce[d] upon the heart and centre of the book,</QUOTE> perceiving that the author had performed <QUOTE DIRECT="Y">an experiment in self-suppression; a gamble in R's power to transmit himself.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 417" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 417</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDNO">Good reviews included one by <NAME STANDARD="MacCarthy, Desmond" REF="https://commons.cwrc.ca/orlando:6335c7f7-c198-47d6-bb4d-779120e7b2fe">Desmond MacCarthy</NAME> in the <TITLE TITLETYPE="JOURNAL">Sunday Times</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 410" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 410</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING>A Play</HEADING><DIV2><TEXTSCOPE DBREF="38246" PLACEHOLDER="VW, Freshwater, 1976" REF="https://commons.cwrc.ca/orlando:ace8e796-6a57-479e-ac5f-b04bc88529ea"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1935-01-18">18 January 1935</DATE> <CHRONPROSE><PPERFORMANCE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <QUOTE DIRECT="Y"><TGENRE GENRENAME="COMEDY">nonsense comedy</TGENRE></QUOTE>,<BIBCITS><BIBCIT PLACEHOLDER="Lee 86" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">86</BIBCIT></BIBCITS> <TITLE TITLETYPE="MONOGRAPHIC">Freshwater</TITLE>, first written in <DATE VALUE="1923-07">July 1923</DATE>, was performed in <NAME STANDARD="Bell, Vanessa" REF="https://commons.cwrc.ca/orlando:1bf0fd5f-5351-4161-a1f4-4a62368fb09e">Vanessa Bell</NAME>'s studio before an audience of eighty friends.</PPERFORMANCE></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bell 2: 246" DBREF="16052" REF="https://commons.cwrc.ca/orlando:5662d12c-220a-4867-ba91-9bba05a1f505">2: 246</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>It was published in an edition by <NAME STANDARD="Ruotolo, Lucio">Lucio Ruotolo</NAME> in 1976 as <TITLE TITLETYPE="MONOGRAPHIC" REG="Freshwater">Freshwater, A Comedy</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Lee 869" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">869</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><PLACE><PLACENAME>Freshwater</PLACENAME><REGION REG="Isle of Wight"/><GEOG REG="England"/></PLACE> was the name of <NAME STANDARD="Cameron, Julia Margaret" REF="https://commons.cwrc.ca/orlando:1b7562e1-3a9b-42a1-8870-2006dc63d55a">Julia Margaret Cameron</NAME>'s estate on the Isle of Wight, where <NAME STANDARD="Ritchie, Anne Thackeray" REF="https://commons.cwrc.ca/orlando:5f0f5485-d14f-4c47-8ee2-6493336c5cb7">Anne Thackeray Ritchie</NAME> had a cottage. The Stephen children had stayed there.<BIBCITS><BIBCIT PLACEHOLDER="Lee 75-6" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">75-6</BIBCIT></BIBCITS> This farcical presentation of <TTHEMETOPIC>Victorian life</TTHEMETOPIC> is very much a family affair. It works by means of persons as icons—<NAME STANDARD="Cameron, Julia Margaret" REF="https://commons.cwrc.ca/orlando:1b7562e1-3a9b-42a1-8870-2006dc63d55a">Julia Margaret Cameron</NAME>, <NAME STANDARD="Victoria, Queen" REF="https://commons.cwrc.ca/orlando:68336d67-737e-4d46-9625-140373914ce8">Queen Victoria</NAME>, <NAME STANDARD="Terry, Ellen" REF="https://commons.cwrc.ca/orlando:15699d8d-5974-4bc2-9709-8cf40679e7b9">Ellen Terry</NAME>, <NAME STANDARD="Tennyson, Alfred" REF="https://commons.cwrc.ca/orlando:c376f65a-8e81-4972-89fe-438417fb5f99">Tennyson</NAME>, <NAME STANDARD="Watts, George Frederic" REF="https://commons.cwrc.ca/orlando:c409469d-0fec-471f-b6e9-e6ce9000405d">G. F. Watts</NAME>—and a style of life overloaded with material objects. <NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> quotes the exuberant props list: <QUOTE DIRECT="Y">Copy of <TITLE TITLETYPE="MONOGRAPHIC">Maud</TITLE>. . . . Beard for Tennyson. Beard for Watts. . . . Cape for Tennyson. Smock for Watts. Reticule for Mrs Cameron. . . . Donkey to bray. . . . Clock to strike. . . . Order of Merit. Brandy bottle. . . . Whiskers.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 46" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">46</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2></DIV1><DIV1><HEADING><TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE></HEADING><DIV2><HEADING><TITLE TITLETYPE="ANALYTIC">Professions for Women</TITLE></HEADING><PRODUCTION><SHORTPROSE><PMANUSCRIPTHISTORY><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> worked long and hard on the lengthy <TGENRE GENRENAME="NOVEL">novel</TGENRE> which finally became <TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE>. <PPERFORMANCE>Its genesis goes back to her <TGENRE GENRENAME="SPEECH">speech</TGENRE> of <DATE VALUE="1931-01-21">21 January 1931</DATE> at the <ORGNAME STANDARD="Fawcett Society" REF="https://commons.cwrc.ca/orlando:ab6c145c-7694-48bc-b11e-9595be26d44b">London and National Society for Women's Service</ORGNAME> (later the Fawcett Society), which was <TGENRE GENRENAME="ESSAY">rewritten</TGENRE> as <TITLE TITLETYPE="ANALYTIC"><TTHEMETOPIC>Professions for Women</TTHEMETOPIC></TITLE>. <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDYES">The delivery of that speech is identified by <NAME STANDARD="Lee, Hermione" REF="https://commons.cwrc.ca/orlando:c2bd1b26-0ef0-4e65-930e-d60a5702cea7">Hermione Lee</NAME> as <QUOTE DIRECT="Y">a public performance of great significance in the history of twentieth-century feminism and in the story of Virginia Woolf's political thinking.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Lee 598" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">598</BIBCIT></BIBCITS><TINTERTEXTUALITY INTERTEXTTYPE="ANSWER" GENDEROFAUTHOR="MAN">Telling a story about the phantom she calls (after <NAME STANDARD="Patmore, Coventry" REF="https://commons.cwrc.ca/orlando:504b3829-3017-4a57-b368-33f184ce29ae">Coventry Patmore</NAME>), the Angel in the House, Woolf speaks of <TTHEMETOPIC>self-censorship</TTHEMETOPIC> and <TTHEMETOPIC>deference</TTHEMETOPIC>.<SCHOLARNOTE>Patmore's <TITLE TITLETYPE="MONOGRAPHIC">The Angel in the House</TITLE> had appeared in <DATE VALUE="1854-10">October 1854</DATE>.</SCHOLARNOTE></TINTERTEXTUALITY><QUOTE DIRECT="Y">Outwardly, what is simpler than to write books? Outwardly, what obstacles are there for a woman rather than for a man? Inwardly, I think, the case is very different; she has still many ghosts to fight, many prejudices to overcome.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf Professions 153" DBREF="40680" REF="https://commons.cwrc.ca/orlando:5e23ce4e-ecc1-44ae-9e57-16166166515d">153</BIBCIT></BIBCITS> Though she killed the Angel, she says —<QUOTE DIRECT="Y">Killing the Angel in the House was part of the occupation of a woman writer</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf Professions 151" DBREF="40680" REF="https://commons.cwrc.ca/orlando:5e23ce4e-ecc1-44ae-9e57-16166166515d">151</BIBCIT></BIBCITS>—neither she nor any other has yet succeeded in telling the truth about a woman's passions. To the women in the hall she suggests that the new freedom of the professions will require women to reinvent their ways of being in the world: <QUOTE DIRECT="Y">the room is your own, but it is still bare. . . . How are you going to furnish it, how are you going to decorate it? With whom are you going to share it, and upon what terms? These, I think are questions of the utmost importance and interest.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf Professions 153" DBREF="40680" REF="https://commons.cwrc.ca/orlando:5e23ce4e-ecc1-44ae-9e57-16166166515d">153</BIBCIT></BIBCITS></RRESPONSES></PPERFORMANCE> The train of thought begun in the speech fed a large number of later works, including her novel-essay <TITLE TITLETYPE="UNPUBLISHED">The Pargiters</TITLE> (which remained unpublished until 1977). <TITLE TITLETYPE="UNPUBLISHED">The Pargiters</TITLE>, in its manuscript title, asserted its descent from the speech of January 1931, and in its form (six essays on the conditions of women's lives, interspersed with examples purporting to be drawn from a much longer history of the Pargiter family) asserts that it is the ancestor of <TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Froula 213, 221" DBREF="38086" REF="https://commons.cwrc.ca/orlando:b8347c31-3626-4210-b324-092d70e70b95">213, 221</BIBCIT><BIBCIT PLACEHOLDER="Woolf, Pargiters" DBREF="38231" REF="https://commons.cwrc.ca/orlando:e04b026e-b5fa-4267-8e6b-1e80f01b3e67"/></BIBCITS> In fact, the day before giving the speech <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> recorded in her diary having the idea, in her bath, for a new book to be a <TGENRE GENRENAME="SEQUEL">sequel</TGENRE> to <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 4: 6" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">4: 6</BIBCIT></BIBCITS></PMANUSCRIPTHISTORY></SHORTPROSE></PRODUCTION></DIV2><DIV2><TEXTSCOPE DBREF="38247" PLACEHOLDER="VW, The Years, 1937" REF="https://commons.cwrc.ca/orlando:ad1ee743-84bd-4c1c-903a-be64c92b40f3"/><PRODUCTION><SHORTPROSE><TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE>, then, descends with <TITLE TITLETYPE="ANALYTIC">The Pargiters</TITLE> from <TITLE TITLETYPE="ANALYTIC">Professions for Women</TITLE>. <PMATERIALCONDITIONS><RRESPONSES RESPONSETYPE="RE-EVALUATION" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDYES"><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was writing this book in the mid 1930s at a time when her now established reputation came violently under attack, often in transparently gendered terms. <NAME STANDARD="Lewis, Wyndham" REF="https://commons.cwrc.ca/orlando:dee4421e-0c8e-4f14-95a8-003f2252e474">Wyndham Lewis</NAME> in <TITLE TITLETYPE="MONOGRAPHIC">Men Without Art</TITLE>, 1934, attacked her as a feeble and insecure <QUOTE DIRECT="Y">feminine principle</QUOTE> in literature.<BIBCITS><BIBCIT PLACEHOLDER="Lee 658" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">658</BIBCIT></BIBCITS> Next year <NAME STANDARD="Swinnerton, Frank" REF="https://commons.cwrc.ca/orlando:ebd7ef41-765e-4142-bdfa-7c5422c10200">Frank Swinnerton</NAME> in <TITLE TITLETYPE="MONOGRAPHIC">The Georgian Literary Scene</TITLE> called her <QUOTE DIRECT="Y">very clever . . . but . . . creatively unimportant</QUOTE> while <NAME STANDARD="Mirsky, Dimitri Svyatopolk" REF="https://commons.cwrc.ca/orlando:8ba5c972-8d63-4210-ae41-f7b526f4317e">Prince Dmitry Mirsky</NAME> in <TITLE TITLETYPE="MONOGRAPHIC">The Intelligentsia of Great Britain</TITLE> accused her of voicing only <QUOTE DIRECT="Y">the sufferings of the parasitic cream of the bourgeois.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Lee 853-4n2" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">853-4n2</BIBCIT></BIBCITS></RRESPONSES> Her diary records in acute form her usual struggles with her material. On 25 April 1933 she wrote, <QUOTE DIRECT="Y">I think this will be a terrific affair. I must be bold &amp; adventurous. I want to give the whole of the present society—nothing less: facts, as well as the vision.</QUOTE> And then on 5 September 1935: <QUOTE DIRECT="Y">Absolutely floored</QUOTE>. She was suddenly blocked, after feeling sure she was working on <QUOTE DIRECT="Y">the most exciting thing I ever wrote.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 4: 151, 338-9" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">4: 151, 338-9</BIBCIT></BIBCITS></PMATERIALCONDITIONS></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1937-03-11">11 March 1937</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published <TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE> with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> after agonies of revision and the discarding of <QUOTE DIRECT="Y">two enormous chunks</QUOTE>. It still remains her longest <TGENRE GENRENAME="NOVEL">novel</TGENRE>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 4: 286n9" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">4: 286n9</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Letters 6: 116n1" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 116n1</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION><TEXTUALFEATURES><SHORTPROSE>As it stands this shapely book gives no hint of the chunks cut out. <TSETTINGDATE SETTINGDATETYPE="PAST">It runs from the year 1880, and the lingering death of the matriarch Rose Pargiter, in the dark, crowded Victorian household where most of Rose's grown-up or almost grown-up children are engaged in hiding their real thoughts and feelings beneath a decorous surface. <TSETTINGPLACE SETTINGPLACETYPE="FICTIVE" SETTINGCLASS="MIDDLECLASS">The family home in Abercorn Terrace (a fictional address typical of the substantial town houses of <PLACE><SETTLEMENT REG="London">Bayswater or Kensington</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>) knows nothing of other parts of London, like the patriarch <TCHARACTERNAME>Abel Pargiter</TCHARACTERNAME>'s club, or the smaller, scruffier street where his mistress lives.</TSETTINGPLACE></TSETTINGDATE> The youngest, also <TCHARACTERNAME REG="Pargiter, Rose">Rose</TCHARACTERNAME>, has had her imaginative life as <QUOTE DIRECT="Y">Pargiter of Pargiter's Horse . . . riding to the rescue</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Years 1979, 27" DBREF="8830" REF="https://commons.cwrc.ca/orlando:eade6680-70f8-4e94-8a6b-da388698032e">27</BIBCIT></BIBCITS> rudely interrupted by a man exposing himself to her in the street, leaving her frightened, ashamed, and unable to tell anybody. The action swoops forward from one year-date to another—eleven years on, then sixteen more—to the <SOCALLED>present day</SOCALLED>, seeking to <QUOTE DIRECT="Y">envelop the whole in a changing temporal atmosphere.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 116" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 116</BIBCIT></BIBCITS> In the present day the young sisters and brothers of the opening section are old, and a family party gathers them and their offspring, mixing several generations, many viewpoints, many jumbled ideals for a future in which some see hope and some, like <TCHARACTERNAME>Eleanor Pargiter</TCHARACTERNAME> (the eldest of the original family), see the threat of a fascist future in a casual newspaper headline. Eleanor (who had had perforce to take her mother's place in the family for a while, but whose dream had been the quintessential Victorian one of devoting herself to social work and social progress) is an object of almost anthropological interest to her niece Peggy, a doctor, who is compiling her picture of a Victorian spinster to share with a contemporary at work. <TCHARACTERNAME REG="Pargiter, Rose">Rose</TCHARACTERNAME>, unable to be a cavalryman, has grown up to become a militant suffragist, to smash windows and in the end to receive a medal for public service. The final section holds a large, disparate cast (<QUOTE DIRECT="Y">one vast, many-sided group</QUOTE>) in balance, in desultory party exchanges and constant cross-purposes.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 116" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 116</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL"><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> had been ill while she was writing this book and was acutely anxious about its quality: she gave the manuscript to <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME> to read with the brief of pronouncing whether or not it was publishable. Putting down the last sheet at midnight, he <QUOTE DIRECT="Y">could not speak. He was in tears. He says it is <QUOTE DIRECT="N">a most remarkable book</QUOTE> . . . &amp; has not a spark of doubt that it must be published.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 5: 30" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">5: 30</BIBCIT></BIBCITS></RRESPONSES> His autobiography years later suggested that his tears had been those of relief after fears of his own: <QUOTE DIRECT="Y">To Virginia I praised the book more than I should have done if she had been well.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 84n2" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 84n2</BIBCIT></BIBCITS> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">Among reviewers, <NAME STANDARD="Muir, Edwin" REF="https://commons.cwrc.ca/orlando:d037edf3-c15d-4bc0-9f8b-597044b4e5e5">Edwin Muir</NAME> was woundingly disappointed,<BIBCITS><BIBCIT PLACEHOLDER="Majumdar and McLaurin 386-8" DBREF="42167" REF="https://commons.cwrc.ca/orlando:76e13fcf-b07b-49c8-a57f-ef558e24776f">386-8</BIBCIT></BIBCITS> but <NAME STANDARD="Johnson, Pamela Hansford" REF="https://commons.cwrc.ca/orlando:3648dd9b-e79b-48ad-8a86-db11247fa39f">Pamela Hansford Johnson</NAME> (who called the book <QUOTE DIRECT="Y">a biography of Time</QUOTE>) found it written with <QUOTE DIRECT="Y">deliberate, fluid skill . . . boundless vision . . . sudden, startling perception.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Majumdar and McLaurin 388" DBREF="42167" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:76e13fcf-b07b-49c8-a57f-ef558e24776f">388</BIBCIT></BIBCITS> She noted how it subordinated individual characters to the events marked in their very being, the scent <QUOTE DIRECT="Y">exhaled by the years as they dropped and fell into the earth of memory itself.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Majumdar and McLaurin 388" DBREF="42167" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:76e13fcf-b07b-49c8-a57f-ef558e24776f">388</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING><TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE></HEADING><DIV2><TEXTSCOPE DBREF="38248" PLACEHOLDER="VW, Three Guineas, 1938" REF="https://commons.cwrc.ca/orlando:37cddb69-3210-42f8-a0f0-831944e2ace3"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1938-05">May 1938</DATE> <CHRONPROSE><PPERIODICALPUBLICATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published <TITLE TITLETYPE="ANALYTIC">Women Must Weep</TITLE>, subtitled <TITLE TITLETYPE="ANALYTIC" REG="Women Must Weep">Or Unite Against War</TITLE>, a summary of <TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE>, in the <TITLE TITLETYPE="JOURNAL">Atlantic Monthly</TITLE>.</PPERIODICALPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Bishop 199" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">199</BIBCIT></BIBCITS></CHRONSTRUCT><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1938-06-02">2 June 1938</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> published <TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE>, her polemical work about <TTHEMETOPIC>feminism</TTHEMETOPIC> and <TTHEMETOPIC>pacifism</TTHEMETOPIC>, with the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 231" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 231</BIBCIT> <BIBCIT PLACEHOLDER="Bishop 199" DBREF="107908" REF="https://commons.cwrc.ca/orlando:24f3be2a-8f3b-4730-ae5a-367b920318b9">199</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE>This book was long in producing. She had first thought of it in 1931, as a sequel to <TITLE TITLETYPE="MONOGRAPHIC">A Room of One's Own</TITLE>. By the following year she felt the material she was amassing for it (newspaper cuttings, etc.) constituted <QUOTE DIRECT="Y">enough powder to blow up St Paul's.</QUOTE> She sat on this material for years, hoping to digest and solidify her angry feelings before writing; but when she began drafting the book in 1936 she wrote that the prose <QUOTE DIRECT="Y">pressed &amp; spurted out of me like a physical volcano.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Light 31" DBREF="12465" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:03c0aede-f1b6-45bf-9a85-5999faaac165">31</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE> is sometimes read as suggesting that tyranny, both petty and serious, is exercised exclusively by men. <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL">In the view of <NAME STANDARD="Froula, Christine" REF="https://commons.cwrc.ca/orlando:850210a8-eb16-4509-871b-94b561533cf5">Christine Froula</NAME>, it <QUOTE DIRECT="Y">breaks through <TITLE TITLETYPE="MONOGRAPHIC">The Years</TITLE>' silences and evasions to expose the scapegoating of women as the structural act of barbarism that founds the masculine public sphere.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Froula 260" DBREF="38086" REF="https://commons.cwrc.ca/orlando:b8347c31-3626-4210-b324-092d70e70b95">260</BIBCIT></BIBCITS></RRESPONSES> Women's excluded status has given them, in Woolf's argument, four powerful teachers to open their eyes to the nature of institutional power: for the poverty, chastity, and obedience of the old religious life they have substituted poverty, chastity, derision, and freedom from false loyalties.</SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE>Many habitual admirers of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> (often those who respected her rationally socialist and feminist views) could not stomach this book—either rejecting as whimsy the framework of three fund-raisers each soliciting a guinea, or jibbing at what they saw as giving disproportionate attention to the wrongs of women, or complaining that this was no longer a time for the anti-war feeling which they would have supported a few years before. Hermione Lee reproduces a very funny cartoon from <TITLE TITLETYPE="JOURNAL">Time and Tide</TITLE> in the month after publication, whose caption records the <QUOTE DIRECT="Y">dreadful kind of internal conflict</QUOTE> giving nervous breakdowns to reviewers who had the highest respect for Woolf's standing but found her current theme <QUOTE DIRECT="Y">not merely disturbing . . . but revolting.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 710" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">710</BIBCIT></BIBCITS> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL"><NAME STANDARD="Keynes, John Maynard,,, Baron" REF="https://commons.cwrc.ca/orlando:408fb143-4ce7-45df-b42c-3a7633d15f7c">John Maynard Keynes</NAME> complained that Woolf's mock-scholarly notes <QUOTE DIRECT="Y">made a mockery of our history.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Light 31" DBREF="12465" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:03c0aede-f1b6-45bf-9a85-5999faaac165">31</BIBCIT></BIBCITS></RRESPONSES> <RSHEINFLUENCED>Her family continued after her death to decline the award of the kind of honours that are mocked in <TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE>. <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME> declined to become a Companion of Honour in 1966, and <NAME STANDARD="Bell, Quentin" REF="https://commons.cwrc.ca/orlando:1898063e-bfed-48ec-9b81-067fc14d8651">Quentin Bell</NAME> turned down a CBE in 1974.<BIBCITS><BIBCIT PLACEHOLDER="Refuseniks 5" DBREF="23082" REF="https://commons.cwrc.ca/orlando:d01c3e12-2da7-48e1-94a3-8d459610a54d">5</BIBCIT></BIBCITS></RSHEINFLUENCED> <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL">Critic <NAME STANDARD="Light, Alison" REF="https://commons.cwrc.ca/orlando:ec3ea2e0-644d-494b-8d4a-b17648a59e6b">Alison Light</NAME> remarks that this book's <QUOTE DIRECT="Y">irony protects the reader from the violence of its polemic.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Light 31" DBREF="12465" REF="https://commons.cwrc.ca/orlando:03c0aede-f1b6-45bf-9a85-5999faaac165">31</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2></DIV1><DIV1><HEADING>Posthumous Publications</HEADING><DIV2><TEXTSCOPE DBREF="38249" PLACEHOLDER="VW, Thoughts on Peace in an Air Raid, 1942" REF="https://commons.cwrc.ca/orlando:bb41d1e9-5b66-4ba1-9254-2fbd0975670d"/><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1940-08">August 1940</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> composed an essay, <TITLE TITLETYPE="ANALYTIC">Thoughts on Peace in an Air Raid</TITLE>, which <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard</NAME> published in <TITLE TITLETYPE="MONOGRAPHIC">The Death of the Moth</TITLE> in 1942.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, The Death of the Moth 154-7" DBREF="8348" REF="https://commons.cwrc.ca/orlando:eab3ec0d-d255-475b-9232-7c3af8da8cac">154-7</BIBCIT></BIBCITS> <KEYWORDCLASS>World War II</KEYWORDCLASS></CHRONSTRUCT><SHORTPROSE><PMATERIALCONDITIONS>It opens: <QUOTE DIRECT="Y">The Germans were over this house last night and the night before that. Here they are again. It is a queer experience, lying in the dark and listening to the zoom of a hornet which may at any moment sting you to death.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, The Death of the Moth 154" DBREF="8348" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:eab3ec0d-d255-475b-9232-7c3af8da8cac">154</BIBCIT></BIBCITS></PMATERIALCONDITIONS></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><PMATERIALCONDITIONS>Writing as a female body, weaponless and sleepless, whose mind stops dead when a bomb seems imminent but grasps at pleasant memories as soon as the terror is lifted,</PMATERIALCONDITIONS> she considers <QUOTE DIRECT="Y">mental fight</QUOTE>, the <TTHEMETOPIC>absence of women from war councils</TTHEMETOPIC>, the <TTHEMETOPIC>need for young men to be re-educated not to desire military glory</TTHEMETOPIC>, the <TTHEMETOPIC>need for radical change in the postwar world</TTHEMETOPIC>.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, The Death of the Moth 155" DBREF="8348" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:eab3ec0d-d255-475b-9232-7c3af8da8cac">155</BIBCIT></BIBCITS></SHORTPROSE></TEXTUALFEATURES></DIV2><DIV2><HEADING>Projects</HEADING><PRODUCTION><SHORTPROSE>Throughout her writing <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> had the usual experience of planning literary projects which then did not come to fruition. Late in her life, combining fragments of anthropology, sociology, and psychology with literary history, she began a collection of critical essays on the social elements that build a national identity and shape the production of literature. Titled <TITLE TITLETYPE="UNPUBLISHED">Reading at Random</TITLE>, her (ultimately unfinished) text begins with the closing image of <TITLE TITLETYPE="MONOGRAPHIC">Between the Acts</TITLE>, <QUOTE DIRECT="Y">with the prehistory of Britain, swamp and forest and wilderness, out of which came sounds, songs, rhythm, folk-tune, and an art whose key word was <EMPH>anonymity</EMPH>.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 750" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">750</BIBCIT></BIBCITS> She also planned to write a biographical sketch of her physician and confidante <NAME STANDARD="Wilberforce, Octavia" REF="https://commons.cwrc.ca/orlando:80cd2777-8b56-40fa-9b5d-eae539a4f459">Octavia Wilberforce</NAME>, possibly titled <TITLE TITLETYPE="UNPUBLISHED">English Youth</TITLE>, to be published anonymously.<BIBCITS><BIBCIT PLACEHOLDER="Lee 755-6" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">755-6</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION></DIV2><DIV2><HEADING><TITLE TITLETYPE="MONOGRAPHIC">Between the Acts</TITLE></HEADING><TEXTSCOPE DBREF="38250" PLACEHOLDER="VW, Between the Acts, 1941" REF="https://commons.cwrc.ca/orlando:0a53a639-7296-433a-a392-50ab9e5089d3"/><PRODUCTION><SHORTPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> seems to have had the first idea for this novel on <DATE VALUE="1938-04-02">2 April 1938</DATE>, with publication of <TITLE TITLETYPE="MONOGRAPHIC">Three Guineas</TITLE> imminent and having just begun work on her life of Roger Fry, as something <QUOTE DIRECT="Y">random &amp; tentative . . . but <SOCALLED>I</SOCALLED> rejected: <SOCALLED>We</SOCALLED> substituted.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Diary 5: 135" DBREF="108708" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e">5: 135</BIBCIT></BIBCITS> The new novel's working title was <TITLE TITLETYPE="UNPUBLISHED">Pointz Hall</TITLE>. In 1982 <NAME STANDARD="Leaska, Mitchell A." REF="https://commons.cwrc.ca/orlando:86d46453-6a62-4a89-abf2-eab1a37b1ada">Mitchell A. Leaska</NAME> published <TITLE TITLETYPE="MONOGRAPHIC">Pointz Hall: The Earlier and Later Typescripts of 'Between the Acts'</TITLE>. <PINFLUENCESHER INFLUENCETYPE="INTELLECTUAL">The historical pageant written by <TCHARACTERNAME>Miss La Trobe</TCHARACTERNAME>, which is so central to the structure of the novel, may owe its origin to an invitation which Woolf received from the Rodmell <ORGNAME STANDARD="Women's Institute" REF="https://commons.cwrc.ca/orlando:c409d096-d33b-4872-b2a2-24c01a7dd5d2">Women's Institute</ORGNAME> in April 1940 to write and produce a play for the village.<BIBCITS><BIBCIT PLACEHOLDER="Lee 869" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">869</BIBCIT> <BIBCIT PLACEHOLDER="Woolf, Letters 6: 391" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 391</BIBCIT></BIBCITS></PINFLUENCESHER></SHORTPROSE><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1941-07-17">17 July 1941</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s final <TGENRE GENRENAME="NOVEL">novel</TGENRE>, <TITLE TITLETYPE="MONOGRAPHIC">Between the Acts</TITLE>, appeared posthumously from the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>. <NAME STANDARD="Lehmann, John" REF="https://commons.cwrc.ca/orlando:a97dc036-f74b-4c14-953f-63f35e0f00b9">John Lehmann</NAME> had read the manuscript in March and announced it as forthcoming; she had then taken steps to withdraw it.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 486 and nn" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 486 and nn</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><RSELFDESCRIPTION>Her letter of withdrawal, written very soon before her suicide, dismissed her own work as <QUOTE DIRECT="Y">silly and trivial</QUOTE> (which, however, was not very different from the dismissive judgements she was accustomed to deliver on her own works when first completed) and declared her intention of revising it.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Letters 6: 486" DBREF="7145" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768">6: 486</BIBCIT></BIBCITS></RSELFDESCRIPTION> <NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> was always careful to refer to the published novel as unfinished work, bearing in mind that it was her habit to make significant changes in revision.</SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TSETTINGDATE SETTINGDATETYPE="PRESENT"><TSETTINGPLACE>This slim novel is set in and around a modest <PLACE><GEOG REG="England">English</GEOG></PLACE> historic house in the lull before the Second World War.</TSETTINGPLACE></TSETTINGDATE> The most immediate <SOCALLED>we</SOCALLED> of the novel is the family who inhabit the house. In the older generation the patriarch <TCHARACTERNAME>Bart Oliver</TCHARACTERNAME> (who tries to communicate with his small grandson but only succeeds in terrifying him) is constantly at odds with his sister <TCHARACTERNAME>Lucy Swithin</TCHARACTERNAME>, whose imagination is Christian, humanitarian, and possessed by a sense that the <TTHEMETOPIC>prehistoric past</TTHEMETOPIC> is only a moment away. These two can be relied on to be always on opposite sides of any question. In the next generation a young mother, Isa, and her husband, Giles, have a <TTHEMETOPIC>marriage which is a private combat</TTHEMETOPIC>; the visiting outsiders, <TCHARACTERTYPEROLE>Jewish</TCHARACTERTYPEROLE> <TCHARACTERNAME>Mrs Manresa</TCHARACTERNAME> and <TCHARACTERTYPEROLE>homosexual</TCHARACTERTYPEROLE> <TCHARACTERNAME>William Dodge</TCHARACTERNAME>, exemplify non-married lives. But the household is, for the day, almost engulfed in the <TTHEMETOPIC>communal effort of the pageant staged by villagers</TTHEMETOPIC> and the audience entertained to refreshments in the tithe barn: all these people enlarge the <SOCALLED>we</SOCALLED>, and among them the vulnerable quality of <TTHEMETOPIC>traditional Englishness</TTHEMETOPIC> is a debated issue, enlarging the <SOCALLED>we</SOCALLED> still further. (Giles is angrily certain that war will come and will leave nothing the same.) <TCHARACTERNAME>Miss La Trobe</TCHARACTERNAME>, author of the pageant, is an <TCHARACTERTYPEROLE>artist-outsider: a lesbian</TCHARACTERTYPEROLE> who lodges in the village and whose lover has abandoned her. Caught up in the <TTHEMETOPIC>passion of creation</TTHEMETOPIC>, the delight of pastiching the styles of the past and the frustration of attempting to grasp the present moment (which she does by having her actors flash mirrors at the audience, who thereby see themselves reflected), she too represents Englishness, but less through history than through literature. Miss La Trobe knows the fear of failure (<QUOTE DIRECT="Y">Blood seemed to pour from her shoes</QUOTE>), and she hardly hears the applause, so pre-occupied is she with planning her next work, needing to get away from the crowd to the anonymous dark of the pub.<BIBCITS><BIBCIT PLACEHOLDER="Woolf, Between 178" DBREF="38250" REF="https://commons.cwrc.ca/orlando:0a53a639-7296-433a-a392-50ab9e5089d3">178</BIBCIT></BIBCITS><TTECHNIQUES TECHNIQUETYPE="DICTION"><TVOICENARRATION>The many individual voices in <TITLE TITLETYPE="MONOGRAPHIC">Between the Acts</TITLE> sound in counterpoint with quotations and misquotations, rhymes, proverbs, and with newspaper headlines and slogans.</TVOICENARRATION></TTECHNIQUES> Isa, who has a head full of quotations, is also haunted by a newspaper report of soldiers (the guardians of security) <TMOTIF MOTIFNAME="rape">raping</TMOTIF> a fourteen-year-old girl.</SHORTPROSE></TEXTUALFEATURES><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL" GENDEREDRESPONSE="GENDEREDNO"><NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME>, reading the typescript of this novel at the end of February 1941, judged it <QUOTE DIRECT="Y">to be more vigorous and pulled together than most of her other books, to have more depth and to be very moving. I also thought that the strange symbolism gave it an almost terrifying profundity and beauty.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Briggs 390" DBREF="38169" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">390</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">The press reception of the novel was much influenced by recognition of it as <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s final novel. Reviewers tended to see it as culmination or a falling-off, though <NAME STANDARD="Bowen, Elizabeth" REF="https://commons.cwrc.ca/orlando:30fe1e08-6e68-4170-a0fc-875815e90af3">Elizabeth Bowen</NAME> stoutly denied that it held any touch of finality, and although the <QUOTE DIRECT="Y">form and the combination of elements are, as always, new; she never used any combination or form twice.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Briggs 394" DBREF="38169" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">394</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL"><NAME STANDARD="Briggs, Julia" REF="https://commons.cwrc.ca/orlando:54738cde-00a5-4470-8bda-eaf20e010ead">Julia Briggs</NAME> feels that this <QUOTE DIRECT="Y">novel's complexities and contradictions, its mixture of genres, its parody and pastiche, its several levels of action</QUOTE> have been illuminated by the advent of the critical language of postmodernism.<BIBCITS><BIBCIT PLACEHOLDER="Briggs 394" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">394</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2><DIV2><HEADING>Collections Posthumously Edited by Leonard Woolf</HEADING><TEXTSCOPE DBREF="8348" PLACEHOLDER="VW, The Death of the Moth, 1942" REF="https://commons.cwrc.ca/orlando:eab3ec0d-d255-475b-9232-7c3af8da8cac"/><PRODUCTION><SHORTPROSE>This series of publications, begun with <TITLE TITLETYPE="MONOGRAPHIC">Between the Acts</TITLE>, represented Leonard's <QUOTE DIRECT="Y">careful, deliberate campaign to keep Virginia Woolf in the public's eye.</QUOTE> He arranged to spread publication over a number of years, to put out the essays without annotation, in the same form as those published in <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s lifetime, and to have <NAME STANDARD="Bell, Quentin" REF="https://commons.cwrc.ca/orlando:1898063e-bfed-48ec-9b81-067fc14d8651">Quentin Bell</NAME> write the first biography.<BIBCITS><BIBCIT PLACEHOLDER="Lee 766-7" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">766-7</BIBCIT></BIBCITS></SHORTPROSE><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="PERIOD"><DATE VALUE="1942">1942</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> posthumously published a collection of <TGENRE GENRENAME="ESSAY">essay</TGENRE>s by <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> which he entitled <TITLE TITLETYPE="MONOGRAPHIC">The Death of the Moth</TITLE>.</CHRONPROSE><BIBCITS><BIBCIT PLACEHOLDER="OCLC" DBREF="1709" REF="https://commons.cwrc.ca/orlando:e22bf210-8f2e-4862-9dec-3b131136861e"/></BIBCITS></CHRONSTRUCT></PRODUCTION></DIV2><DIV2><TEXTSCOPE DBREF="38251" PLACEHOLDER="VW, A Writer's Diary, 1953" REF="https://commons.cwrc.ca/orlando:1c0c9573-c3cd-40ab-9f22-1fff8357ed2f"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1953-11-01" CERTAINTY="BY">By November 1953</DATE> <CHRONPROSE><NAME STANDARD="Woolf, Leonard" REF="https://commons.cwrc.ca/orlando:ddacaad7-d5f4-4b1a-8fa9-23de4df3e732">Leonard Woolf</NAME> edited a one-volume selection from <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <TGENRE GENRENAME="DIARY">diaries</TGENRE> as <TITLE TITLETYPE="MONOGRAPHIC">A Writer's Diary</TITLE>, issued by the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>.</CHRONPROSE><BIBCITS><BIBCIT PLACEHOLDER="OCLC" DBREF="1709" REF="https://commons.cwrc.ca/orlando:e22bf210-8f2e-4862-9dec-3b131136861e"/></BIBCITS></CHRONSTRUCT></PRODUCTION><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="FORMAL">Novelist <NAME STANDARD="Wilson, Angus" REF="https://commons.cwrc.ca/orlando:c8a3dca0-a59e-44a5-af89-1982d725fc06">Angus Wilson</NAME>, in the course of an otherwise <QUOTE DIRECT="Y">notably fair and sensitive review</QUOTE> for <TITLE TITLETYPE="JOURNAL">The Observer</TITLE>, said that <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s her reputation had been overestimated.<BIBCITS><BIBCIT PLACEHOLDER="Spurling 1984, 220" DBREF="108586" REF="https://commons.cwrc.ca/orlando:210ec483-567f-49ec-926f-c2c9cde5f815">220</BIBCIT></BIBCITS></RRESPONSES> <RRESPONSES RESPONSETYPE="INITIAL" FORMALITY="INFORMAL">On this <NAME STANDARD="Compton-Burnett, Ivy" REF="https://commons.cwrc.ca/orlando:487a11cd-8e38-45ff-bbcc-e7ea366b4f50">Ivy Compton-Burnett</NAME> commented: <QUOTE DIRECT="Y">Ugly behaviour. I trust it will do him some harm.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="Spurling 1984, 220" DBREF="108586" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:210ec483-567f-49ec-926f-c2c9cde5f815">220</BIBCIT></BIBCITS></RRESPONSES></SHORTPROSE></RECEPTION></DIV2><DIV2><TEXTSCOPE DBREF="38769" PLACEHOLDER="VW, Granite and Rainbow, 1958" REF="https://commons.cwrc.ca/orlando:7c12b4df-1f20-480d-93d7-0ad530b34522"/><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="DECADE"><DATE VALUE="1958-09" CERTAINTY="BY">By September 1958</DATE> <CHRONPROSE>The piecemeal publication of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <TGENRE GENRENAME="ESSAY">essay</TGENRE>s continued with <TITLE TITLETYPE="MONOGRAPHIC">Granite and Rainbow</TITLE>, newly rediscovered texts in <TGENRE GENRENAME="LITERARYCRITICISM">criticism</TGENRE> and <TGENRE GENRENAME="BIOGRAPHY">biography</TGENRE>, mostly dating from 1916-29.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="BBN (1958): 613" DBREF="6761" REF="https://commons.cwrc.ca/orlando:eae48df3-99d3-41c1-b1b2-b11305e56a53">(1958): 613</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION></DIV2><DIV2><HEADING>Later Posthumous Collectons: Letters</HEADING><TEXTSCOPE DBREF="7145" PLACEHOLDER="VW, The Letters of Virginia Woolf, 1975-1980" REF="https://commons.cwrc.ca/orlando:b4aaa3e4-951f-4879-854b-dd2029cde768"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1975-09">September 1975</DATE> <CHRONPROSE><NAME STANDARD="Nicolson, Nigel" REF="https://commons.cwrc.ca/orlando:d6722f3c-d39f-4855-962c-05477d495d11">Nigel Nicolson</NAME> and <NAME STANDARD="Trautmann, Joanne" REF="https://commons.cwrc.ca/orlando:0a029a07-47ca-4191-ba3c-b9fca1d6e90f">Joanne Trautmann</NAME> edited and published the first volume in a collection of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <TGENRE GENRENAME="LETTER">letters</TGENRE>, <TITLE TITLETYPE="MONOGRAPHIC" REG="The Letters of Virginia Woolf">The Flight of the Mind: The Letters of Virginia Woolf 1888-1912</TITLE>, from the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="British Books, 1976" DBREF="46245" REF="https://commons.cwrc.ca/orlando:ffef2840-c524-41bd-b2e2-53ebec774771">1976</BIBCIT><BIBCIT PLACEHOLDER="Bodleian" DBREF="9935" REF="https://commons.cwrc.ca/orlando:16d427db-a8a2-4f33-ac53-9f811672584b"/></BIBCITS></CHRONSTRUCT><SHORTPROSE>Five more volumes followed, each with its subtitle: <TITLE TITLETYPE="MONOGRAPHIC" REG="The Letters of Virginia Woolf">The Question of Things Happening: The Letters of Virginia Woolf 1912-1922</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC" REG="The Letters of Virginia Woolf">A Change of Perspective: The Letters of Virginia Woolf 1923-1928</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC" REG="The Letters of Virginia Woolf">A Reflection of the Other Person: The Letters of Virginia Woolf 1929-1931</TITLE>, <TITLE TITLETYPE="MONOGRAPHIC" REG="The Letters of Virginia Woolf">The Sickle Side of the Moon: The Letters of Virginia Woolf 1932-1935</TITLE>, and <TITLE TITLETYPE="MONOGRAPHIC" REG="The Letters of Virginia Woolf">Leave the Letters till We're Dead: The Letters of Virginia Woolf 1936-1941</TITLE>. The final volume appeared in 1980.</SHORTPROSE></PRODUCTION></DIV2><DIV2><HEADING>Diaries</HEADING><TEXTSCOPE DBREF="108708" PLACEHOLDER="VW, The Diary of Virginia Woolf, 1977-1984" REF="https://commons.cwrc.ca/orlando:413413ec-dc77-454c-8a5a-86bc3526511e"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1977-05">May 1977</DATE> <CHRONPROSE>The first of five volumes of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s <TGENRE GENRENAME="DIARY">diaries</TGENRE>, edited by <NAME STANDARD="Bell, Anne Olivier" REF="https://commons.cwrc.ca/orlando:4a3ab671-330d-4caa-94ca-940e4c51f042">Anne Olivier Bell</NAME>, was published by the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME>; the edition was completed in 1984.</CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="BBN (1977): April insert" DBREF="6761" REF="https://commons.cwrc.ca/orlando:eae48df3-99d3-41c1-b1b2-b11305e56a53">(1977): April insert</BIBCIT><BIBCIT PLACEHOLDER="Bodleian" DBREF="9935" REF="https://commons.cwrc.ca/orlando:16d427db-a8a2-4f33-ac53-9f811672584b"/></BIBCITS></CHRONSTRUCT><SHORTPROSE>Quentin Bell wrote an introduction to the diaries.</SHORTPROSE></PRODUCTION></DIV2><DIV2><HEADING>Autobiographical Writings</HEADING><TEXTSCOPE DBREF="16053" PLACEHOLDER="VW, Moments of Being, 1976" REF="https://commons.cwrc.ca/orlando:db484b09-6f20-4587-871c-df3797a8cedb"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1976">1976</DATE> <CHRONPROSE><NAME STANDARD="Schulkind, Jeanne" REF="https://commons.cwrc.ca/orlando:adecf820-3fdd-4170-87ac-be0bc5c582c7">Jeanne Schulkind</NAME> edited <TITLE TITLETYPE="MONOGRAPHIC" REG="Moments of Being">Moments of Being: Unpublished <TGENRE GENRENAME="AUTOBIOGRAPHY">Autobiographical</TGENRE> <TGENRE GENRENAME="ESSAY">Writings</TGENRE></TITLE>, featuring essays by <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>.</CHRONPROSE><BIBCITS><BIBCIT PLACEHOLDER="Bodleian" DBREF="9935" REF="https://commons.cwrc.ca/orlando:16d427db-a8a2-4f33-ac53-9f811672584b"/></BIBCITS></CHRONSTRUCT><SHORTPROSE>This collection includes <TITLE TITLETYPE="ANALYTIC">A Sketch of the Past</TITLE> in which Woolf describes her half-brother's sexual interest in her. Two other essays, <TITLE TITLETYPE="ANALYTIC">22 Hyde Park Gate</TITLE> and <TITLE TITLETYPE="ANALYTIC">Old Bloomsbury</TITLE> describe his attempt to assault her sexually.</SHORTPROSE></PRODUCTION><RECEPTION><SHORTPROSE><RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL" GENDEREDRESPONSE="GENDEREDYES">Critic <NAME STANDARD="DeSalvo, Louise" REF="https://commons.cwrc.ca/orlando:f6f8f242-f6ab-4ac9-bc98-54696cb20de3">Louise DeSalvo</NAME> calls <TITLE TITLETYPE="ANALYTIC">A Sketch of the Past</TITLE><QUOTE DIRECT="Y">the bravest writing task that she had ever set out to accomplish.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="DeSalvo 99" DBREF="38170" REF="https://commons.cwrc.ca/orlando:172c1bcb-91e1-45da-9718-a41b130e871a">99</BIBCIT></BIBCITS><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> is, she says, <QUOTE DIRECT="Y">a pioneer in exploring the effects of her abuse at a time well before incest survivors reported their experiences.</QUOTE><BIBCITS><BIBCIT PLACEHOLDER="DeSalvo 101" DBREF="38170" REF="https://commons.cwrc.ca/orlando:172c1bcb-91e1-45da-9718-a41b130e871a">101</BIBCIT></BIBCITS></RRESPONSES> In 2005 biographer <NAME STANDARD="Briggs, Julia" REF="https://commons.cwrc.ca/orlando:54738cde-00a5-4470-8bda-eaf20e010ead">Julia Briggs</NAME> has called for <QUOTE DIRECT="Y">a fuller, more informative and more flexible edition of these texts than has yet appeared—one that will reveal<RRESPONSES RESPONSETYPE="RECENT" FORMALITY="FORMAL"> the several paths Woolf followed in this, her frankest exploration of memory, her boldest journey into the interior.</RRESPONSES></QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Briggs 369" DBREF="38169" REF="https://commons.cwrc.ca/orlando:8ed0c036-196a-4d53-830d-d59b5602711d">369</BIBCIT></BIBCITS></SHORTPROSE></RECEPTION></DIV2><DIV2><HEADING><TITLE TITLETYPE="ANALYTIC">Anon.</TITLE> and <TITLE TITLETYPE="ANALYTIC">The Reader</TITLE></HEADING><TEXTSCOPE DBREF="38252" PLACEHOLDER="VW, 'Anon.' and 'The Reader', 1979" REF="https://commons.cwrc.ca/orlando:09616025-07f7-4944-89b8-eb51ac12a8d4"/><PRODUCTION><CHRONSTRUCT RESP="KDC" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1979">1979</DATE> <CHRONPROSE><PPERIODICALPUBLICATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s previously unpublished <TGENRE GENRENAME="ESSAY">essays</TGENRE> <TITLE TITLETYPE="ANALYTIC">Anon.</TITLE> and <TITLE TITLETYPE="ANALYTIC">The Reader</TITLE> appeared in two issues of <TITLE TITLETYPE="JOURNAL">Twentieth Century Literature</TITLE>, edited by <NAME STANDARD="Silver, Brenda" REF="https://commons.cwrc.ca/orlando:923732e7-45b6-4ada-9e7f-6a4543ba9b9e">Brenda Silver</NAME>.</PPERIODICALPUBLICATION></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 869" DBREF="108301" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">869</BIBCIT></BIBCITS></CHRONSTRUCT></PRODUCTION></DIV2><DIV2><PRODUCTION><SHORTPROSE><PMANUSCRIPTHISTORY><PPERIODICALPUBLICATION>One late <TGENRE GENRENAME="SHORTSTORY">story</TGENRE> entitled <TITLE TITLETYPE="ANALYTIC">The Symbol</TITLE>, whose themes are familiar to readers of Woolf, remained unpublished until June 1985, when it was printed in the <TITLE TITLETYPE="JOURNAL">London Review of Books</TITLE>.<BIBCITS><BIBCIT DBREF="89948" PLACEHOLDER="Woolf, Symbol" REF="https://commons.cwrc.ca/orlando:91fed905-b550-4cdc-bbea-f95671e4a03a"/></BIBCITS></PPERIODICALPUBLICATION></PMANUSCRIPTHISTORY></SHORTPROSE></PRODUCTION><TEXTUALFEATURES><SHORTPROSE><TSETTINGPLACE SETTINGCLASS="MIDDLECLASS" SETTINGPLACETYPE="FICTIVE">An English lady, whose Anglo-Indian family produced explorers as well as colonial administrators, sits in a resort in <PLACE><GEOG>Switzerland</GEOG></PLACE> writing to her sister in Birmingham about the mountain above the town. <TTECHNIQUES TECHNIQUETYPE="IMAGERY">She feels that the mountain must be a symbol of something. She recalls her mother's death and watches a roped line of climbers on the mountain, until suddenly they disappear.</TTECHNIQUES></TSETTINGPLACE></SHORTPROSE></TEXTUALFEATURES></DIV2><DIV2><HEADING>Essays and Shorter Fiction</HEADING><PRODUCTION><SHORTPROSE>A selection of Woolf's <TGENRE GENRENAME="ESSAY">essays</TGENRE> was edited by <NAME STANDARD="Barrett, Michèle" REF="https://commons.cwrc.ca/orlando:4f8eb580-f0ca-4bf4-9f49-8a71c238cf85">Michèle Barrett</NAME> for the <ORGNAME STANDARD="Women's Press,, 1977 -" REF="https://commons.cwrc.ca/orlando:f3b5ce8e-4b8a-48fb-9876-aafdeb1d8e4e">Women's Press</ORGNAME> of <PLACE><SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> in 1979, and a scholarly, comprehensive edition of her essays by <NAME STANDARD="McNeillie, Andrew" REF="https://commons.cwrc.ca/orlando:1111a362-6114-401e-9259-3e3edd220c59">Andrew McNeillie</NAME> was completed by <NAME STANDARD="Clarke, Stuart Nelson" REF="https://commons.cwrc.ca/orlando:94935795-5c37-4ce2-9687-aca7a0307a77">Stuart N. Clarke</NAME> with its sixth volume in 2011. <PPERIODICALPUBLICATION>Reprintings continue: of six essays that Woolf wrote for <TITLE TITLETYPE="JOURNAL">Good Housekeeping</TITLE> in spring 1931, the first five were re-issued in 1975, then all six as <TITLE TITLETYPE="MONOGRAPHIC">The London Scene</TITLE> in 2007.<BIBCITS><BIBCIT PLACEHOLDER="Advertisement 18" DBREF="49670" REF="https://commons.cwrc.ca/orlando:fc8e7e51-4002-423a-8b42-4da3c0523021">18</BIBCIT></BIBCITS></PPERIODICALPUBLICATION></SHORTPROSE></PRODUCTION></DIV2><DIV2><TEXTSCOPE DBREF="38253" PLACEHOLDER="VW, The Complete Shorter Fiction of Virginia Woolf, 1985" REF="https://commons.cwrc.ca/orlando:d93cc20c-9d22-4c25-a0a6-790b4faccf74"/><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="BRITISHWOMENWRITERS" RELEVANCE="SELECTIVE"><DATE VALUE="1985">1985</DATE> <CHRONPROSE><TITLE TITLETYPE="MONOGRAPHIC">The Complete <TGENRE GENRENAME="SHORTSTORY">Shorter Fiction of Virginia Woolf</TGENRE></TITLE> appeared in a single volume, edited by <NAME STANDARD="Dick, Susan" REF="https://commons.cwrc.ca/orlando:1d7e6a4b-8435-45d5-8905-bac24e533859">Susan Dick</NAME>.</CHRONPROSE><BIBCITS><BIBCIT PLACEHOLDER="Bodleian" DBREF="9935" REF="https://commons.cwrc.ca/orlando:16d427db-a8a2-4f33-ac53-9f811672584b"/></BIBCITS></CHRONSTRUCT></PRODUCTION></DIV2></DIV1><DIV1><HEADING>Legacy</HEADING><DIV2><HEADING>Manuscripts</HEADING><PRODUCTION><SHORTPROSE><PARCHIVALLOCATION><NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> left a mass of manuscript material, now mostly housed at the <ORGNAME STANDARD="University of Sussex" REF="https://commons.cwrc.ca/orlando:ea9a9022-9215-4843-9f19-1192336e1f14">University of Sussex</ORGNAME> in <PLACE><SETTLEMENT>Brighton</SETTLEMENT><REGION REG="Sussex"/><GEOG REG="England"/></PLACE> (Monks House Papers) and in the Berg Collection in the <ORGNAME STANDARD="New York Public Library" REF="https://commons.cwrc.ca/orlando:6ce70f83-fd2a-4495-91b3-04f082079df3">New York Public Library</ORGNAME>. Both these collections have been filmed by Primary Source Microfilm (published by <ORGNAME STANDARD="Gale" REF="https://commons.cwrc.ca/orlando:04692fb5-5e5c-4e3d-90bb-f0a81f301da8">Gale</ORGNAME>).</PARCHIVALLOCATION></SHORTPROSE></PRODUCTION></DIV2><DIV2><HEADING>Fictionalized Treatments</HEADING><RECEPTION><SHORTPROSE><RFICTIONALIZATION>Versions of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> appeared in many writings by other authors both during and after her own lifetime. On <DATE VALUE="1928-03-08">8 March 1928</DATE>, <NAME STANDARD="Sackville-West, Vita" REF="https://commons.cwrc.ca/orlando:de6657d8-47f8-4578-85e7-4a5ce4394a3e">Vita Sackville-West</NAME> informed her that <NAME STANDARD="Bottome, Phyllis" REF="https://commons.cwrc.ca/orlando:f4b99918-6c25-4c87-9c31-66c2177d5400">Phyllis Bottome</NAME> (a popular author and great Woolf fan) had written a short story about meeting Woolf, whom she fictionalized as the character <TCHARACTERNAME>Avery Fleming</TCHARACTERNAME> (published in her collection <TITLE TITLETYPE="MONOGRAPHIC">Strange Fruit</TITLE>, <DATE VALUE="1928-03" CERTAINTY="AFTER">1928</DATE>).<BIBCITS><BIBCIT PLACEHOLDER="Sackville-West, Letters (1984) 275, 277" DBREF="9745" REF="https://commons.cwrc.ca/orlando:97a2f616-7344-44ba-a66c-472b4db2b358">275, 277</BIBCIT> <BIBCIT PLACEHOLDER="Bottome, Strange Fruit 245-53" DBREF="26345" REF="https://commons.cwrc.ca/orlando:ec28c700-46b7-46ea-a700-58409abc2732">245-53</BIBCIT></BIBCITS> <NAME STANDARD="Walpole, Hugh" REF="https://commons.cwrc.ca/orlando:0d38dc6a-2e24-49a0-93b5-472484ada59c">Hugh Walpole</NAME>'s <TITLE TITLETYPE="MONOGRAPHIC">Hans Frost</TITLE>, <DATE VALUE="1929">1929</DATE>, features <TCHARACTERNAME>Jane Rose</TCHARACTERNAME>, an author who has recently published a novel featuring a lighthouse, and who <QUOTE DIRECT="Y">looked like the wife of a Pre-Raphaelite painter, her dark hair brushed back in waves from her forehead, her grey dress cut in simple fashion, her thin pale face quiet and remote. She was . . . the best living novelist in England.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Lee 567, 844" DBREF="108301" QTDIN="QTDINYES" REF="https://commons.cwrc.ca/orlando:b7b31683-a157-409e-9db9-5b79de5675f6">567, 844</BIBCIT></BIBCITS> In <NAME STANDARD="Cunningham, Michael" REF="https://commons.cwrc.ca/orlando:f50ceb7a-ff84-4d33-aa32-fa6fdfc8fda4">Michael Cunningham</NAME>'s novel <TITLE TITLETYPE="MONOGRAPHIC">The Hours</TITLE>, 1998, two women whose lives, with <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s, span the twentieth century have their own experience touched and altered by its perceived relationship with hers. This novel commanded a wide audience when it was made into a film (script by <NAME STANDARD="Hare, David" REF="https://commons.cwrc.ca/orlando:43939edd-d4b7-4955-9220-fccfd29d3c27">David Hare</NAME>, directed by <NAME STANDARD="Daldry, Stephen" REF="https://commons.cwrc.ca/orlando:11c8d606-f236-4249-b0d6-a52634258fac">Stephen Daldry</NAME>) under the same title, which was nominated for nine Oscars. Daldry said his handling of Woolf's suicide was influenced by memories of that of playwright <NAME STANDARD="Kane, Sarah" REF="https://commons.cwrc.ca/orlando:b38ec6ca-5471-4269-8816-3f44864d2dc3">Sarah Kane</NAME>, of whom he was a friend.<BIBCITS><BIBCIT PLACEHOLDER="BLC" DBREF="2052" REF="https://commons.cwrc.ca/orlando:589575c9-c072-42de-b7ac-19398b2b6f2b"/><BIBCIT PLACEHOLDER="Billington" DBREF="38026" REF="https://commons.cwrc.ca/orlando:dc8647fd-7556-453e-bf2c-cc69149abaf7"/></BIBCITS> <NAME STANDARD="Gee, Maggie" REF="https://commons.cwrc.ca/orlando:95225624-86e0-4b3c-bb9f-983aa01423c1">Maggie Gee</NAME>'s imaginative and ingenious <TITLE TITLETYPE="MONOGRAPHIC">Virginia Woolf in Manhattan</TITLE>, 2014, is another fictional treatment.</RFICTIONALIZATION><RFICTIONALIZATION><TITLE TITLETYPE="MONOGRAPHIC">A Good Day</TITLE>, a play by <NAME STANDARD="Clarke, Brian M." REF="https://commons.cwrc.ca/orlando:eea76cb2-4d03-482c-8cc8-dcd73d0d1603">Brian M. Clarke</NAME> and <NAME STANDARD="Elliott, Tom" REF="https://commons.cwrc.ca/orlando:f9a284a9-6e0f-43d0-b023-c48716ef592b">Tom Elliott</NAME> that engages with Woolf's final hours, had its first performance in April 2011 at the <ORGNAME STANDARD="RNCM Studio Theatre" REF="https://commons.cwrc.ca/orlando:31c7a290-d37e-488c-9387-ffaa72c7b614">RNCM Studio Theatre</ORGNAME> in <PLACE><SETTLEMENT>Manchester</SETTLEMENT><REGION REG="Lancashire"/><GEOG REG="England"/></PLACE>.<BIBCITS><BIBCIT PLACEHOLDER="Elliott" DBREF="66928" REF="https://commons.cwrc.ca/orlando:f63340cc-a117-4938-999d-c534209cc38d"/></BIBCITS> <PNONBOOKMEDIA>US vocalist-composer <NAME STANDARD="La Barbara, Joan" REF="https://commons.cwrc.ca/orlando:eb0c3e89-c5fa-40b9-b51a-31d3cb0ad43e">Joan La Barbara</NAME> is at work on an opera inspired by <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s life and work, from which she has already performed excerpts.<BIBCITS><BIBCIT PLACEHOLDER="Greenwich House" DBREF="68245" REF="https://commons.cwrc.ca/orlando:00c55ae4-4513-4a58-af5e-e7a7581d9d72"/></BIBCITS> The Royal Opera House, Covent Garden, presented in May 2015, and later revived, a <SOCALLED>ballet triptych</SOCALLED> by choreographer <NAME STANDARD="McGregor, Wayne" REF="https://commons.cwrc.ca/orlando:8bfd31b4-e96a-4c32-b065-c3a28a110b5f">Wayne McGregor</NAME>, with music by <NAME STANDARD="Richter, Max" REF="https://commons.cwrc.ca/orlando:2268374c-ee44-4ffd-b8dc-7e50be0b98df">Max Richter</NAME>, titled <TITLE TITLETYPE="MONOGRAPHIC">Woolf Works</TITLE>. This sets out to create through modern dance an experience of <SOCALLED>granite and rainbow</SOCALLED> based on the synaesthetic aims of her fiction.</PNONBOOKMEDIA></RFICTIONALIZATION></SHORTPROSE></RECEPTION></DIV2><DIV2><HEADING>Indicators</HEADING><RECEPTION><SHORTPROSE>The first study of <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> was that of <NAME STANDARD="Holtby, Winifred" REF="https://commons.cwrc.ca/orlando:e3c68f8d-d338-4c6a-a5fa-067cff4a8fba">Winifred Holtby</NAME> in <DATE VALUE="1932-10">October 1932</DATE>. Those future writers who did work on <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> during their student days have included <NAME STANDARD="Lavin, Mary" REF="https://commons.cwrc.ca/orlando:56bd7234-c3d8-4f99-828c-0bda2425dc73">Mary Lavin</NAME> and <NAME STANDARD="Barrett, Michèle" REF="https://commons.cwrc.ca/orlando:4f8eb580-f0ca-4bf4-9f49-8a71c238cf85">Michèle Barrett</NAME>. In 1992 <NAME STANDARD="Mepham, John" REF="https://commons.cwrc.ca/orlando:bdf9cef8-0ef9-4f44-86a6-190666d077a3">John Mepham</NAME> introduced a survey of the secondary material available on Woolf and dated the rush of commentary on her from the mid-1970s (after, that is, the life by her nephew <NAME STANDARD="Bell, Quentin" REF="https://commons.cwrc.ca/orlando:1898063e-bfed-48ec-9b81-067fc14d8651">Quentin Bell</NAME>, <DATE VALUE="1972">1972</DATE>, first in a procession of biographical studies which shows no sign of ending). Mepham then wrote: <QUOTE DIRECT="Y">There is, fortunately, no critical orthodoxy in Woolf criticism.</QUOTE> <BIBCITS><BIBCIT PLACEHOLDER="Mepham 1992, 1" DBREF="37810" REF="https://commons.cwrc.ca/orlando:e4b04962-2f68-4a9d-aa4d-d36577eb5eff">1</BIBCIT></BIBCITS> That is putting it mildly. <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s literary reputation has been so much fought over politically, with acrimonious struggles over gender, class, and specialized brands of feminism, <RRECOGNITIONS>that it is reassuring to see her name being used as the obvious marker for the modern period by such large-scale projects as the one initiated by the <ORGNAME STANDARD="British Academy for the Promotion of Historical,, Philosophical and Philological Studies" REG="British Academy for the Promotion of Historical,, Philosophical and Philological Studies">British Academy</ORGNAME> and in progress under the title <TITLE TITLETYPE="UNPUBLISHED">The Reception of British Authors in Europe, ranging from <NAME STANDARD="Bacon, Francis,, 1561 - 1626" REF="https://commons.cwrc.ca/orlando:931a1d73-45bd-4362-84b4-8e442daf74ca">Francis Bacon</NAME> to Virginia Woolf.</TITLE> <BIBCITS><BIBCIT PLACEHOLDER="Fabian 439" DBREF="19798" REF="https://commons.cwrc.ca/orlando:894ccf28-120d-4992-999a-4d671ffd29c4">439</BIBCIT></BIBCITS> Her reputation has generated an international society, an annual conference, a London memorial, and a series of pamphlets issued by the family-connected <ORGNAME STANDARD="Cecil Woolf" REF="https://commons.cwrc.ca/orlando:ea613001-8738-46c2-bfd1-92ac3a36206d">Cecil Woolf</ORGNAME> publishing firm as the <TITLE TITLETYPE="SERIES">Bloomsbury Heritage</TITLE> series, <PEDITIONS>as well as the <QUOTE DIRECT="Y">definitive collected edition</QUOTE> of her novels published by the <ORGNAME STANDARD="Hogarth Press" REF="https://commons.cwrc.ca/orlando:8a6a76bb-b525-4a85-a5e6-2947531e97e3">Hogarth Press</ORGNAME> in the 1990s.<BIBCITS><BIBCIT PLACEHOLDER="OCLC" DBREF="1709" REF="https://commons.cwrc.ca/orlando:e22bf210-8f2e-4862-9dec-3b131136861e"/></BIBCITS></PEDITIONS> An exhibition on Woolf and the Bloomsbury group entitled <TITLE TITLETYPE="MONOGRAPHIC">This Perpetual Flight</TITLE> was held at the <ORGNAME STANDARD="Grolier Club" REF="https://commons.cwrc.ca/orlando:05f671f7-cec3-4688-a91a-026b6e3c1dc8">Grolier Club</ORGNAME> in <PLACE><SETTLEMENT REG="New York City">New York</SETTLEMENT><REGION REG="New York"/><GEOG REG="USA"/></PLACE> in 2008.<BIBCITS><BIBCIT PLACEHOLDER="Mulvihill" DBREF="61051" REF="https://commons.cwrc.ca/orlando:005392d1-11f2-4701-b0da-7b27caad34d3"/></BIBCITS></RRECOGNITIONS><RRECOGNITIONS>After the <RRECOGNITIONNAME REG="Prix Femina">Femina Vie Heureuse</RRECOGNITIONNAME> prize for <TITLE TITLETYPE="MONOGRAPHIC">To the Lighthouse</TITLE>, <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME> refused in principle to accept any honour from an institution. She declined to give the Clark Lectures at <ORGNAME STANDARD="Cambridge University" REF="https://commons.cwrc.ca/orlando:c0f3d723-7b28-4d44-8d7f-dda09d7ae691">Cambridge University</ORGNAME>, as well as several offers of <RRECOGNITIONNAME>honorary degrees</RRECOGNITIONNAME>, and in 1935 the culminating award of becoming a <RRECOGNITIONNAME>Companion of Honour</RRECOGNITIONNAME>. An attempt during the 1980s to get her commemorated in <PLACE><PLACENAME>Westminster Abbey</PLACENAME><SETTLEMENT REG="London"/><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE> foundered on the opinion of the then Dean of Westminster that as a convinced agnostic, if not an atheist, and as a scorner of honours, she would not have wished for this.<SCHOLARNOTE> This information comes from personal knowledge. </SCHOLARNOTE> Bronzes of <NAME STANDARD="Tomlin, Stephen" REF="https://commons.cwrc.ca/orlando:df026805-1969-4884-bfa4-32044a0fee93">Stephen Tomlin</NAME>'s bust of Woolf stand at <PLACE><PLACENAME>Monks House</PLACENAME><SETTLEMENT REG="Rodmell"/><REGION REG="Sussex"/><GEOG REG="England"/></PLACE> and in <PLACE><ADDRESS><ADDRLINE>Tavistock Square</ADDRLINE></ADDRESS>, <SETTLEMENT>London</SETTLEMENT><REGION REG="Middlesex"/><GEOG REG="England"/></PLACE>.</RRECOGNITIONS></SHORTPROSE></RECEPTION></DIV2><DIV2><HEADING>Copyright</HEADING><PRODUCTION><CHRONSTRUCT RESP="IMG" CHRONCOLUMN="WRITINGCLIMATE" RELEVANCE="SELECTIVE" CHRONCOLUMN1="BRITISHWOMENWRITERS1" RELEVANCE1="PERIOD1"><DATE VALUE="1992-01-01">1 January 1992</DATE> <CHRONPROSE><PCOPYRIGHT>Half a century after her death, a change in the law brought <NAME STANDARD="Woolf, Virginia" REF="https://commons.cwrc.ca/orlando:fc1bcd5a-22ed-42e6-acaa-3ec424271faf">VW</NAME>'s works out of copyright (with those of her contemporary <NAME STANDARD="Joyce, James" REF="https://commons.cwrc.ca/orlando:27c08a0a-133b-4483-85a8-ae29b1c3849b">James Joyce</NAME>); but this change was reversed on <DATE VALUE="1996-01-01">1 January 1996</DATE> by <ORGNAME STANDARD="European Economic Community" REG="European Economic Community" REF="https://commons.cwrc.ca/orlando:040bc605-9bfa-4549-b21c-48e92d825f01">EEC</ORGNAME> directive.</PCOPYRIGHT></CHRONPROSE> <BIBCITS><BIBCIT PLACEHOLDER="Lanchester 36" DBREF="12565" REF="https://commons.cwrc.ca/orlando:a09f2390-8f9c-461d-9c02-259e34667742">36</BIBCIT></BIBCITS></CHRONSTRUCT><SHORTPROSE><PCIRCULATION>During the interim Woolf's overall sales went up by at least half,</PCIRCULATION> <PEDITIONS>and a <TITLE TITLETYPE="SERIES">Penguin Twentieth-Century Classics</TITLE> set of her works (taking a feminist approach) was commissioned, along with several other new editions.</PEDITIONS> <PCOPYRIGHT>Publishers were faced with a dilemma when the works went back into copyright again through the <SOCALLED>harmonisation</SOCALLED> of British with European copyright law, and its extension to seventy years after an author's death. In the end the <ORGNAME STANDARD="Penguin" REF="https://commons.cwrc.ca/orlando:d4bafcfa-5739-480a-ad02-bc11ac21bf33">Penguin</ORGNAME> edition went ahead, but had to pay royalties to Woolf's estate.</PCOPYRIGHT> <BIBCITS><BIBCIT PLACEHOLDER="Lanchester 36" DBREF="12565" REF="https://commons.cwrc.ca/orlando:a09f2390-8f9c-461d-9c02-259e34667742">36</BIBCIT></BIBCITS></SHORTPROSE></PRODUCTION></DIV2></DIV1></WRITING><WORKSCITED><SOURCE>Unless otherwise noted, all information is from the FC</SOURCE><SOURCE>Acheson, Katherine O. Introduction / Annotations / Bibliography [to Lady Anne Clifford]. 1995.</SOURCE><SOURCE>Auerbach, Erich. Mimesis.</SOURCE><SOURCE>BBC Audio Interviews.</SOURCE><SOURCE>Beer, Gillian. Virginia Woolf: the Common Ground. 1996</SOURCE><SOURCE>Bell, Quentin. Preface. 1991.</SOURCE><SOURCE>Bell, Quentin. Virginia Woolf. A Biography.</SOURCE><SOURCE>Billington, Michael. Nothing is the hardest.</SOURCE><SOURCE>Bishop, Edward Virginia Woolf Chronology Macmillan Press 1989</SOURCE><SOURCE>Bishop, Edward, A Virginia Woolf Chronology, Macmillan Press, 1989</SOURCE><SOURCE>Bradshaw, David. Later, she would . . . . 2003.</SOURCE><SOURCE>Bradshaw, David. Mrs Dalloway's Forgotten Fronts. 2001.</SOURCE><SOURCE>Briggs, Julia. Virginia Woolf. An Inner Life. 2005.</SOURCE><SOURCE>British Book News.</SOURCE><SOURCE>Citron, Paula. Woolf as poetry in motion. 2001.</SOURCE><SOURCE>Clair, Colin. A Chronology of Printing. 1969.</SOURCE><SOURCE>Dick, Susan. Introduction. 1984.</SOURCE><SOURCE>Evans, Margaret. Virginia Woolf and the Hogarth Press in Richmond. 1991.</SOURCE><SOURCE>Ezard, John. Virginia Woolf's lost notes discovered. 2003.</SOURCE><SOURCE>Fabian, Bernhardt. Humanistic Scholarship. 2002.</SOURCE><SOURCE>Froula, Christine. Virginia Woolf and the Bloomsbury Avant Garde. 2005.</SOURCE><SOURCE>Gaither, Mary. The Hogarth Press. 1976.</SOURCE><SOURCE>Glendinning, Victoria. Vita Sackville-West.</SOURCE><SOURCE>Henke, Suzette A. Seven Ways of Voyaging. 2001.</SOURCE><SOURCE>IMDb.com</SOURCE><SOURCE>Kennedy, Richard. A Boy at the Hogarth Press.</SOURCE><SOURCE>Lanchester, John. Diary. 2002.</SOURCE><SOURCE>Lee, Hermione, Virginia Woolf, Chatto and Windus, 1996</SOURCE><SOURCE>Lee, Hermione. Virginia Woolf. Chatto and Windus 1996.</SOURCE><SOURCE>Lessing, Doris. Sketches from Bohemia. 2003.</SOURCE><SOURCE>Light, Alison. Harnessed to a Shark. 2002.</SOURCE><SOURCE>Marcus, Jane. Virginia Woolf and the Languages of Patriarchy.</SOURCE><SOURCE>McNeillie, Introduction.</SOURCE><SOURCE>McNeillie, Introduction. 1984.</SOURCE><SOURCE>Meisel, Perry. The Absent Father. 1980.</SOURCE><SOURCE>Mepham, John. Virginia Woolf.</SOURCE><SOURCE>Rose, Phyllis. Woman of Letters.</SOURCE><SOURCE>Sackville-West, Vita. Letters, ed.Louise De Salvo and Mitchell A. Leaska. 1984.</SOURCE><SOURCE>Snaith, Anna. Of Fanciers, Footnotes and Fascism. 2001.</SOURCE><SOURCE>Spurling, Hilary. Secrets of a Woman's Heart. 1984.</SOURCE><SOURCE>Times Digital Archive.</SOURCE><SOURCE>Unless otherwise noted, all information is from the FC.</SOURCE><SOURCE>Wood, James. Phut-Phut. 2002.</SOURCE><SOURCE>Woolf, Complete Shorter Fiction.</SOURCE><SOURCE>Woolf, Virginia, Diaries, ed. Anne Olivier Bell, assisted by Andrew McNeillie</SOURCE><SOURCE>Woolf, Virginia, Letters, ed. Nigel Nicholson, assisted by Joanne Trautmann</SOURCE><SOURCE>Woolf, Virginia. Diaries. ed. Anne Olivier Bell, assistant Andrew McNeillie</SOURCE><SOURCE>Woolf, Virginia. The Common Reader. 1984.</SOURCE><SOURCE>Woolf, Virginia. The Death of the Moth. 1942.</SOURCE><SOURCE>Woolf, Virginia. To the Lighthouse. The original holograph. 1984.</SOURCE><SOURCE>Woolf, Virginia. Women and Writing. 1979.</SOURCE><SOURCE>Woolmer, J. Howard. A Checklist of the Hogarth Press. 1976.</SOURCE></WORKSCITED></DIV0></ENTRY>

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