Biographical note Virginia Woolf (January 25, 1882 - March 28, 1941) was a English author and feminist. Born Adeline Virginia Stephens in London she was brought up and educated at home. In 1895 following the death of her mother she had the first of numerous nervous breakdowns. Following the death of her father (Sir Leslie Stephen, a literary critic) in 1904, she moved with her sister and two brothers to a house in Bloomsbury. She began writing professionally in 1905, initially for the Times Literary Supplement. In 1912 she married Leonard Woolf, a civil servant and political theorist.
Her first novel, The Voyage Out, was published in 1915. Between the wars, Woolf was a significant figure in London literary society and a member of the Bloomsbury group. In March 1941, Woolf drowned herself in the River Ouse, near her Rodmell residence. She had published ten (?) novels and over 500 essays.
Woolf, Virginia A discussion of Virginia Woolf's writing. © Open University While she is best known for her novels, especially Mrs. Dalloway (1925) and To the Lighthouse (1927), Woolf also wrote pioneering essays on artistic theory, literary history, women’s writing, and the politics of power.
A fine stylist, she experimented with several forms of biographical writing, composed painterly short fictions, and sent to her friends and family a lifetime of brilliant letters. Early life and influences Born Virginia Stephen, she was the child of ideal Victorian parents. Her father, was an eminent literary figure and the first editor (1882–91) of the Dictionary of National Biography. Her mother, Julia Jackson, possessed great beauty and a reputation for saintly self-sacrifice; she also had prominent social and artistic connections, which included, her aunt and one of the greatest portrait photographers of the 19th century. Both Julia Jackson’s first husband, Herbert Duckworth, and Leslie’s first wife, a daughter of the novelist, had died unexpectedly, leaving her three children and him one. Julia Jackson Duckworth and Leslie Stephen married in 1878, and four children followed: (born 1879), Thoby (born 1880), Virginia (born 1882), and Adrian (born 1883). While these four children banded together against their older half siblings, loyalties shifted among them.
Virginia was jealous of Adrian for being their mother’s favourite. At age nine, she was the genius behind a family newspaper, the Hyde Park Gate News, that often teased Vanessa and Adrian. Vanessa mothered the others, especially Virginia, but the between need (Virginia’s) and aloofness (Vanessa’s) sometimes expressed itself as rivalry between Virginia’s art of writing and Vanessa’s of painting. The Stephen family made summer migrations from their London town house near to the rather disheveled Talland House on the rugged Cornwall coast. That annual relocation structured Virginia’s childhood world in terms of opposites: city and country, winter and summer, repression and freedom, fragmentation and wholeness. Her neatly divided, predictable world ended, however, when her mother died in 1895 at age 49.
Virginia, at 13, ceased writing amusing accounts of family news. Almost a year passed before she wrote a cheerful letter to her brother Thoby. She was just emerging from when, in 1897, her half sister Stella Duckworth died at age 28, an event Virginia noted in her diary as “impossible to write of.” Then in 1904, after her father died, Virginia had a nervous breakdown. Dust jacket designed by Vanessa Bell for the first edition of Virginia Woolf's To the Lighthouse, published by the Hogarth Press in 1927. Between the Covers Rare Books, Merchantville, NJ In two 1927 essays, The Art of Fiction and The New Biography, she wrote that fiction writers should be less concerned with naive notions of reality and more with language and design.
However restricted by fact, she argued, biographers should yoke truth with imagination, “granite-like solidity” with “rainbow-like intangibility.” Their relationship having cooled by 1927, Woolf sought to reclaim Sackville-West through a “biography” that would include Sackville family history. Woolf solved biographical, historical, and personal dilemmas with the story of, who lives from Elizabethan times through the entire 18th century; he then becomes female, experiences debilitating gender constraints, and lives into the 20th century. Orlando begins writing poetry during the Renaissance, using history and mythology as models, and over the ensuing centuries returns to the poem The Oak Tree, revising it according to shifting poetic conventions. Woolf herself writes in mock-heroic imitation of biographical styles that change over the same period of time.
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Thus, (1928) exposes the artificiality of both gender and genre prescriptions. However fantastic, Orlando also argues for a novelistic approach to biography. In 1921 John Maynard Keynes had told Woolf that her “on George,” presented to the Memoir Club that year or a year earlier, represented her best writing. Afterward she was increasingly angered by masculine condescension to female talent. In (1929), Woolf blamed women’s absence from history not on their lack of brains and talent but on their poverty.
For her 1931 talk Professions for Women, Woolf studied the history of women’s education and employment and argued that unequal opportunities for women negatively affect all of society. She urged women to destroy the “angel in the house,” a reference to ’s poem of that title, the quintessential Victorian paean to women who sacrifice themselves to men. Having praised a 1930 exhibit of Vanessa Bell’s paintings for their wordlessness, Woolf planned a mystical novel that would be similarly impersonal and abstract. In (1931), poetic interludes describe the sea and sky from dawn to dusk. Between the interludes, the voices of six named characters appear in sections that move from their childhood to old age. In the middle section, when the six friends meet at a farewell dinner for another friend leaving for India, the single flower at the centre of the dinner table becomes a “seven-sided flowera whole flower to which every eye brings its own contribution.” The Waves offers a six-sided shape that illustrates how each individual experiences events—including their friend’s death—uniquely. Bernard, the writer in the group, narrates the final section, defying death and a world “without a self.” Unique though they are (and their can be identified in the Bloomsbury group), the characters become one, just as the sea and sky become indistinguishable in the interludes.
This oneness with all creation was the primal experience Woolf had felt as a child in Cornwall. In this her most experimental novel, she achieved its poetic equivalent.
Through To the Lighthouse and The Waves, Woolf became, with and, one of the three major English-language experimenters in writing. Dust jacket designed by Vanessa Bell for the first edition of Virginia Woolf's The Waves, published by the Hogarth Press in 1931. Between the Covers Rare Books, Merchantville, NJ Late work From her earliest days, Woolf had framed experience in terms of oppositions, even while she longed for a holistic state beyond binary divisions. The “perpetual marriage of granite and rainbow” Woolf described in her essay The New Biography typified her approach during the 1930s to individual works and to a balance between writing works of fact and of imagination. Even before finishing The Waves, she began compiling a scrapbook of clippings illustrating the horrors of war, the threat of, and the oppression of women. The against women that Woolf had discussed in A Room of One’s Own and Professions for Women inspired her to plan a book that would trace the story of a fictional family named Pargiter and explain the social conditions affecting family members over a period of time.
In The Pargiters: A Novel-Essay she would alternate between sections of fiction and of fact. For the fictional historical narrative, she relied upon experiences of friends and family from the Victorian Age to the 1930s. For the essays, she researched that 50-year span of history. The task, however, of moving between fiction and fact was. Woolf took a holiday from The Pargiters to write a mock biography of Flush, the dog of poet. Lytton Strachey having recently died, Woolf muted her spoof of his biographical method; nevertheless, Flush (1933) remains both a biographical satire and a lighthearted exploration of perception, in this case a dog’s.
In 1935 Woolf completed Freshwater, an absurdist drama based on the life of her great-aunt. Featuring such other eminences as the poet Alfred, Lord Tennyson, and the painter, this riotous play satirizes high-minded Victorian notions of art. Meanwhile, Woolf feared she would never finish The Pargiters.
Alternating between types of prose was proving cumbersome, and the book was becoming too long. She solved this dilemma by the essay sections, keeping the family narrative, and renaming her book The Years. She narrated 50 years of family history through the decline of class and patriarchal systems, the rise of feminism, and the threat of another war. Desperate to finish, Woolf lightened the book with poetic echoes of gestures, objects, colours, and sounds and with wholesale deletions, cutting for Eleanor Pargiter and explicit references to women’s bodies.
The novel illustrates the damage done to women and society over the years by sexual repression, ignorance, and discrimination. Though (or perhaps because) Woolf’s trimming muted the book’s radicalism, The Years (1937) became a. When Fry died in 1934, Virginia was distressed; Vanessa was devastated. Then in July 1937 Vanessa’s elder son, Julian Bell, was killed in the while driving an ambulance for the Republican army.
Vanessa was so disconsolate that Virginia put aside her writing for a time to try to comfort her sister. Privately a lament over Julian’s death and publicly a against war, (1938) proposes answers to the question of how to prevent war. Woolf connected masculine symbols of authority with militarism and, an argument buttressed by notes from her clippings about aggression, fascism, and war. Still distressed by the deaths of Roger Fry and Julian Bell, she determined to test her theories about experimental, novelistic biography in a life of Fry. As she acknowledged in The Art of Biography (1939), the recalcitrance of evidence brought her near despair over the possibility of writing an imaginative biography.
Against the “grind” of finishing the Fry biography, Woolf wrote a verse play about the history of. Her next novel, Pointz Hall (later retitled ), would include the play as a pageant performed by villagers and would convey the gentry’s varied reactions to it.
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As another holiday from Fry’s biography, Woolf returned to her own childhood with A Sketch of the Past, a memoir about her mixed feelings toward her parents and her past and about memoir writing itself. (Here surfaced for the first time in writing a memory of the teenage Gerald Duckworth, her other half brother, touching her inappropriately when she was a girl of perhaps four or five.) Through last-minute borrowing from the letters between Fry and Vanessa, Woolf finished her biography. Though convinced that Roger Fry (1940) was more granite than rainbow, Virginia congratulated herself on at least giving back to Vanessa “her Roger.” Woolf’s chief against, and her own despair was writing. During the bombing of London in 1940 and 1941, she worked on her memoir and. In her novel, war threatens art and humanity itself, and, in the interplay between the pageant—performed on a June day in 1939—and the audience, Woolf raises questions about perception and response. Despite Between the Acts’s affirmation of the value of art, Woolf worried that this novel was “too slight” and indeed that all writing was irrelevant when seemed on the verge of invasion and civilization about to slide over a.
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Facing such horrors, a depressed Woolf found herself unable to write. The demons of self-doubt that she had kept at bay for so long returned to haunt her. On March 28, 1941, fearing that she now lacked the to battle them, she walked behind Monk’s House and down to the River Ouse, put stones in her pockets, and drowned herself. Between the Acts was published posthumously later that year. Legacy Woolf’s experiments with point of view confirm that, as Bernard thinks in The Waves, “we are not single.” Being neither single nor fixed, perception in her novels is fluid, as is the world she presents. While Joyce and Faulkner separate one character’s interior monologues from another’s, Woolf’s narratives move between inner and outer and between characters without clear demarcations. Furthermore, she avoids the self-absorption of many of her contemporaries and implies a brutal society without the explicit details some of her contemporaries felt obligatory.
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Her nonlinear forms invite reading not for neat solutions but for an resolution of “shivering fragments,” as she wrote in 1908. While Woolf’s fragmented style is distinctly Modernist, her indeterminacy anticipates a postmodern awareness of the evanescence of boundaries and categories.
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