Archives for September 2009

Vanessa Bell biography

September 22, 2009 by Roy Johnson

artist, lover, matriarch

Vanessa Bell (1879-1961) is best known as the sister of Virginia Woolf – but in fact she was a talented artist in her own right. She was born in May 1879 at Hyde Park Gate, in central London, the eldest of four children of Leslie Stephen, a Victorian scholar and writer, and his second wife Julia Duckworth. Vanessa like her sister was largely educated at home, but they were both encouraged to develop their individual talents. Vanessa started having drawing lessons, and in 1899 she entered the Royal Academy.

Following her mother’s death in 1895, Vanessa took on the role of housekeeper for the family. Her father, Sir Leslie Stephen, was rather demanding, and Vanessa struggled to balance this domestic role with trying to develop her artistic interests. However, her father died in 1904, so she was released from this responsibility. The family home was sold and she moved with her sister and two brothers, Adrian and Thoby, to a start a new and emotionally more liberated life at 46 Gordon Square, Bloomsbury.

The move to their new home enabled Vanessa and her sister and brothers to entertain their own friends. On Thursday nights Thoby invited his literary friends from Trinity College, Cambridge University to the house, and Vanessa started the ‘Friday Club’, a meeting for artists. The Bloomsbury Group grew out of these meetings of artists and writers.

Vanessa Bell, Frances Spalding’s excellent biography, records the effects of this liberating move. One of Thoby Stephen’s friends at university was Clive Bell. In 1905 he asked Vanessa to marry him, but she declined. She also rejected a second proposal from him a year later. (Virginia did the same with Leonard Woolf.) Her reasons were that although she valued his friendship, she did not want to be married.

However, after the sudden death of her brother Thoby from typhoid fever in 1907, she changed her mind and accepted him. They had two sons – Julian and Quentin – both of whom went on to become writers. Vanessa continued to paint, but her time was increasingly taken up with looking after the children. In 1910 they met Roger Fry when he came to speak at the ‘Friday Club’, and the following year they went on holiday with him to Greece and Turkey.

When she became ill on holiday, Fry nursed her through the illness, and they started an affair. She and Clive nevertheless remained friends, and Clive continued to support her financially, but he resumed a relationship with a previous mistress. Such is Bloomsbury, and there is more to come.

Another artist who joined the Bloomsbury Group was Duncan Grant. Vanessa admired his work and bought one of his paintings. The Art of Bloomsbury shows via beautiful colour reproductions how Bell, Fry, and Grant influenced each other. In time she became close to Grant, and despite the fact that he was a promiscuous homosexual, she started an affair with him. This displaced Roger Fry, who was miffed but remained friends and part of the Bloomsbury Group.

She and Duncan Grant were devoted to each other and lived together for the rest of her life. They had a daughter, Angelica, who they pretended was the daughter of Vanessa’s husband Clive Bell. This deceit was maintained until the girl was nineteen years old. She records her own account of this dubious episode in her memoir Deceived with Kindness.

During the First World War, Vanessa and Duncan Grant moved to the Sussex countryside, so he could avoid conscription. They rented Charleston Farmhouse, and moved there in October 1916 with Vanessa’s children and also the writer David Garnett, who was Duncan’s current lover.

Duncan and Vanessa chose rooms for their studios at Charleston and immediately started to decorate the house. The walls, fireplaces, door panels, and furniture were all decorated to harmonise with their paintings, and Omega fabrics and ceramics were incorporated into the overall décor.

Clive Bell came to visit his sons, and Virginia and Leonard Woolf lived only four miles away. Other guests included Maynard Keynes and his wife the Russian dancer Lydia Lopokova and Lytton Strachey and his sisters. Amateur dramatics were a popular form of entertainment at Charleston. There were a number of pageants and drama shows put on between the wars – what came to be called ‘The Long Weekend’. Virginia Woolf satirises a country house pageant in her last novel Between the Acts.

The thirties were a time of personal difficulty for Vanessa. Roger Fry, with whom Vanessa had remained close, died after a fall in 1934, and in 1937 her son Julian was killed while serving as an ambulance driver in the Spanish Civil War. More unhappiness followed with the suicide of her sister Virginia in 1941, and estrangement from her daughter Angelica in 1942. This was caused by a twist which illustrates the complex personal relationships amongst the Bloomsbury Group.

Angelica discovered the truth about the identity of her real father only when she was nineteen, and then much against her mother’s wishes, and in a manoeuvre which you do not need a brass plaque on your front door to understand, she married David Garnett, her father’s former lover, who was twenty-six years older than her.

Charleston became a full-time home again during the Second World War as it was safely out of reach of the bombs falling on London, and Vanessa continued to live there for part of each year until her death in 1961. Duncan kept the house on for a few years longer but it was too large for him and he eventually moved out. The house is now maintained by The Charleston Trust who have renovated and opened it to the public.

Bloomsbury Group – web links

Hogarth Press first editions
Annotated gallery of original first edition book jacket covers from the Hogarth Press, featuring designs by Vanessa Bell, Roger Fry, and others.

The Omega Workshops
A brief history of Roger Fry’s experimental Omega Workshops, which had a lasting influence on interior design in post First World War Britain.

The Bloomsbury Group and War
An essay on the largely pacifist and internationalist stance taken by Bloomsbury Group members towards the First World War.

Tate Gallery Archive Journeys: Bloomsbury
Mini web site featuring photos, paintings, a timeline, sub-sections on the Omega Workshops, Roger Fry, and Duncan Grant, and biographical notes.

Bloomsbury: Books, Art and Design
Exhibition of paintings, designs, and ceramics at Toronto University featuring Hogarth Press, Vanessa Bell, Dora Carrington, Quentin Bell, and Stephen Tomlin.

Blogging Woolf
A rich enthusiast site featuring news of events, exhibitions, new book reviews, relevant links, study resources, and anything related to Bloomsbury and Virginia Woolf

Hyper-Concordance to Virginia Woolf
Search the texts of all Woolf’s major works, and track down phrases, quotes, and even individual words in their original context.

A Mrs Dalloway Walk in London
An annotated description of Clarissa Dalloway’s walk from Westminster to Regent’s Park, with historical updates and a bibliography.

Women’s History Walk in Bloomsbury
Annotated tour of literary and political homes in Bloomsbury, including Gordon Square, University College, Bedford Square, Doughty Street, and Tavistock Square.

Virginia Woolf Society of Great Britain
News of events, regular bulletins, study materials, publications, and related links. Largely the work of Virginia Woolf specialist Stuart N. Clarke.

BBC Audio Essay – A Eulogy to Words
A charming sound recording of a BBC radio talk broadcast in 1937 – accompanied by a slideshow of photographs of Virginia Woolf.

A Family Photograph Albumn
Leslie Stephens’ collection of family photographs which became known as the Mausoleum Book, collected at Smith College – Massachusetts.

Bloomsbury at Duke University
A collection of book jacket covers, Fry’s Twelve Woodcuts, Strachey’s ‘Elizabeth and Essex’.

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More on the Bloomsbury Group
Twentieth century literature

Verbs – how to understand them

September 14, 2009 by Roy Johnson

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Verbs – definition

A verb expresses an action or a state of being.

Most statements in speech and writing have a main verb.

Examples

The following verbs are expressed in their infinitive form:

to sing to eat to run

to travel to be to have

to intend to feel to paint

Use

Verbs are traditionally expressed along with the appropriate pronouns as follows:

Singular Plural

I run We run

You run You run

He runs They run

She runs —

It runs —

Singular	Plural
I run	We run
You run	You run
He runs	They run
She runs	—
It runs	—

This is the conjugation of the verb ‘to run’.

Verbs are expressed in tenses which place the statement in a point in time. Broadly speaking these are are the past, present, and future tense:

PAST I ran [yesterday]

PRESENT I run [today]

FUTURE I shall run [tomorrow]

The verbs ‘to be’ and ‘to have’ are the most commonly used auxiliary verbs and they work alongside the main verbs in any statement.

NB! English is the only European language which doesn’t have a future tense. It uses an auxiliary verb (‘shall’) to indicate the future.

Traditionally, children are taught that verbs are doing words. This is a very simplistic definition, although it is valid for most normal purposes:

John went to the bank.
My mother arrives on Saturday.
Simple Simon met a pieman.

The verb is a very important part of the sentence. It is a necessary part of every fully expressed predicate – the part of the sentence which normally follows the subject.

The verb is the grammatical instrument which gives us information about the person or thing which is the subject.

Consider the following sentence:

Jane grasped the neckace with joy and placed it in the carved wooden box.

We are given essential information here by means of two verbs – ‘grasped’ and ‘placed’. They express the subject’s physical and psychological attitude, and they also place the action in a temporal context by the fact that they are verbs in the past tense.

These verbs in this context are lexical items, even though they are also doing essential grammatical work. They are lexical in the sense that they are giving detailed information regarding the actions of the subject.

In other contexts, the verb does take a more mechanically grammatical role, as in the following sentence:

James is absolutely sure that Alice is the right choice for the executive post..

Here the verb ‘to be’ is used twice to express the information. The verb’s function here is almost entirely grammatical rather than lexical. The lexical information is given by means of the two adverbs ‘absolutely’ and ‘sure’, the adverbial phrase ‘right choice’, and the phrase ‘executive post’.

The verb ‘is’ puts the information in the present tense and facilitates the expression of James’ state of mind.

Advertisers trade on the grammatical dynamism of the verb when space is at a premium. The following slogans all use the verb in a lexical mode, which places the focus on the action.

It’s good to talk British Telecom

Makes the going easy British Rail slogan

Wash and go shampoo ad

Pick up a Penguin chocolate biscuits

The listening bank Midland Bank ad

Road signs also need to be succinct, so verbs play a crucial part in the best known:

Keep left Stop Give way

All of these are strong imperatives. The recent ‘Kill your speed’ is not only imperative but emotive by the use of the word ‘kill’, here applied as a metaphor.

Verbs are employed to critical effect by poets. The following well known extracts show the powerful effect of the lexical verb.

My heart aches and a drowsy numbness pains my sense
As though of hemlock I had drunk one moment past
And Lethewards had sunk.

[John Keats]

Here ‘aches’ and ‘pains’ both in the present tense are strongly evocative of a listless state of being. The next active verb ‘drunk’ acts as a clear connection between the state of being and the possible cause, at the same time as shifting the action from the present to the hypothetical past. ‘Sunk’ completes the sequence by suggesting physical movement as a result of all the preceding verbal information.

Verbs can also be transformed into other grammatical functions and in many cases this results in an increased dynamism.

Adverbs ‘Thats nice’ he said mockingly, as she tried her best to pick up the broken vase.

Adjectives The moving finger writes, and having writ moves on.

Nouns He always insisted on doing all his own washing.

Conversely, other parts of speech can be used as verbs. American English is replete with such usages, some of which have been assimilated into British English.

Young people now go ‘clubbing’ on Saturday evenings. ‘Parenting’ has now become the term for child-rearing. A recent court case in America revealed that the defendent had been ‘incested’.

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Victor Serge biography

September 22, 2009 by Roy Johnson

novelist, historian, revolutionary

Victor Serge (1890-1947) (real name Victor Lvovich Khibalchich) was born in Brussels, the son of Russian-Polish exiles. His father was an officer in the Imperial Guard who fled the country after the assassination of Alexander II in 1881. His mother was a Polish aristocrat and a teacher. Serge’s father found work as a teacher at the Institute of Anatomy in Brussels, and then moved to France where he became involved in the radical Russian emigre community. As a child he often went hungry, he never went to school, and his younger brother died at the age of nine. He began work at the age of 15 as an apprentice photographer, then went on to work as a designer and a typographist, learning this trade in an anarchist printing works. Serge suffered privation and hardship throughout his life and spent over ten years of it in prisons.

He was strongly influenced by the works of the Russian anarchist Kropotkin and became an active journalist and translator in the revolutionary press. In 1912 he was wrongly accused of participating in the Bonnot Gang, a group of bohemian bank robbers. Several of his comrades were executed: Serge was given a five year jail sentence in solitary confinement, followed by five year’s exile.

Freed in 1917, he went to Barcelona to work as a typographer, and also took part in the popular insurrection there. In 1918 he volunteered for service in Russia, but was arrested and imprisoned without trial in Paris, because of the ban on his staying there. Then he was exchanged for an officer of the French military mission being held in Russia.

The whole sweep of his life as a writer, intellectual, historian, and revolutionary is covered in his autobiographical Memoirs of a Revolutionary. This covers the period between 1900 and 1940 and includes his early affiliations with the anarchists, his participation in the Russian revolution, and his fight against Stalinism. But it is much more than just a historical chronicle. It follows his intellectual and artistic development, and his dealings with lots of the major figures of the Left during this period – Trotsky, Zinoviev, Radek, and Georgy Lukacs.

Arriving in Petrograd in February 1919, he joined the Bolshevik Party and worked on the executive of the Third Communist International with Gregory Zinoviev, travelling to Moscow, Berlin, and Vienna. Meanwhile he also worked as a journalist for L’Humanité and Le Monde in Paris.

In 1923 he took part in the communist insurrection in Germany. Around this time he became increasingly critical of Soviet government. He joined with Emma Goldman and Alexander Berkman to complain about the way the Red Army treated the sailors involved in the Kronstadt Uprising. A libertarian socialist, Serge protested against the Red Terror that was organized by Felix Dzerzhinsky and the Cheka.

Following this he joined the Left Opposition group along with people such as Leon Trotsky and Karl Radek. Serge was an outspoken critic of the authoritarian way that Joseph Stalin governed the country and is believed to be the first writer to describe the Soviet government as ‘totalitarian’. Because of this, Serge was expelled from the Communist Party in 1928.

He was now unable to work for the government and over the next few years he spent his time writing Year One of the Russian Revolution (1930) and two novels Men in Prison (1930) and Birth of Our Power (1931). These books were banned in the Soviet Union but were published in France and Spain. He wrote in French: besides being the preferred language of Russian intellectuals of his generation, French assured him an international audience.

Susan Weissmann’s The Course is Set on Hope is the first full-length biography of Victor Serge. It draws on some of the recently-opened Comintern archives and shows Serge’s principled struggle to maintain socialist principles in his fight against the grip of totalitarianism. This covers the period from 1919 when Serge first went to take part in the Russian revolution, until his death in poverty and exile in Mexico in 1947.

In May 1933, he was arrested by the secret police (the GPU) and sentenced without trial to three year’s exile in the village of Orenburg in the Urals – an early outpost of what would become the Gulag Archipelago. Most of his colleagues in the Left Opposition that were arrested were executed, but as a result of protests made by leading politicians in France, Belgium and Spain, Serge was kept alive.

Protests against Serge’s imprisonment took place at several International Conferences. The case caused the Soviet government considerable embarrassment and in 1936 Joseph Stalin announced that he was considering releasing Serge from prison. Pierre Laval, the French prime minister, refused to grant Serge an entry permit. Emile Vandervelde, the veteran socialist, and a member of the Belgian government, managed to obtain Serge a visa to live in Belgium.

Serge’s relatives were not so fortunate: his sister, mother-in-law, sister-in-law (Anita Russakova) and two of his brothers-in-law, died in prison. All of his writings and personal papers were confiscated by the secret police. There have been several attempts made to have these released, especially after the fall of communism in 1989. They have still not been located.

The Case of Comrade Tulayev is without doubt Serge’s masterpeice, and the finest novel written about the Stalinist purges of the 1930s. A government official is shot at random by a disgruntled Moscow youth, and this sets in motion a repressive crack-down in search of a ‘political conspiracy’ which does not really exist but which gives the forces of repression an excuse to eliminate their rivals. The youth goes free, even though he confesses, whilst completely innocent officials are forced to ‘confess’ to crimes they have not committed. The story is closely related to Stalin’s organisation of the murder of Kirov, the popular head of the Leningrad party district.

He returned to France in 1936 and resumed work on two books on Soviet communism, From Lenin to Stalin (1937) and Destiny of a Revolution (1937). He also published several novels and a volume of poetry, Resistance (1938) about his experiences in Russia. there was a voluminous exchange of correspondence with Leon Trotsky, though the two oppositionists eventually agreed to disagree.

When the Germans invaded France in 1940, he left Paris and travelled to Marseilles, and in 1941 left on the same ship as Andre Breton and Claude Levi-Strauss. His destination was Mexico – the only place which would grant him a resident’s visa. As soon as he settled there he became the object of violent articles and threats to his life from refugee Stalinists – who had recently assassinated Leon Trotsky.

It is astonishing to realise that alongside all his political activities and his time spent as a historian and novelist, Serge also found time to write on literary theory. His Collected Writings on Literature and Revolution offer reflections on modernist literary theory, Russian experimental writing, and the nature of the relationship between literature and politics. It gathers together for the first time the bulk of his literary criticism from the 1920s to the 1950s, giving an invaluable contemporary account of the debates about the production of literature in a socialist society, the role of intellectuals, the theory of ‘proletarian’ literature, as well as assessments of Soviet writers: Mayakovsky, Gorky, Alexei Tolstoy, Alexander Blok, and the less well known Korolenko, Pilnyak, Fedin, Bezymensky, Ivanov, amongst others.

His last years were full of poverty, malnutrition, illness, police surveillance, slander and isolation. Yet he continued to publish novels such as Unforgiving Years, The Long Dusk and his masterpiece, The Case of Comrade Tulayev. His autobiography, Memoirs of a Revolutionary, was first published in the United States in 1945. He continued to write until he died of a heart-attack in Mexico City on 17th November, 1947.

Victor Serge – web links

Victor Serge and The Novel of Revolution – an essay by Richard Greeman, Serge scholar and translator (1991).

Unforgiving Years – an extended book review by Roy Johnson of Serge’s last great novel (2009).

Men in Prison – a book review by Roy Johnson, originally part of an essay which appeared in Literature and History

The Cycle of Revolution: Men in Prison – an essay by Adam David Morton, part of his series relating literature to space, geography, and the city (2012).

Red Petrograd: Conquered City – an essay by Adam David Morton, part of his series relating literature to space, geography, and the city (2012).

The Case of Comrade Tulayev– an extended book review by Roy Johnson, (2010).

The Journey into Defeat: The Case of Comrade Tulayev– an essay by Adam David Morton, part of his series relating literature to space, geography, and the city (2012).

Midnight in the Century – extended book review by Roy Johnson (2010).

The Zero Hour: Midnight in the Century – an essay by Adam David Morton, part of his series relating literature to space, geography, and the city (2012).

Memoirs of a Revolutionary – an extended book review by Richard Greeman of Susan Weissman’s The Course is Set on Hope. Originally published in Issue 94 of INTERNATIONAL SOCIALISM JOURNAL, Published Spring 2002 Copyright © International Socialism.

Victor Serge Papers – Yale University archive

Revolutionary & Novelist – a biographical sketch (2009).

Victor Serge – an introduction to his work – brief notes on Serge’s major fiction and non-fiction (2008).

Victor Serge at Wikipedia – biographical notes, political ideas, works available in English, and web links.

Victor Serge and Socialism – an essay by Peter Sedgwick, first published in International Socialism (1st series), No.14, Autumn 1963, pp.17-23.

A Requiem for Paris: The Long Dusk – an essay by Adam David Morton, part of his series relating literature to space, geography, and the city (2012).

The City as Protagonist: Birth of Our Power – essay by Adam David Morton, part of his series relating literature to space, geography, and the city (2012).

On Victor Serge as Vagabond Witness – a review by Adam Morton of Paul Gordon’s Vagabond Witness: Victor Serge and the Politics of Hope (2013).

Victor Serge: A Political Biography – a review by Roy Johnson of Susan Weissman’s study of Serge’s politics as an intransigent Left Oppositionist (2013).

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Virginia Woolf greatest works

September 24, 2009 by Roy Johnson

fictional works – plus some film versions

Jacob’s Room (1922) was Woolf’s first and most dramatic break with traditional narrative fiction. It was also the first of her novels she published herself, as co-founder of the Hogarth Press. This gave her for the first time the freedom to write exactly as she wished. The story is a thinly disguised portrait of her brother Thoby – as he is perceived by others, and in his dealings with two young women. The novel does not have a conventional plot, and the point of view shifts constantly and without any signals or transitions from one character to another. Woolf was creating a form of story telling in which several things are discussed at the same time, creating an impression of simultaneity, and a flow of continuity in life which was one of her most important contributions to literary modernism.

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Mrs Dalloway (1925) is probably the most accessible of her great novels. A day in the life of a London society hostess is used as the structure for her experiments in multiple points of view. The themes she explores are the nature of personal identity; memory and consciousness; the passage of time; and the tensions between the forces of Life and Death. The novel abandons conventional notions of plot in favour of a mosaic of events. She gives a very lyrical response to the fundamental question, ‘What is it like to be alive?’ And her answer is a sensuous expression of metropolitan existence. The novel also features her rich expression of ‘interior monologue’ as a narrative technique, and it offers a subtle critique of society recovering in the aftermath of the first world war. This novel is now seen as a central text of English literary modernism.

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To the Lighthouse (1927) is the second of the twin jewels in the crown of her late experimental phase. It is concerned with the passage of time, the nature of human consciousness, and the process of artistic creativity. Woolf substitutes symbolism and poetic prose for any notion of plot, and the novel is composed as a tryptich of three almost static scenes – during the second of which the principal character Mrs Ramsay dies – literally within a parenthesis. The writing is lyrical and philosophical at the same time. Many critics see this as her greatest achievement, and Woolf herself realised that with this book she was taking the novel form into hitherto unknown territory.

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Orlando (1928) is one of her lesser-known novels, although it’s critical reputation has risen in recent years. It’s a delightful fantasy which features a character who changes sex part-way through the book – and lives from the sixteenth to the twentieth century. Using this device (which turns out to be strangely credible) Woolf explores issues of gender and identity as her hero-heroine moves through a variety of lives and personal adventures. Orlando starts out as an emissary to the Court of St James, lives through friendships with Swift and Alexander Pope, and ends up motoring through the west end of London on a shopping expedition in the 1920s. The character is loosely based on Vita Sackville-West, who at one time was Woolf’s lover. The novel itself was described by Nigel Nicolson (Sackville-West’s son) as ‘the longest and most charming love-letter in literature’.

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The Waves (1931) is her most experimental and most demanding novel. Rather like her exact contemporary James Joyce, she was pushing the possibilities of the novel to their furthest limit. She abandons conventional narrative and setting altogether, and substitutes the interior monologues of six different characters. They are friends (and lovers) whose lives are revealed by what they think about themselves and each other. The monologues that span the characters’ lives are broken up by nine brief third-person interludes detailing a coastal scene at varying stages in a day from sunrise to sunset. Readers have to work out who is ‘thinking’ at any moment – but assistance is provided by patterns of imagery and fragments of repeated ideas associated with each character. Not for the faint-hearted. Read the other novels first.

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Between the Acts (1941) is her last novel, in which she returns to a less demanding literary style. Despite being written immediately before her suicide, she combines a playful wittiness with her satirical critique of English upper middle-class life. The story is set in the summer of 1939 on the day of the annual village fete at Pointz Hall. It describes a country pageant on English history written by Miss La Trobe, and its effects on the people who watch it. Most of the audience misunderstand it in various ways, but the implication is that it is a work of art which temporarily creates order amidst the chaos of human life. There’s lots of social comedy, some amusing reflections on English weather, and meteorological metaphors and imagery run cleverly throughout the book.

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Kew Gardens is a collection of experimental short stories in which Woolf tested out ideas and techniques which she then later incorporated into her novels. After Chekhov, they represent the most important development in the modern short story as a literary form. Incident and narrative are replaced by evocations of mood, poetic imagery, philosophic reflection, and subtleties of composition and structure. The shortest piece, ‘Monday or Tuesday’, is a one-page wonder of compression. This collection is a cornerstone of literary modernism. No other writer – with the possible exception of Nadine Gordimer, has taken the short story as a literary genre as far as this.

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The Complete Shorter Fiction contains all the classic short stories such as The Mark on the Wall, A Haunted House, and The String Quartet – but also the shorter fragments and experimental pieces such as Mrs Dalloway in Bond Street. These ‘sketches’ (as she called them) were used to practice the techniques she used in her longer fictions. Nearly fifty pieces written over the course of Woolf’s writing career are arranged chronologically to offer insights into her development as a writer. This is one for connoisseurs – well presented and edited in a scholarly manner.

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Film versions

The Hours DVD is an amazingly successful film adaptation of Michael Cunningham’s fictional take on Mrs Dalloway. Fragments of Virginia Woolf’s biography are interwoven with stories from 1950s Los Angeles and contemporary New York. It’s not a direct adaptation but a stunning interpretation of Woolf and her world, her themes, and even her narrative techniques. It is beautifully photographed, and the evocation of Woolf’s creative process is particularly impressive. Nicole Kidman creates a very sympathetic portrayal of Virginia Woolf, Julianne Moore glues the plot together with a magnificent performance as a woman at the end of her tether, and Meryl Streep is a slightly over-the-top but acceptable modern Clarissa. Music by Philip Glass. This is a film which no Woolf enthusiast should miss.

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Mrs Dalloway DVD is an excellent film version of Mrs Dalloway directed by Dutch filmmaker Marleen Gorris. It’s a visually low key rendering of the original, but it captures the spirit of the novel very well. Outstanding performance by Vanessa Redgrave in the principal role, and Natascha McElhone as her younger self and a young Kenneth Brannah as Charles Tansley. The screenplay was written by actor-author Eileen Atkins.

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Virginia Woolf is a readable and well illustrated biography by John Lehmann, who at one point worked as her assistant at the Hogarth Press. It is described by the blurb as ‘A critical biography of Virginia Woolf containing illustrations that are a record of the Bloomsbury Group and the literary and artistic world that surrounded a writer who is immensely popular today’. An attractive and very accessible introduction to the subject.

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Virginia Woolf – web links

Virginia Woolf at Mantex
Biographical notes, study guides to the major works, book reviews, studies of the short stories, bibliographies, web links, study resources.

Blogging Woolf
Book reviews, Bloomsbury related issues, links, study resources, news of conferences, exhibitions, and events, regularly updated.

Virginia Woolf at Wikipedia
Full biography, social background, interpretation of her work, fiction and non-fiction publications, photograph albumns, list of biographies, and external web links

Virginia Woolf at Gutenberg
Selected eTexts of her novels and stories in a variety of digital formats.

Woolf Online
An electronic edition and commentary on To the Lighthouse with notes on its composition, revisions, and printing – plus relevant extracts from the diaries, essays, and letters.

Hyper-Concordance to Virginia Woolf
Search texts of all the major novels and essays, word by word – locate quotations, references, and individual terms

Orlando – Sally Potter’s film archive
The text and film script, production notes, casting, locations, set designs, publicity photos, video clips, costume designs, and interviews.

Women’s History Walk in Bloomsbury
Tour of literary and political homes in Bloomsbury – including Gordon Square, Gower Street, Bedford Square, Tavistock Square, plus links to women’s history web sites.

Virginia Woolf Society of Great Britain
Bulletins of events, annual lectures, society publications, and extensive links to Woolf and Bloomsbury related web sites

BBC Audio Essay – A Eulogy to Words
Charming sound recording of radio talk given by Virginia Woolf in 1937 – a podcast accompanied by a slideshow of photographs.

A Family Photograph Albumn
Leslie Stephen compiled a photograph album and wrote an epistolary memoir, known as the “Mausoleum Book,” to mourn the death of his wife, Julia, in 1895 – an archive at Smith College – Massachusetts

Virginia Woolf first editions
Hogarth Press book jacket covers of the first editions of Woolf’s novels, essays, and stories – largely designed by her sister, Vanessa Bell.

Virginia Woolf – on video
Biographical studies and documentary videos with comments on Virginia Woolf and the Bloomsbury Group and the social background of their times.

Virginia Woolf Miscellany
An archive of academic journal essays 2003—2014, featuring news items, book reviews, and full length studies.

More on Virginia Woolf
Virginia Woolf – web links
Virginia Woolf – greatest works
Virginia Woolf – criticism
More on the Bloomsbury Group

Virginia Woolf life and works

September 24, 2009 by Roy Johnson

novelist, essayist, diarist, biographer

1882. Virginia Woolf born (25 Jan) Adeline Virginia Stephen, third child of Leslie Stephen (Victorian man of letters – first editor of the Dictionary of National Biography) – and Julia Duckworth (of the Duckworth publishing family). Comfortable upper middle class family background. Her father had previously been married to the daughter of the novelist William Makepeace Thackery. Brothers Thoby and Adrian went to Cambridge, and her sister Vanessa became a painter. Virginia was educated by private tutors and by extensive reading of literary classics in her father’s library.

1895. Death of her mother Julia Stephen. VW has the first of many nervous breakdowns.

1896. Travels in France with her sister Vanessa.

1897. Death of half-sister, Stella. VW learning Greek and History at King’s College London.

1899. Brother Thoby Stephen enters Trinity College, Cambridge and subsequently meets Lytton Strachey, Leonard Woolf, and Clive Bell. These Cambridge friends subsequently become known as the Bloomsbury Group, of which VW was an important and influential member.

1904. Death of father. Beginning of second serious breakdown. VW’s first publication is an unsigned review in The Guardian. Travels in France and Italy with her sister Vanessa and her friend Violet Dickinson. VW moves to Gordon Square in Bloomsbury. Other residents of this Square include Lady Jane Strachey, Charlotte Mew, and Dora Carrington.

1905. Travels in Spain and Portugal. Writes book reviews and teaches once a week at Morley College, London, an evening institute for working men and women.

1906. Travels in Greece. Death of brother Thoby Stephen. Writes a group of short stories now collected as Memoirs of a Novelist.

1907. Marriage of sister Vanessa to Clive Bell. VW moves with brother Adrian to live in Fitzroy Square. Working on her first novel (to become The Voyage Out).

1908. Visits Italy with the Bells.

1909. Lytton Strachey [homosexual] proposes marriage. VW meets Ottoline Morell, visits Bayreuth and Florence.

1910. Works for women’s suffrage. Spends time in a nursing home in Twickenham. First exhibition of Post-Impressionist painters arranged by Roger Fry.

1911. VW moves to Brunswick Square, sharing house with brother Adrian, Maynard Keynes, Duncan Grant, and Leonard Woolf. Travels to Turkey.

1912. Marries Leonard Woolf. Travels for honeymoon to Provence, Spain, and Italy. Moves to Clifford’s Inn.

1913. Mental illness and her first attempted suicide. Put in care of husband and nurses.

1915. Purchase of Hogarth House, Richmond. The Voyage Out published and well received. Another bout of violent madness.

1916. Lectures to Richmond branch of the Women’s Co-Operative Guild. regular work for the Times Literary Supplement [whose reviews were at that time anonymous].

1917. L and VW buy hand printing machine and establish the Hogarth Press. First publication Monday or Tuesday. Later goes on to publish T.S. Eliot, Freud, and VW’s own books.

1919. Purchase of Monk’s House, Rodmell. Night and Day published. Brief friendship with Katherine Mansfield. Both are conscious of experimenting with the substance and the style of prose fiction.

1920. Works on journalism and Jacob’s Room.

The Cambridge Companion to Virginia Woolf is collection of essays which addresses the full range of her intellectual perspectives – literary, artistic, philosophical and political. It provides new readings of all nine novels and fresh insight into Woolf’s letters, diaries and essays. The progress of Woolf’s thinking is revealed from Bloomsbury aestheticism through her hatred of censorship, corruption and hierarchy to her concern with all aspects of modernism.

1921. The Mark on the Wall published. VW ill for most of the summer.

1922. Jacob’s Room published. MeetsVita Sackville-West with whom she has a brief love affair. Writing encouraged by E.M. Forster, Strachey, and Leonard Woolf.

1923. Visits Spain. Works on ‘The Hours’ – an early version of Mrs Dalloway.

1924. Purchase of lease on house in Tavistock Square. Gives lecture that becomes ‘Mr Bennett and Mrs Brown’.

1925. The Common Reader [essays] and Mrs Dalloway published. Major break with the traditional novel, its form and techniques.

1926. Unwell with German measles. Starts writing To the Lighthouse.

1927. To the Lighthouse published. Travels to France and Sicily. Begins Orlando.

1928. Orlando published – a fantasy dedicated to and based upon the life of Vita Sackville-West and her love of her ancestral home at Knole in Kent. Delivers lectures at Cambridge on which she based A Room of One’s Own.

1929. A Room of One’s Own published – essays on women’s exclusion from literary history which have become of seminal importance in feminist studies. Travels to Berlin.

1930. First meets Ethel Smyth – pipe-smoking feminist composer, who falls in love with VW. Finishes first version of The Waves.

1931. The Waves – a novel composed of the thoughts of six characters which takes VW’s literary experimentation to its natural limits.

1932. Death of Lytton Strachey. Begins ‘The Partigers’ which was to become The Years.

1934. Death of Roger Fry. Rewrites The Years.

1935. Rewrites The Years. Car tour through Holland, Germany, and Italy.

1936. Begins Three Guineas – a ‘sequel’ to A Room of One’s Own.

1938. Three Guineas extends the feminist critique of patriarchy, militarism, and privilege started in A Room of One’s Own.

1939. Moves to Mecklenburgh Square, but lives mainly at Monk’s House. Meets Freud in London.

1940. Biography of Roger Fry published. London homes damaged or destroyed in blitz.

1941. VW completes Between the Acts, her last novel, then fearing the madness which she felt engulfing her again, fills her pockets with stones and drowns herself in the River Ouse, near Monk’s House. [Her dates of 1882- 1941 are exactly those of James Joyce.]