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Victor Serge a biography

November 9, 2013 by Roy Johnson

the life of a revolutionary and a great novelist

Victor Serge (1890—1947) was one of the most talented writers and intellectual historians of the early twentieth century, and yet his work still seems to be unknown outside a small group of left-wing enthusiasts. His output was colossal — novels, histories, biography, literary criticism, documentaries, journalism, poetry, and diaries — and yet he wrote under incredibly difficult conditions – often in exile or in jail, and most of the time poor and hungry. He was also an active revolutionary – which is possibly why he doesn’t sit easily within the western literary mainstream. His accounts of the reign of terror unleashed by Stalin in the 1930s anticipate later work such as Koestler’s Darkness at Noon (1940) and Orwell’s Animal Farm (1945) and Nineteen Eighty-Four (1949) , and offer a far more insightful explanation of the forces that were at work.

Victor Serge a biographySo far the majority of the information we have about his life history comes from his own magnificent Memoirs of a Revolutionary (1941) written towards the end of his life when he was an exile in Mexico. This offers a breathtaking political journey through the first four decades of the twentieth century, with Serge active in many of its key events – except that he spent most of the first world war in a French jail. But immediately on release he joined forces with insurgents, first in Barcelona, then he travelled to his spiritual homeland of Russia to join the Bolshevik revolution. Although he had been born in Belgium, his father was a Russian left-wing exile. Serge was a talented writer, translator, editor, and activist. He joined forces with the Bolsheviks, and although he had no ambitions for personal advancement, he was given important roles in the new government which enabled him to witness the mechanisms of power close up, at first hand.

Although he arrived a year after the revolution had taken place, he quickly became engaged in its essential issues, and since he took a stance to the Left of the mainstream, he had to work a difficult path for himself. Disillusioned with official policy after the crushing of the Kronstadt rebellion, Serge accepted a posting to Berlin as an agent of the Comintern. When the Berlin revolution of 1923 was aborted – all wholly directed from Moscow – Serge moved on to Vienna and lived there for the next two years. During this period he turned his attention to literature, for as Susan Weissman observes in this huge and detailed examination of his political life, ‘Serge was first and foremost a political animal, and it was only when barred from political action that he turned to literary activity’.

In Vienna he began writing his first novel Men in Prison, which was based on his experiences of being jailed in France after being sentenced for his (tangential) part in the notorious anarchist Bonnot gang raids, and he also produced the series of articles later collected in Literature and Revolution which examined the relationship between culture and social class.

But in 1925, alarmed by the stranglehold Stalin was imposing on the Party, he returned to the Soviet Union to support the Left Opposition, which was headed by his friend Leon Trotsky. Serge could easily have stayed comfortably in western Europe, and his motives for returning to Russia – to support the revolution – were noble, but if ever there was a case of being in the wrong place at the wrong time, this was it. As a result, he spent much of the following decade in exile and prison.

Stalin rose to power during this period, packing committees with his henchmen; falsifying reports; rigging elections; re-writing history; banning all forms of critical debate; and hiring other people to slander rivals. And he did all this claiming to have the highest possible ethical motives. But of course he also took this wholly illegal and paranoid policy to an extreme, and began murdering anyone who opposed him.

Serge helped Trotsky organise the Left Opposition, but by 1927 — the tenth anniversary of the revolution — they were all expelled from the Party. Having been removed from political life Serge once again returned to his role as author, writing articles on the Chinese revolution which were published in France – a factor which later helped to save his life. The appearance of this work abroad was used as the pretext for his first arrest in early 1928, from which he was released after protests from French intellectuals.

Having almost died whilst in prison he decided on release to devote himself to literature – specifically to record the revolution and its aftermath in a series of documentary novels, which turned out to be the double trilogy Men in Prison, Birth of Our Power, Conquered City, Midnight in the Century, The Case of Comrade Tulayev, and Unforgiving Years. There is also the very elusive The Long Dusk and other manuscripts which were confiscated by the secret police and have never been located since. Serge and his family were harassed by the GPU: his mail was opened and his conversations recorded. His wife suffered a nervous breakdown from which she never recovered, dying in a mental institution in the south of France in 1984.

Victor Serge a biographySerge was arrested in 1933, held in solitary confinement, and interrogated endlessly, accused of ‘crimes’ based on the confessions of others which the GPU had actually written. Refusing to co-operate with his captors, he was exiled to Orenberg on the borders of Kazakhstan. He lived there with his son Vlady for the next three years, cold, hungry, and under constant surveillance – but at least free to write. He produced Les Hommes perdus a novel about pre-war French anarchists, and La Tourmente, a sequel to Conquered City. He despatched several copies to Romain Rolland for publication in Paris, but they were ‘lost’ in the post. Ironically, the Post Office was obliged to compensate him for each loss, and he earned ‘as much as a well-paid technician’. He shared the money he earned and the support he received from western Europe with his fellow exiles – on one occasion dividing a single olive with his fellow inmates, who had never tasted one before.

Meanwhile, his supporters in France formed pressure groups to campaign for his release, and eventually Rolland petitioned Stalin in person. This was at the time of the 1936 international congress of writers, and Rolland argued that the continued detention of Serge was causing embarrassment within the congress. Miraculously, Stalin agreed to release him (though he almost immediately regretted his decision) and Serge was released in 1936. But the GPU confiscated his writings as he was crossing the border, bound for Europe.

He settled in Brussels, then Paris- though his papers were not in order, and his political status terribly uncertain. Wherever he went he was pursued by vilification from the orthodox Communists (whose orders were all dictated from Moscow) and by Stalin’s secret agents. He was sustained intellectually by his renewed correspondence with Trotsky, who was in exile in Norway at the time. It was the terrible year of 1936 which saw the Moscow show trials and the outbreak of the Spanish Civil War. Serge wrote on both these topics, but the only outlets for his work were small left-wing journals and newspapers.

Unfortunately at this point in Susan Weissman’s narrative Serge disappears almost completely – to be replaced by detailed accounts of the spies and assassination squads Stalin despatched into Europe in his quest to eliminate all vestiges of the Old Guard. The network spread from the Balkans to the Atlantic, and even crossed into the USA. There is also a protracted account of the misunderstandings and the spat between Serge and Trotsky which makes them both seem like petulant sixth-formers arguing over the results of a cricket match – even though the issues of contention were the Fourth International and the prospects for the working class at a time of rising fascism, Stalinist totalitarianism, and the growing prospects of war.

The last part of Weissman’s account covers almost a decade and one of the most fertile periods of Serge’s career – and yet it’s over in what seem like a few pages. It begins with the fall of France in June 1940. Serge left on the very day that the Nazis entered Paris, fleeing along with thousands of others for the unoccupied South along with Vlady and Laurette Séjourné, who was twenty years younger than him and was to become his third wife. This defeat at the hands of ‘the twin totalitarianisms’ and the fight for survival were to be documented in his novel Les Derniers Temps (The Long Dusk in English translation). They arrived almost penniless in Marseilles, only to learn of the assassination of Trotsky in Mexico. Serge was one of the last Oppositionists left alive, and he knew his name would be on the GPU’s hit list.

Fortunately, they were rescued thanks to the efforts of Varian Fry and the American Relief Committee which helped to smuggle hundreds of refugees out of France under the very noses of the Gestapo. There was an amazingly idyllic period of a few month when Fry hosted a group of artists, intellectuals, and even surrealists at a large chateau on the outskirts of the city – but Serge was eventually asked to leave because his reputation as a Trotskyist was putting other people at risk. He finally got away from France in March 1941 on a ship bound for Mexico.

En route Serge was separated from his luggage, which had been labelled as destined for the USA, where his publisher Dwight Macdonald (editor of the Partisan Review) had offered him hospitality. The contents of the suitcases were confiscated and photographed by the FBI, which then translated all the manuscripts and compiled summaries which were sent for the personal attention of J. Edgar Hoover.

el_lissitzky_1919

Serge was interned and interrogated in both Martinique (under French Vichy control) and the Dominican Republic, then put into a concentration camp in Cuba, finally arriving in Mexico in September 1941. The last years of his life were spent in poverty, ill-health, and what he felt as a terrible intellectual loneliness – but at least he could write. This was the period in which he produced his most mature work, the late masterpieces Memoirs of a Revolutionary, The Case of Comrade Tulayev, and Unforgiving Years. There was also The Long Dusk, though he himself considered that something of a failure. He also continued his work on political, economic, and social theory – trying to make sense of a world which by the mid 1940s had seen tens of millions of people killed by both the Nazis and by Stalin.

His ending was as grim as his life had been – cut short by a heart attack after hailing a taxi in Mexico City, dressed in a threadbare suit and with holes in his shoes. His son Vlady suspected he had been poisoned, and even wondered if his stepmother might have been responsible. Serge’s marriage had not been a success, and shortly after Serge’s death Laurette Séjourné married a prominent Mexican Communist and even joined the Communist Party herself.

So – what is to be made of this monumental piece of scholarship? I was disappointed to realise that Susan Weissman’s account of Serge’s political ideas begins in 1917, as he made his way to Russia, which he regarded as his homeland, despite never having lived there. There is no account of the formation of his beliefs and his ‘education’ as a young man (he barely went to school at all, in the sense we know it) and his politicisation as the son of a Russian oppositionist, nor of his radicalisation whilst working as a a printer and a type-setter in Brussels. Neither is there any real attempt to look in detail at his years flirting with anarcho-syndicalists.

A consideration of these early years of Serge’s life are important because it was the skills he had acquired as a self-educated scholar, a linguist, a writer, a printer, and an editor which enabled him to take such an active part in the early days of the Russian revolution, where he worked as a political organiser, propagandist, author, editor, translator, secretary, and even secret agent. His knowledge of anarchism and syndicalism also had an effect on both his theoretical understanding of Marxism and his practice as a revolutionary.

Susan Weissman’s account also seeks to put Serge in the right at every step of his career – even though for a number of years he was working essentially as an agent for the Comintern. It’s true that he thought the formation of the Cheka (the Bolshevik’s secret police) was the first big mistake of the revolutionaries; but this opinion was only formed later. He suggested alternative strategies at the crisis of the Kronstadt rebellion, but ultimately sided with the Party in its tragic massacre of the sailors and workers. And he was amongst the first to identify totalitarian elements within Soviet society and the way it was being governed; but he remained loyal to the Party in what he later called ‘Party patriotism’ – that is, the Party can do no wrong.

This was the major weakness in their policy – Serge (and others) believed in the infallibility of the Party; they believed in their own slogans and rhetoric; and they were very slow to acknowledge the complete divide between aspirations, theory, and the reality of the world in which they lived. They clung to the completely deluded idea that the Party was right because it represented the will of the working class – neither of which suppositions were logically tenable or practically correct. Serge was fortunate enough to eventually reject this supposition – and it helped to save his life.

Susan Weissman rightly gives her account the sub-title ‘A Political Biography’ – because it is not anything like a biography in the conventional sense. There is no account of the first twenty-seven years of Serge’s life; hardly any details of his personal or family life (he was married three times); and no account of where and how he managed to live with apparently no regular source of income. What we get in abundance is a tracking of the debates which fuelled his confidence in the importance of the Russian revolution and his conviction that it should be rescued from the clutches of the Stalinist counter-revolution. There is impeccable scholarly referencing throughout, but very little of the fluency, the facts, the details, and the sap of real life.

In fact this is a biography Susan Weissman has been writing for more than two decades. She published Victor Serge: The Course is Set on Hope in 2001 with the same publisher – and my copy of the latest version still has this sub-title on the title page. although this version has been brought up to date with more recent research, there is very little acknowledgement of the fact in the text. The original publication was based on a 1991 PhD thesis entitled ‘Victor Serge: Political, social and literary critic of the USSR, 1917-1947; the reflections and activities of a Belgo-Russian Revolutionary caught in the orbit of Soviet political history’ — which would explain the first half of the unexamined lifespan, the plethora of historical and political detail, and the paucity of human interest. A review of the original publication by the Serge scholar Richard Greeman which makes similar points is available here.

Susan Weissman has devoted huge amounts of scholarly discipline to this enterprise – and has even made attempts to recover the ‘lost manuscripts’ of Serge’s work confiscated by the secret police. The publication carries an enormous record of Serge’s writings, a series of potted biographies, and a gigantic bibliography of sources which make this an unmissable publication for anybody interested in Serge’s life – but I think the definitive biography has still to be written.

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© Roy Johnson 2014


Susan Weissman. Victor Serge: A Political Biography, London and New York: Verso/New Left Books, 2013, pp.406, ISBN: 1844678873


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Victor Serge biography

September 22, 2009 by Roy Johnson

novelist, historian, revolutionary

Victor Serge - portraitVictor 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.


Memoirs of a RevolutionaryThe 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.


The Course is Set on HopeSusan 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 TuleyevThe 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.


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

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

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

Victor Serge web links - The Cycle of Revolution 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).

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

Victor Serge web links - The Case of Comrade Tulayev The Case of Comrade Tulayev– an extended book review by Roy Johnson, (2010).

Victor Serge web links - The Journey into Defeat 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).

Victor Serge web links - Midnight in the Century Midnight in the Century – extended book review by Roy Johnson (2010).

Victor Serge web links - The Zero Hour 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).

Victor Serge web links - Memoirs 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 web links - Yale archive Victor Serge Papers – Yale University archive

Victor Serge web links - Biographical sketch Revolutionary & Novelist – a biographical sketch (2009).

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

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

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

Victor Serge web links - Writing for the Future Writing for the Future – an essay by Pete Glatter, first published in International Socialism 2:76, September 1997. Copyright © 1997 International Socialism.

Victor Serge web links - The Long Dusk 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).

Victor Serge web links - Birth of Our Power 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).

Victor Serge web links - Birth of Our Power 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 web links - Birth of Our Power 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).

© Roy Johnson 2005-2010


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Virginia Woolf a critical memoir

June 27, 2009 by Roy Johnson

critical study – plus personal memoir

Virginia Woolf A Critical Memoir was the first extended study of Virginia Woolf’s work to be written in English. It appeared in 1936, whilst Woolf was still alive, shortly after the publication of her last major work, The Waves. The author Winifred Holtby was herself a novelist (best known for South Riding) a journalist, a radical feminist, and lifelong friend of Vera Britten, who wrote about their relationship in Testament of Friendship.

Virginia Woolf A Critical MemoirHoltby takes what at the time was a fairly conventional approach to literary criticism, which was to read what was known of the author’s biography into the fiction as a way of explaining it. Thus the parent figures in both The Voyage Out and To the Lighthouse are assumed to be portraits of Woolf’s own mother and father; and the recurrence of sea imagery in her work is seen as simply a reflection of her childhood holidays in Cornwall. There’s a certain amount of truth in this approach, but fortunately it does not hinder her exploration of deeper issues.

In fact the surprising thing – which makes this study so readable – is that Holtby had already identified all Woolf’s main themes and innovations, even though she was writing at the same time as some of the work was still appearing.

She discusses the main works – summarising the story, commenting on ‘well-rounded’ characters, and identifying the ‘moments of being’ for which Woolf is now famous. She also relies on huge chunks of quotations from the text, and is often so carried away with enthusiasm that her own commentary blends into Woolf’s narratives in a way which sometimes makes it difficult to see where one ends and the other begins.

Night and Day is seen in comparison with Jane Austen and judged to be the lesser for it – but for reasons which Holtby sees as political. She rightly identifies the short experimental fictions A Haunted House, Monday or Tuesday, and A String Quartet as works marking a major breakthrough in Woolf’s technique, and she offers a stunningly insightful reading of this transition.

It’s occasionally surprising to remember that she had met Virginia Woolf, and was writing at a time when both of them were commercially successful authors. Holtby’s prose style is eloquent and fluid, and she becomes almost rhapsodic when describing Woolf’s achievement as a literary critic:

She has, moreover, an almost perfect taste. Few critics have ever been more alert to detect humbug, the spurious, the second rate; few have been more generously and freely appreciative of real merit, even if it appears under strange disguises. Taste for her is a natural gift, never blunted by the adolescent ignorance, the commercial pressure, the confusion of aim and distractions of fashion, to which so many critical judgements are subjected.

She deals with Mrs Dalloway and To the Lighthouse in the same chapter, largely it seems on the grounds that they deal with the issue of Time in complementary ways.

She ends, fortunately for us, with The Waves, for not long after having written it Winifred Holtby died at the age of only thirty-seven. This is a remarkable book for its time, and still eminently readable now – seventy years after it first appeared.

© Roy Johnson 2007

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Winifred Holtby, Virginia Woolf: A Critical Memoir, London: Continuum, 2007, pp.206, ISBN 0826494439


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Virginia Woolf a writer’s life

November 7, 2009 by Roy Johnson

a biography as seen through her major works

What does this biography have that the many others don’t? Well, Lyndall Gordon claims that Virginia Woolf a writer’s life was written to counteract the prevailing orthodoxy of Virginia Woolf being depicted as a tormented and unhappy artist – just as she was by Nicole Kidman in The Hours. What Gordon wants to offer as an alternative is a portrait of a sensitive young woman who was provoked into ‘madness’ on three occasions, lived a happily married life, and when she was on top form converted her life experiences into works of experimental fiction.

Virginia Woolf A Writer's LifeThe book also has substantial portraits of the other people who were important in her life – her father, Leslie Stephen, her mother Julia Duckworth, and her sister Vanessa Bell. Lyndall Gordon makes no bones about blending factual documentary evidence with fictional constructions, and talking about To the Lighthouse as if it were Woolf’s account of her parents rather than a fictional construct loosely based upon them. And she takes the novels in any order, to suit her purpose.

This haphazard approach is quite deliberate and conscious. She defends it as a fresh method: “The way she [VW] experienced life does not accord with the usual kind of linear chronology”. But it is indulged to such an extent that long passages of what purports to be a biographical study are no more than critical commentaries on To the Lighthouse and The Voyage Out after the manner of an undergraduate study guide. This approach reaches its nadir when her reading of The Waves as portraits of Leonard Woolf, Lytton Strachey, and so on lasts for an uninterrupted fifty-two pages, stretching over two chapters.

She focuses strongly on the issue of Woolf’s early mental illness – much of it ascribed to the loss of her mother, and she makes hardly any mention of her attachment to mother-substitutes such as Violet Dickenson.

The lack of chronological rigour and logic has important consequences. In discussing her ‘madness’ for instance, the years 1904, 1915, and 1941 are singled out as the worst – with no cognizance of the fact that they also represent the start of her career as a writer, the date of her first published novel, and the end of her career, when she was writing in the full possession of all her creative powers.

As a writer of literary biographies, Lyndall Gordon is keen to promote the notion that Woolf had similar motivations. She wonders why she is not recognised as a biographer, but looks down her nose at Orlando and Flush, and regards Roger Fry a ‘dutiful’ work – when in fact it is one of the weakest and most superficial of all Woolf’s writing.

Her attitude to Woolf’s intimate life is a combination of coyness and naivety. She skates over the sapphism and imagines that life with Leonard was very romantic, ignoring the fact that she only agreed to marry him in the first place on the understanding that she found him physically repulsive. Yet her account of their early years makes it read as if the sexual content was that of an X-rated B-movie.

When the external evidence piles up to prove that this was not the case, where does she turn for evidence to examine the case further? Well, the fiction of course. So instead of looking at the fairly well documented facts, she presents instead several pages of commentary on Leonard Woolf’s novel The Wise Virgins.

She also shares the naive views expressed by Leonard regarding the randomness of sexual desire – unable to explain why one might be enamoured of a love object whose social and intellectual qualities seem undistinguished. And she doesn’t want to countenance either Vita Sackville-West or the Orlando which was the true consummation of that relationship.

For one thing she can be commended. She has obviously read all the extant drafts of the novels, and offers a reading of them which comments on the changes, deletions, and shifts of emphasis as Woolf worked towards her final versions.

But apart from writing Three Guineas, you would not have a clue about the events of her life in the 1930s – apart from the absurd claim that she was more romantically in love with Leonard than ever.

So, for whom will this book be of any use? Well, it can be ignored as a conventional biography – because you will learn so little about Woolf’s life from it. But it does have critical analyses of her major writings, so it might be helpful to undergraduates or general readers trying to come to terms with some of the highpoints of literary modernism.

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© Roy Johnson 2009


Lyndall Gordon, Virginia Woolf: A Writer’s Life, London: Virago, rev edn 2006, pp.431, ISBN 1844081427


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Virginia Woolf an introduction

October 7, 2011 by Roy Johnson

a sketch of her life – an appreciation of the novels

Virginia Woolf An Introduction is yet another study that combines a biography with comments on her major writing. There have been several biographies of Virginia Woolf in the last few decades. John Lehmann’s illustrated memoir is still very popular. Quentin Bell’s official biography is detailed and scholarly but in common with other accounts by Bloomsbury insiders (he was her nephew) it contains sins of omission to protect relatives and friends. Lyndall Gordon’s A Writer’s Life bases much of its account of Woolf’s life on her fiction, supposing much of it to be thinly veiled autobiography. The weaknesses in these productions mean that Hermione Lee’s more serious recent study is now regarded as the ‘standard’ biography.

Virginia Woolf an introductionSo what does a new account by Alexandra Harris have to offer – published as it is very quickly on the heels of her award-winning Romantc Moderns? Well – it turns out not to be a biography in the conventional sense, but an introduction to Woolf and her work in general, compiled from readings of her novels, diaries, and letters, strung together in a chronological sequence.

The first few chapters deal with life in the Stephen household at Hyde Park Gate and Talland House, but once Woolf starts writing it is the prodigious flow of her creative work which forms the spine of the narrative – from her first book reviews and the early major task of The Voyage Out through to the last flourish of Between the Acts.

For readers new to Woolf it performs the useful function of emphasising the amazing scope of her work – for she was expressive and accomplished in all the literary genres with which she engaged. Her diaries are as interesting as Kafka’s; she excelled in the novel; her short stories are amongst the most advanced experiments in modern literature (with the possible exception of some by Nadine Gordimer); her essays and literary criticism will stand comparison with the work of any professional literary critic; and even her letters are worth reading – though she tends to recycle the same anecdotes to multiple correspondents.

As an introduction to Woolf’s major novels, it’s very successful. Harris’s impassioned account of Orlando is guaranteed to make anyone who has not read the novel dash out and buy it immediately. But at times she becomes so caught up with giving an account of the novels that her commentary becomes an act of interpretation. She switches from biography to literary criticism.

One minute for instance she might be dealing with well known details of the biography, and then at the merest mention of the book Woolf is currently writing, the narrative slides off into plot summary and a discussion of its characters as if they inhabited the same world. This will probably seem very attractive to general readers, encouraging them to engage with the fiction. But it’s likely to irritate any serious Woolf enthusiasts.

The pace is not always even. There are occasional lurches forward in chronology which are quite disconcerting. Whilst discussing the early writing in 1910, she suddenly invokes Rhoda in The Waves, which wasn’t written until twenty-one years later.

Quite surprisingly, there is very little about the lifestyle bohemianism of the Bloomsbury Group, even when it is directly relevant. Her descriptions of Virginia’s relationship with Leonard Woolf give the impression of a blissfully idyllic marriage. You wouldn’t guess from her account that it was virtually a mariage blanc. All the rich gossip and fruity anecdotes are available elsewhere of course, but the picture of Bloomsbury life that comes across is distinctly pasteurised.

One of the most interesting chapters is her last, in which she traces the development of Woolf’s posthumous reputation. Leonard Woolf, acting as executor and publisher at the Hogarth Press, slowly released the letters, diaries, and essays (only recently completed) in well edited scholarly editions. And as he did so, Woolf’s critical stock rose accordingly to the point where she is now regarded as one of the great modernists of the early twentieth century.

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© Roy Johnson 2011


Alexandra Harris, Virginia Woolf, London: Thames and Hudson, 2011, pp., ISBN: 0500515921


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Virginia Woolf biography

December 2, 2011 by Roy Johnson

a short critical study of her life and works

The life of Virginia Woolf’s is now quite well known in its main details. Quentin Bell (her nephew) produced the definitive factual biography, and there have been interpretive studies by Lyndall Gordon, John Lehmann, Alexandra Harris, and Hermione Lee amongst others. There’s plenty of scope for writing about her life because Woolf wrote so much about herself – in letters, essays, diaries, and notebooks. She was, as Elizabeth Wright claims in this new study, possibly the most self-documented writer of the twentieth century.

Virginia Woolf biographyWright herself adopts a generally chronological account of the life and the works, She traces Woolf’s early upbringing in Kensington where she and her siblings produced the very amusing satirical newspaper Hyde Park Gate News. On the death of her mother at only forty-eight. Woolf experienced the first of her many mental breakdowns This was followed by the death of her half-sister Stella Duckworth, both of which events resulted in her father Leslie Stephen becoming more and more emotionally dependent on her and her elder sister Vanessa.

When her father died she became an object of attentions for her half-brother George Duckworth – attentions which are now the source of much controversy. She found escape and self-expression in reading and writing, and in 1905 moved with Vanessa and her brother Thoby to 46 Gordon Square. This marked a completely new phase in her life, and she celebrated the beginnings of her independence by earning money as a reviewer for the Manchester Guardian and the Times Literary Supplement.

Once established in Bloomsbury, this was also the period of throwing off Victorian taboos – staying up late with friends discussing ideas, smoking cigarettes, using people’s first names, and even talking openly about sex. The young intellectuals who joined them for these discussions eventually became known as the Bloomsbury Group

When her sister married Clive Bell, Virginia moved with her brother Adrian to Tavistock and then Brunswick Square, and they took into their commune figures such as Leonard Woolf, John Maynard Keynes, and the painter Duncan Grant. She began work on her first novel, Melymbrosia (later to become The Voyage Out and in 1912 married her house-mate Leonard Woolf – a union that Wright tactfully describes as ‘a marriage of minds rather than bodies’.

Like most of her Bloomsbury friends Virginia was opposed the First World War: she thought patriotism a ‘base emotion’. She and Leonard bought a second-hand printing press and launched the Hogarth Press as a sort of therapeutic hobby for her. But it turned out to be a great commercial success, largely because of Leonard’s good business sense and artistic judgement. More importantly, it freed Virginia from the editorial control of commercial publishers. She could write fiction in any way she pleased, and from this point onwards her work appeared under their own imprint.

In 1921 she published her epoch-making collection of experimental short stories, Monday or Tuesday which gave her the impetus and the confidence to continue her experiments into the longer literary form of the novel with Jacob’s Room and Mrs Dalloway. Around this time she also began her love affair with fellow novelist Vita Sackville-West, which although it was short-lived gave rise to the delightful fantasy biography, Orlando.

The thirties were a period of increased fame and prosperity, tarnished only by spiteful critical attacks from the likes of Wyndham Lewis, Frank Swinnerton, and the Leavises. There was one further push in experimental modernism still to come: The Waves was her attempt to combine prose, poetry, and drama.

She turned down an invitation to deliver the Clark Lectures at Trinity College Cambridge (which her father had given in 1888) and instead directed what she had to say about these institutions of male privilege and class power into Three Guineas (1938). This was the logical development of her arguments in A Room of One’s Own and the two works now form the foundation of most modern branches of feminism.

It was certainly a productive decade. In addition to her steady stream of reviews and journalism, she produced a major critical study The Common Reader: Second Series, a long novel The Years, a play Freshwater, and even Flush, a playful biography of Elizabeth Barrett Browning’s pet dog.

By the end of the decade there were less than two years left – yet despite her personal depressions and worries regarding the war, she continued writing and produced the ‘official’ biography of her friend Roger Fry (a thoroughly anodyne work) and left the much more spirited Between the Acts in proofs at her death.

The main strength of Elizabeth Wright’s short biography is that it strikes a good balance between the life and the works – and her account isn’t spoiled by any of the hysteria and gender bigotry which undermines so much critical commentary. After all, Virginia Woolf might have had psychological demons with which she struggled throughout her life, but she was also a prodigiously creative artist, an original analyst on some of life’s most fundamental issues, and a witty and popular figure amongst her friends.

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© Roy Johnson 2012


E.H.Wright, Brief Lives: Virginia Woolf, London: Hesperus Press, 2011, pp.144, ISBN: 1843919095


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Virginia Woolf illustrated biography

July 3, 2009 by Roy Johnson

an introduction to her life and work

This is a best-selling book from Thames and Hudson. It’s slim, cheap, and you might almost say a little old fashioned – yet it goes on being popular year after year. And it’s easy to see why. The text is written by John Lehmann who actually worked for Virginia Woolf and her husband Leonard at the Hogarth Press. Indeed, at one time he even wanted to take it over and run it on fully professional lines – something which Leonard quite rightly resisted, arguing that it’s strength lay in its independence. But the real delight the book offers is a wonderful collection of pictures of Woolf and her friends who were part of the Bloomsbury Group.

Virginia Woolf illustrated biographyMore than that, it combines a lightness of touch in presenting Woolf’s biography with a very engaging introduction to each of her major works. Lehmann follows the story of Woolf’s life and her social background – an upper-middle class milieu with artistic and literary connections (Henry James was a friend of the family) self-educated in her father Leslie Stephen’s library, falling in love with other women, and then the establishment of the Bloomsbury group in Gordon Square with her brother Thoby and his Cambridge friends John Maynard Keynes and Lytton Strachey.

She began her literary career, then married Leonard Woolf, who looked after her patiently through all her periods of mental and physical illness. As therapeutic activity, he even bought a printing machine which enabled them both to set up the Hogarth Press – which went on to become very successful.

Lehmann traces her literary development, from the conventional approach of The Voyage Out and Night and Day, to the artistic breakthroughs of Jacob’s Room and Mrs Dalloway, so his biography also provides and intelligent guide to her writing as well as her life.

Despite being a close personal friend of both Virginia and Leonard, he doesn’t shy away from the love-affair she had with Vita Sackville-West, linking it perceptively to his account of Orlando, which it inspired. Then his transition via A Room of One’s Own to The Waves traces her intellectual development as both a feminist and a novelist. His account of The Waves will help anyone who needs preparation for an attempt at what is quite a difficult novel.

Lehmann, rather like Leonard Woolf, thinks Three Guineas is not one of her best non-fiction works – an opinion I don’t think many people would agree with today. But the remainder of his explications and judgements are really helpful for anybody who wants to understand her work.

However, the real delight of the book is the photographs which range from her early through to her late life. They include portrait paintings, sketches made by artists such as Roger Fry and her sister Vanessa Bell, book jacket designs, and pictures of the houses where she lived and wrote.

© Roy Johnson 2000

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John Lehmann, Virginia Woolf, London: Thames and Hudson, 1987, pp.128, ISBN 0500260265


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Virginia Woolf life and works

September 24, 2009 by Roy Johnson

novelist, essayist, diarist, biographer

Virginia Woolf life and works1882. 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.


Virginia Woolf: BiographyVirginia 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.
Virginia Woolf - A Biography Buy the book here


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 WoolfThe 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.]


Bloomsbury Group – web links

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.

Bloomsbury Group - web links 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.

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

Bloomsbury Group web links 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 Group - web links 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.

Bloomsbury Group - web links 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

Bloomsbury Group - web links 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.

Bloomsbury Group - web links 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.

Bloomsbury Group - web links 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.

Bloomsbury Group - web links 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.

Bloomsbury Group - web links 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.

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

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

© Roy Johnson 2000-2014


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Virginia Woolf on video

January 28, 2011 by Roy Johnson

biographical and documentary archive films

Virginia Woolf on Video is something of a tease title, I admit. But this page pulls together film archives and footage of documentaries on Virginia Woolf plus the Bloomsbury Group and their social context, and I hope it will save you many frustrated minutes jumping from one clip to another on YouTube.

Virginia Woolf Biography

Virginia Woolf

This is a professional and well made documentary offering a chronological survey of Virginia Woolf, the Bloomsbury Group, and their historical context – featuring archive phtographs with commentary. The biographical study reveals a rich visual record of Virginia Woolf, but it also shows the places where she lived and historical footage of London in the early years of the twentieth century.

Virginia Woolf on video Video 01
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The Mind and Times of Virginia Woolf

This is a feature documentary with comments by Hermione Lee, Francis Spalding, Molly Hite, and Nigel Nicolson. This puts rather a lot of emphasis on Woolf’s mental instability.

Virginia Woolf on video Part One
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Virginia Woolf – a timeline in photographs

A collection of well and lesser-known photographs documenting her life from early childhood, through youth, marriage, and fame – plus some first edition book jackets – to a soundtrack by Philip Glass. They capture her elegant appearance, the big hats, and her obsessive smoking. No captions or dates, but well worth watching.

Red button Virginia Woolf – a timeline in phtographs


Mont Blanc pen - Virginia Woolf edition

Mont Blanc pen – the Virginia Woolf special edition


Virginia WoolfThe 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. This book explores the immense range of social and political issues behind her search for new forms of narrative.   Buy the book here


Virginia Woolf – web links

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

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

Virginia Woolf web links 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 web links Virginia Woolf at Gutenberg
Selected eTexts of the novels The Voyage Out, Night and Day, Jacob’s Room, and the collection of stories Monday or Tuesday in a variety of digital formats.

Virginia Woolf web links 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.

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

Red button Virginia Woolf – a timeline in phtographs
A collection of well and lesser-known photographs documenting Woolf’s life from early childhood, through youth, marriage, and fame – plus some first edition book jackets – to a soundtrack by Philip Glass. They capture her elegant appearance, the big hats, and her obsessive smoking. No captions or dates, but well worth watching.

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

Virginia Woolf web links 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.

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

© Roy Johnson 2011


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Virginia Woolf’s Women

July 24, 2014 by Roy Johnson

biographical studies of major figures in her life

Virginia Woolf’s Women is a study of the principal females in Virginia Woolf’s life and the influences they may have had in shaping her views of the world. It begins naturally enough in her early home life. Vanessa Curtis argues that Virginia Woolf inherited suffering, illness, and self-deprecation from her grandmother Mia and her mother Julia Stephen whose saintly beauty was cut short by an early death when Woolf was only thirteen. In this environment she also had direct personal contact with the concept of ‘the angel of the house’ against which she was later to argue. Its author Coventry Patmore was a visitor to the house as a friend of her grandmother.

Virginia Woolf's Women

Julia Stephen

Following Julia’s death, Woolf’s older step-sister Stella Duckworth became a surrogate mother to the seven children of the Stephen family. But no sooner was she established in this role than two events snatched away her comforting presence – first her marriage to Jack Hills, and then immediately following the honeymoon, her sudden death.

Curtis traces echoes of these events in The Voyage Out and Night and Day and even the much later To the Lighthouse. Of course it is legitimate to see elements of biography expressed in the fiction – but it is not a legitimate practice to read back from fiction as a valid source of biographical information. More legitimately, Curtis attributes Woolf’s scepticism about the prospects of successful heterosexual love to this trio of family martyrs.

The next major figure is her elder sister Vanessa (Bell), who took over from Stella as head of the household. The two sisters had a very close relationship, yet one which occasionally spilled over into rivalry. Vanessa was a liberating factor in organising the family’s move from Kensington to Bloomsbury after their father’s death. She also remained closely alongside Virginia when she sank into periods of depression and near-madness.

The two sisters established weekend homes near each other in Rodmell and Charleston in East Sussex, and they shared a common circle of friends amongst the various members of the Bloomsbury Group. The roles of care-giver and invalid were only ever reversed on the occasion of Vanessa’s collapse when her son Julian was killed in the Spanish Civil War in 1937.

Even Bloomsbury enthusiasts might not recognise the importance in Woolf’s life of the next figure – Violet Dickinson – a six foot tall upper class woman (seventeen years older) who was a lifelong supporter and Woolf enthusiast. It was Dickinson who first introduced her to newspaper and magazine editors – which enabled her to establish herself as a reviewer and a journalist.

Curtis speculates about the exact nature of the relationship between the two women, her uncertainty reflected in the fact that she calls it Woolf’s “first emotional and physical love” whilst admitting that there is no evidence of any physical connection between them. Her summing up is probably more accurate – a ‘warm-up’ for the later relationship with Vita Sackville-West.

Woolf’s relationship with Ottoline Morrell does not reflect well on her in terms of sincerity, or moral integrity. Like many of the other artists and writers who accepted Morrell’s generous hospitality at Garsington Manor, she repaid it by scoffing and making fun of the hostess behind her back.

He relationship with Katherine Mansfield was of a different order. The two writers circled round each other, both of them aware that they were literary rivals, yet respectful of each other’s work. They chose similar topics to write about, and for a while even had similar literary styles. They shared a profound scepticism about heterosexual males, and both wrote cautious tales of Sapphic desire. Following Katherine Mansfield’s early death in 1923, Woolf expressed the wish that she had been closer to her rival.

Virginia Woolf's Women

Dora Carrington

A whole chapter on Dora Carrington fails to establish any significant influence on Woolf herself, despite uncovering many similarities between them as creative artists. The two women were simply rivals for the friendship of Lytton Strachey, to whom they were both attached – and Carrington won hands down on that attachment, for which she paid with her life.

Curtis has more success, understandably, with Vita Sackville-West. The history and nature of their affair is well known – an affair facilitated by the fact that neither of them had sexual relationships with their own husbands. There is a detailed tracing of the ups and downs of the emotional tensions between them, but the account ignores opportunities to consider any possible mutual influence as writers.

This is a loss, because at the time their relationship, Sackville-West was at the height of her fame as a writer, and she was actually published by Virginia and Leonard Woolf at the Hogarth Press. But by way of compensation Curtis does acknowledge and discuss Vita’s significance as the inspiration for Orlando.

Virginia Woolf's Women

Virginia Woolf with Ethyl Smyth

The most extraordinary figure is saved for last. Ethyl Smyth was a pipe-smoking lesbian feminist composer, who by the time she met Woolf was seventy-three years old, stone deaf, and sporting an enormous ear-trumpet. Nevertheless, she fell in love with the much younger writer, and although this feeling was only weakly reciprocated Curtis makes a reasonable case for her influence on Woolf’s work as a writer.

The first influences were Smyth’s radical feminism, her support for the Women’s Social and Political Union (WSPU) and her struggles to find acceptance as a female creative artist in a musical world which was dominated by men (as it still is). Curtis points out that these topics, which Woolf discussed with Smyth, found their way directly into the bombshell polemic Three Guineas. And the other influence was that Woolf introduced musical notions of composition and form, particularly into her later works.

There are no surprise revelations in these studies: most of the information will be well known to Bloomsbury enthusiasts, and Woolf’s life has been worked over thoroughly by any number of biographists. But as a general introduction to the social and intellectual milieu of the period it’s an excellent piece of work, well illustrated, and supported by a full scale critical apparatus.

Virginia Woolf's Women Buy the book at Amazon UK
Virginia Woolf's Women Buy the book at Amazon US

© Roy Johnson 2014


Vanessa Curtis, Virginia Woolf’s Women, London: Robert Hale, 2002, pp.224, ISBN: B00KXX3TCU


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


Filed Under: Bloomsbury Group, Virginia Woolf Tagged With: Biography, Bloomsbury Group, Cultural history, English literature, Literary studies, Virginia Woolf

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