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The Letters of Leonard Woolf

July 5, 2009 by Roy Johnson

politics, life, and literature – 1900 to 1969

Leonard Woolf was one of the longest living (1880-1976) and the most distinguished members of the Bloomsbury Group. He was a writer, a publisher, a political activist, a proto environmentalist and animal lover, a loyal friend, cantankerous employer, and a devoted husband. What’s not so well known about him is that in fact he had two ‘wives’ – the second technically married to somebody else – who happened to be his business partner. The Letters of Leonard Woolf is a definitive selection from his voluminous correspondence, which begins at Cambridge, with letters to his lifelong friend Lytton Strachey, and fellow apostles G.E.Moore and Saxon Sydney-Turner.

The Letters of Leonard Woolf The manner of these early writings is surprisingly arch, full of classical references and undergraduate Weltschmerz – though no doubt this reflects the turn-of-the-century social mood amongst such a privileged elite. All of this was to change very suddenly when after doing badly in the Civil Service exams, he went to work as a colonial administrator in Sri Lanka – then called Ceylon. There he plunged into the practical affairs of running the Empire – and making a big personal success of it. It’s interesting to note that the florid rhetoric of the earlier letters is replaced by a straightforward reporting of events, and a frank expression of his feelings. His fellow Brits began to seem like something out of a bad novel:

The ‘society’ of the place is absolutely inconceivable; it exists only upon the tennis-court & in the G.A.’s house; the women are all whores or hags or missionaries or all three; & the men are … sunk.The G.A.’s wife has the vulgarity of a tenth rate pantomime actress; her idea of liveliness is to kick up her legs & to scream the dullest of dull schoolboy ‘smut’ across the tennis court or the dinner table,

There are many interesting disclosures as he reveals himself to Lytton Strachey, his only confidant, who was 9,000 miles away. Woolf though that sexual desire was a ‘degradation’ – an attitude which casts light on his two later sex-free relationships. “I am really in love with someone who is in love with me. It is not however pleasant because it is pretty degrading, I suppose, to be in love with practically a schoolgirl”.

He’s also fairly unsparing in his comments on people who were later to become his famous fellow Bloomsburyites – though it has to be remembered that he had known them since they were all undergraduates together. On reading E.M.Forster’s Where Angels Fear to Tread he thinks ‘It’s …a mere formless meandering. The fact is I don’t think he knows what reality is, & as for experience the poor man does not realise that practically it does not exist’.

I detest Keynes, don’t you? Looking back on him from 4 years I can see he is fundamentally evil if ever anyone was.

When he arrived back in England on leave in 1911, is was with the vague notion of marrying Virginia Stephen, an idea that Lytton Strachey had put into his head. And marry her he did – even though Virginia refused to allow his family to the wedding and made it quite clear that she felt no physical attraction to him.

The letters are presented in separate themes which correspond to successive periods in his life – Cambridge, Ceylon, marriage to Virginia, manager of the Hogarth Press. It also has to be said that this is a rigorously scholarly production. Each section of his life has an essay-length introduction; there’s a family tree, chronological notes; biographical sketches of the principal characters, explanatory footnotes, photographs, and a huge index.

Writing as a publisher, there are some wonderfully humane letters to his actual and would-be authors, explaining the iniquities of the book trade. He was of course sealing with writers of the stature of Freud and T.S.Eliot. There’s also an extended letter to one of his best-selling authors, Vita Sackville-West (his wife’s one-time lover) which should be required reading for anyone who wants to know how the world of selling books works – even today.

He also had his finger on the pulse of the BBC and its patronising attitude to the public in a way that still rings true:

That the BBC should be so reactionary and politically and intellectually dishonest is what one would expect and forgive, knowing the kind of people who always get in control of those kind of machines, but what makes them so contemptible is that, even according to their own servants’ hall standards, they habitually choose the tenth rate in everything, from their music hall programmes and social lickspittlers and royal bumsuckers right down their scale to the singers of Schubert songs, the conductors of their classical concerts and the writers of their reviews.

Politically, he was spot on throughout all the tensions and ambiguities of the inter-war years. Anti-Imperialist, Ant-Fascist, and supportive of the Russian revolution whilst critical of the Stalinism which caused its corruption.

One of the most interesting features of his later life is that he spent more than thirty years of it in love with another man’s wife. She lived with Leonard during the week and went back to her husband at the weekend. The husband even became Leonard’s business partner.

This is somewhat brushed under the carpet by the editor. He chooses fairly anodyne letters to Trekkie Parsons, and you would need information from other sources such as their collected correspondence (Love Letters) to realise how serious the relationship was.

It was serious enough that Leonard made Trekkie his executor and legatee in a will which was disputed by the Woolf family after his death. It was in court that the revelation (or claim) was made that they were never more than good friends.

One wonders, and boggles. But the fact is that Leonard Woolf was a great letter writer – though always seeming to be writing with the public looking over his shoulder. His correspondence should be read alongside the magnificent Autobiography, but even then you need to realise that there’s more to the story of a person’s life than the tale told by its protagonist.

© Roy Johnson 2000

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Frederic Spotts (ed), The Letters of Leonard Woolf, London: Bloomsbury, Oxford: Oxford Paperbacks, 1992, pp.616, ISBN: 0747511535


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Thrown to the Woolfs

July 3, 2009 by Roy Johnson

Leonard and Virginia Woolf and the Hogarth Press

John Lehmann joined the Hogarth Press as a trainee manager in 1931 when it was in the full flush of its first success. Virginia Woolf’s To the Lighthouse had just been published, as well as T.S.Eliot’s The Waste Land and Katherine Mansfield’s Prelude. This was to be the first of two periods of engagement with the Press, the second of which lasted until 1946. Thrown to the Woolfs his account of publishing and the literary world of the 1930’s is dominated by the figure of Leonard Woolf, whose own account of the Hogarth Press in his Autobiography confirms almost all of what Lehmann says – though they differed over issues of policy.

Thrown to the WoolfsIt’s a rather unglamorous world of working strict office hours in crowded basement rooms, with “a ramshackle lavatory, in which old Hogarth Press galley proofs were provided as toilet paper”. He was delighted to be mixing with some of the major figures of the modernist period, as well as the up-and-coming writers of the day. There are sketches of writers of the period with whom Lehmann dealt: Michael Roberts, William Plomer, and Christopher Isherwood, whom he introduced to the Press as the Great Hope of English Fiction (which people believed at the time).

He does his best to be fair to Leonard Woolf, and his portrait corresponds accurately to that which one gains from other accounts, including Woolf’s own:

Leonard himself was, in general, cool and philosophical about the ups and downs of publishing: his fault was in allowing trifles to upset him unduly. A penny, a halfpenny that couldn’t be accounted for in the petty cash at the end of the day would send him into a frenzy that often approached hysteria… On the other hand, if a major setback occurred – a new impression, say, of a book that was selling fast lost at sea on its way from the printers in Edinburgh – he would display a sage-like calm, and shrug his shoulders.

It’s quite obvious from his account that although he was being employed in commerce as a publisher’s assistant, to write adverts, promote sales, and check proofs, his heart was set on being a ‘poet’ himself. The tensions he felt with Leonard Woolf became more serious, and within two years of securing what he at first thought of as his dream job, he gave in his notice and left under a very dark cloud.

He then gives an account of his wanderings in central Europe, inspired by Rilke’s notion that “In order to write a single verse, one must see many cities” (not having read Emily Dickinson, it would seem). Much of this part of the story revolves around Christopher Isherwood and Lehmann’s efforts in publishing the collection New Writing. But in 1938, having made up with the Woolfs, he bought out Virginia’s share of the Press and rejoined it as manager and full partner.

The theme then becomes ‘How does one run a publishing company during a war?’. The odd thing is that despite paper rationing, despite being bombed out of its premises in Mecklenburgh Square, and despite having to transfer the Press and its business to Letchworth, sales rose, because of general shortages:

Books that in peacetime, when there was an abundance of choice, would have sold only a few copies every month, were snapped up the moment they arrived in the shops.

Priority was given to keeping Virginia Woolf’s works in print even after her death, as well as the works of Sigmund Freud which the Press had started to publish. Other writers whose work appeared around this time were Henry Green, Roy Fuller, and William Sansom.

However, following Viginia’s death in 1941, there remained only two essential decision makers on policy. Without her casting vote, the differences between them grew wider and led to clashes. Lehmann wanted to publish Saul Bellow and Jean Paul Sartre, but Leonard said ‘No’. There were also misunderstandings about income tax returns and the foreign rights to Virginia’s work.

When the final split between them came about, Leonard solved the problem by persuading fellow publisher Ian Parsons of Chatto and Windus to buy out John Lehmann’s share. Parsons was the husband of Trekkie Parsons, who lived with Leonard during the week and with her husband at weekends – so as well as sharing a wife, they became business partners.

John Lehmann eventually went on to found his own publishing company, and the Hogarth Press was absorbed into Chatto and Windus on Leonard’s death in 1969. This is an interesting account of their joint efforts – partisan, but reasonable and humanely argued.

For literary historians it’s an interesting account of English culture and letters in the 1930s and the war years. And it’s also a fascinating glimpse into the world of commercial publishing. Anyone who wants to make judgments about the rights and wrongs in the disputes between the principals should also read Leonard Woolf’s excellent Autobiography.

© Roy Johnson 2000

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John Lehmann, Thrown to the Woolfs, New York: Holt, Rinehart and Winston, 1978, pp.164, ISBN 0030521912


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Filed Under: Bloomsbury Group, Hogarth Press, Leonard Woolf Tagged With: Bloomsbury Group, Business, Hogarth Press, John Lehmann, Leonard Woolf, Publishing, Thrown to the Woolfs

Woolf’s-head Publishing

August 9, 2009 by Roy Johnson

The Highlights and Newlights of the Hogarth Press

Woolf’s-head Publishing was produced to coincide with the exhibition of Hogarth Press publications which ran from February to April 2009 at the library of the University of Alberta, Canada. It’s not only a wonderful collection of cover designs, book jackets, and illustrations – but a beautiful example of book production in its own right. It’s typeset in Caslon Old Face, which Leonard Woolf and Virginia Woolf used when they first set up the Hogarth Press on a table in their dining room in 1917.

Hogarth Press The book’s dust jacket is printed on thick, richly textured paper with some of the exuberantly patterned papers originally used by the Press. It also features both of the woolf’s-head logos used by the Press, designed by Vanessa Bell and E. McKnight Kauffer. Even the interior pages of the book are coloured, using tints and washes which are a tonal echo of the original designs.

Many of the book jacket illustrations by Vanessa Bell are already quite well known. But there are others by John Banting, Kauffer, and Trekkie Parsons (Leonard Woolf’s ‘lover’ after Virginia’s death) which illustrate the wide and imaginative range of visual approaches the Woolfs took for the presentation of their publications.

However, it’s difficult for book jackets of this kind not to look rather dated today, almost a hundred years after their first appearance. But what definitely do not look dated are the richly patterned papers Leonard imported from Czechoslovakia and Japan for the volumes of poetry. These look as visually fresh today as they did at the time.

The authors represented stretch from the famous names who made the Press such a commercially successful venture – T.S.Eliot, Freud, Woolf, Vita Sackville-West – to people who have since disappeared into literary obscurity – Ena Limebeer, R.C.Trvelyan, and Virginia’s sixteen-year-old discovery Joan Adeney Easdale.

There are also what author and exhibition curator Elizabeth Gordon describes as ‘surprises’ – books ‘less commonly associated with the Hogarth Press’. These include a Canadian poet, a Bengali biography, translations of German poetry, (reflecting Leonard’s internationalism) and even a diet book.

Quack! Quack!The other Press publications upon which the collection focuses are those by Virginia Woolf herself – all illustrated by her sister Vanessa Bell. There are also examples of the polemical essays published in the 1930s, which included arguments against Imperialism and in favour of feminism (of which Leonard was a champion). A short series of public letters even included ‘A Letter to Adolf Hitler’ by Louis Golding.

Best-sellers include Vita Sackville-West’s The Edwardians (1930) and All Passion Spent (1931), William Plomer’s detective thriller The Case is Altered (1932) and Christopher Isherwood’s Goodbye to Berlin (1939).

This book is a genuine collector’s item, and only months after its first publication it has started to win awards for its design and production values. Anyone with the slightest interest in book production, graphic design, typography, or Bloomsbury will want to own a copy the minute they clap eyes on it.

Hogarth Press Buy the book at Amazon UK

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© Roy Johnson 2009


Elizabeth Willson Gordon, Woolf’s-head Publishing: The Highlights and Newlights of the Hogarth Press, Alberta (CA): University of Alberta, 2009, pp.144, ISBN: 9781551952406


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Filed Under: Bloomsbury Group, Hogarth Press Tagged With: Bibliography, Bloomsbury, Graphic design, Hogarth Press, Leonard Woolf, Publishing, Virginia Woolf, Woolf's Head Publishing

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