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Born Adeline Virginia Stephen
25 January 1882(1882-01-25)
London, England
Died 28 March 1941(1941-03-28) (aged 59)
near Lewes, East Sussex, England
Occupation Novelist, Essayist, Publisher, Critic
Notable work(s) To the Lighthouse, Mrs Dalloway, Orlando: A Biography, A Room of One's Own
Spouse(s) Leonard Woolf (1912–1941)
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Influences[show]William Shakespeare, George Eliot, Leo Tolstoy, Marcel Proust, James Joyce, Anton Chekhov, Emily Bronte, Daniel Defoe, E. M. Forster
Adeline Virginia Woolf (pronounced /ˈwʊlf/; 25 January 1882 – 28 March 1941) was an English author, essayist, publisher, and writer of short stories, regarded as one of the foremost modernist literary figures of the twentieth century.
During the interwar period, Woolf was a significant figure in London literary society and a member of the Bloomsbury Group. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum, "A woman must have money and a room of her own if she is to write fiction."
Contents [hide]
1 Early life
2 Bloomsbury
3 Work
4 Death
5 Modern scholarship and interpretations
6 Depictions
7 Bibliography
7.1 Novels
7.2 Short story collections
7.3 "Biographies"
7.4 Non-fiction books
7.5 Drama
7.6 Autobiographical writings and diaries
7.7 Letters
7.8 Prefaces, contributions
8 Biographies
9 Notes
10 External links
[edit] Early life
Photographic portrait of Julia Stephen, mother of Woolf, by Julia Margaret Cameron.Virginia Woolf was born Adeline Virginia Stephen in London in 1882. Her mother, a renowned beauty, Julia Prinsep Stephen (born Jackson) (1846–1895), was born in India to Dr. John and Maria Pattle Jackson and later moved to England with her mother, where she served as a model for Pre-Raphaelite painters such as Edward Burne-Jones.[1] Her father, Sir Leslie Stephen, was a notable historian, author, critic and mountaineer.[2] The young Virginia was educated by her parents in their literate and well-connected household at 22 Hyde Park Gate, Kensington. Her parents had each been married previously and been widowed, and, consequently, the household contained the children of three marriages. Julia had three children from her first husband, Herbert Duckworth: George Duckworth, Stella Duckworth, and Gerald Duckworth. Her father Leslie Stephen was married to Harriet Marian (Minny) Thackeray (1840–1875), and they had one daughter: Laura Makepeace Stephen, who was declared mentally disabled and lived with the family until she was institutionalised in 1891.[3] Leslie and Julia had four children together: Vanessa Stephen (1879), Thoby Stephen (1880), Virginia (1882), and Adrian Stephen (1883).
Sir Leslie Stephen's eminence as an editor, critic, and biographer, and his connection to William Thackeray (he was the widower of Thackeray's youngest daughter), meant that his children were raised in an environment filled with the influences of Victorian literary society. Henry James, George Henry Lewes, Julia Margaret Cameron (an aunt of Julia Stephen), and James Russell Lowell, who was made Virginia's honorary godfather, were among the visitors to the house. Julia Stephen was equally well connected. Descended from an attendant of Marie Antoinette, she came from a family of renowned beauties who left their mark on Victorian society as models for Pre-Raphaelite artists and early photographers. Supplementing these influences was the immense library at the Stephens' house, from which Virginia and Vanessa (unlike their brothers, who were formally educated) were taught the classics and English literature.
Julia Prinsep Stephen portrayed by Edward Burne-Jones, 1866According to Woolf's memoirs, her most vivid childhood memories, however, were not of London but of St. Ives in Cornwall, where the family spent every summer until 1895. The Stephens' summer home, Talland House, looked out over Porthminster Bay, and is still standing today, though somewhat altered. Memories of these family holidays and impressions of the landscape, especially the Godrevy Lighthouse, informed the fiction Woolf wrote in later years, most notably To the Lighthouse.
The sudden death of her mother in 1895, when Virginia was 13, and that of her half-sister Stella two years later, led to the first of Virginia's several nervous breakdowns. She was, however, able to take courses of study (some at degree level) in Greek, Latin, German and history at the Ladies’ Department of King’s College London between 1897 and 1901, and this brought her into contact with some of the early reformers of women’s higher education such as Clara Pater, George Warr and Lilian Faithfull (Principal of the King’s Ladies’ Department).[4] Her sister Vanessa also studied Latin, Italian, art and architecture at King’s Ladies’ Department.
The death of her father in 1904 provoked her most alarming collapse and she was briefly institutionalised.[3] Her breakdowns and subsequent recurring depressive periods, modern scholars (including her nephew and biographer, Quentin Bell) have suggested,[5] were also influenced by the sexual abuse she and Vanessa were subjected to by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays A Sketch of the Past and 22 Hyde Park Gate).
Throughout her life, Woolf was plagued by periodic mood swings and associated illnesses. Though this instability often affected her social life, her literary productivity continued with few breaks until her suicide.
[edit] Bloomsbury
The Dreadnought Hoaxers in Abyssinian regalia; Virginia Woolf is the bearded figure on the far leftAfter the death of their father and Virginia's second nervous breakdown, Vanessa and Adrian sold 22 Hyde Park Gate and bought a house at 46 Gordon Square in Bloomsbury.
Woolf came to know Lytton Strachey, Clive Bell, Rupert Brooke, Saxon Sydney-Turner, Duncan Grant, Leonard Woolf and Roger Fry, who together formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. Several members of the group attained notoriety in 1910 with the Dreadnought hoax, which Virginia participated in disguised as a male Abyssinian royal. Her complete 1940 talk on the Hoax was discovered and is published in the memoirs collected in the expanded edition of The Platform of Time (2008). In 1907 Vanessa married Clive Bell, and the couple's interest in avant garde art would have an important influence on Virginia's development as an author.[6]
Virginia Stephen married writer Leonard Woolf in 1912. Despite his low material status (Woolf referring to Leonard during their engagement as a "penniless Jew") the couple shared a close bond. Indeed, in 1937, Woolf wrote in her diary: "Love-making – after 25 years can’t bear to be separate ... you see it is enormous pleasure being wanted: a wife. And our marriage so complete." The two also collaborated professionally, in 1917 founding the Hogarth Press, which subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others.[7] The Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell.
The ethos of the Bloomsbury group encouraged a liberal approach to sexuality, and in 1922 she met the writer and gardener Vita Sackville-West, wife of Harold Nicolson. After a tentative start, they began a sexual relationship, which, according to Sackville- West, was only twice consummated. [8] In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both genders. Nigel Nicolson, Vita Sackville-West's son, wrote "The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her". [9] After their affair ended, the two women remained friends until Woolf's death in 1941. Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa; Thoby had died of an illness at the age of 26.
[edit] WorkWoolf began writing professionally in 1900, initially for the Times Literary Supplement with a journalistic piece about Haworth, home of the Brontë family.[10]
Her first novel, The Voyage Out, was published in 1915 by her half-brother's imprint, Gerald Duckworth and Company Ltd. This novel was originally entitled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life.[11]
Lytton Strachey and Woolf at Garsington, 1923.[12]Woolf went on to publish novels and essays as a public intellectual to both critical and popular success. Much of her work was self-published through the Hogarth Press. She has been hailed as one of the greatest novelists of the twentieth century and one of the foremost modernists.[13]
Woolf is considered one of the greatest innovators in the English language. In her works she experimented with stream-of-consciousness and the underlying psychological as well as emotional motives of characters. Woolf's reputation declined sharply after World War II, but her eminence was re-established with the surge of Feminist criticism in the 1970s.[14]
Her work was criticised for epitomising the narrow world of the upper-middle class English intelligentsia. Some critics judged it to be lacking in universality and depth,[citation needed] without the power to communicate anything of emotional or ethical relevance to the disillusioned common reader,[citation needed] weary of the 1920s aesthetes. She was also criticised by some as an anti-semite, despite her being happily married to a Jewish man. This anti-semitism is drawn from the fact that she often wrote of Jewish characters in stereotypical archetypes and generalisations, including describing some of her Jewish characters as physically repulsive and dirty.[15] The overwhelming and rising 1920s and 30s anti-semitism possibly influenced Virginia Woolf. She wrote in her diary, "I do not like the Jewish voice; I do not like the Jewish laugh." However, in a 1930 letter to the composer, Ethel Smyth, quoted in Nigel Nicolson's biography,Virginia Woolf, she recollects her boasts of Leonard's Jewishness confirming her snobbish tendencies, "How I hated marrying a Jew- What a snob I was, for they have immense vitality."[16] In another letter to her dear friend Ethel Smyth, Virginia gives a scathing denunciation of Christianity, seeing it as self-righteous "egotism" and stating "my Jew has more religion in one toe nail—more human love, in one hair."[17] Virginia and her husband Leonard Woolf actually hated and feared 1930s fascism with its anti-semitism knowing they were on Hitler's blacklist. Her 1938 book Three Guineas was an indictment of fascism.[18]
Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: Woolf is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions.[18]
The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings – often wartime environments – of most of her novels. For example, Mrs Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars.[19]
To the Lighthouse (1927) is set on two days ten years apart. The plot centres around the Ramsay family's anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. The novel is also a meditation upon the lives of a nation's inhabitants in the midst of war, and of the people left behind. It also explores the passage of time, and how women are forced by society to allow men to take emotional strength from them.[20]
Orlando (1928) has a different quality from all Virginia Woolf's other novels suggested by its subtitle, "A Biography", as it attempts to represent the character of a real person and is dedicated to Vita Sackville-West. It was meant to console Vita for being a girl and for the loss of her ancestral home, though it is also a satirical treatment of Vita and her work. In Orlando the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed in order for it to be mocked.[21]
The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centered novel.[22]
Her last work, Between the Acts (1941) sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history. This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse.[23] While Woolf's work can be understood as consistently in dialogue with Bloomsbury, particularly its tendency (informed by G.E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals.[24]
Her works have been translated into over 50 languages, by writers such as Jorge Luis Borges and Marguerite Yourcenar.
[edit] DeathAfter completing the manuscript of her last (posthumously published) novel, Between the Acts, Woolf fell into a depression similar to that which she had earlier experienced. The onset of World War II, the destruction of her London home during the Blitz, and the cool reception given to her biography of her late friend Roger Fry all worsened her condition until she was unable to work.[12] On 28 March 1941, Woolf put on her overcoat, filled its pockets with stones, and walked into the River Ouse near her home and drowned. Woolf's body was not found until 18 April 1941.[25] Her husband buried her cremated remains under an elm in the garden of Monk's House, their home in Rodmell, Sussex.
In her last note to her husband she wrote:
“ I feel certain that I am going mad again. I feel we can't go through another of those terrible times. And I shan't recover this time. I begin to hear voices, and I can't concentrate. So I am doing what seems the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I don't think two people could have been happier 'til this terrible disease came. I can't fight any longer. I know that I am spoiling your life, that without me you could work. And you will I know. You see I can't even write this properly. I can't read. What I want to say is I owe all the happiness of my life to you. You have been entirely patient with me and incredibly good. I want to say that – everybody knows it. If anybody could have saved me it would have been you. Everything has gone from me but the certainty of your goodness. I can't go on spoiling your life any longer. I don't think two people could have been happier than we have been. V.[26] ”
[edit] Modern scholarship and interpretationsRecently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer. Controversially, Louise A. DeSalvo reads most of Woolf's life and career through the lens of the incestuous sexual abuse Woolf suffered as a young woman in her 1989 book Virginia Woolf: The Impact of Childhood Sexual Abuse on her Life and Work.
Woolf's fiction is also studied for its insight into shell shock, war, class and modern British society. Her best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties female writers and intellectuals face because men hold disproportionate legal and economic power and the future of women in education and society.
Irene Coates's book Who's Afraid of Leonard Woolf: A Case for the Sanity of Virginia Woolf holds that Leonard Woolf's treatment of his wife encouraged her ill health and ultimately was responsible for her death. This is not accepted by Leonard's family but is extensively researched and fills in some of the gaps in the traditional account of Virginia Woolf's life. Victoria Glendinning's book Leonard Woolf: A Biography, which is even more extensively researched and supported by contemporaneous writings, argues that Leonard Woolf was not only supportive of his wife but enabled her to live as long as she did by providing her with the life and atmosphere she needed to live and write. Accounts of Virginia's supposed anti-semitism (Leonard was jewish) are not only taken out of historical context but greatly exaggerated. Virginia's own diaries support this view of the Woolfs' marriage.[27]
Though at least one biography of Virginia Woolf appeared in her lifetime, the first authoritative study of her life was published in 1972 by her nephew Quentin Bell.
In 1992, Thomas Caramagno published the book The Flight of the Mind: Virginia Woolf's Art and Manic-Depressive Illness."
Hermione Lee's 1996 biography Virginia Woolf provides a thorough and authoritative examination of Woolf's life and work.
In 2001 Louise DeSalvo and Mitchell A. Leaska edited The Letters of Vita Sackville-West and Virginia Woolf. Julia Briggs's Virginia Woolf: An Inner Life, published in 2005 is the most recent examination of Woolf's life. It focuses on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. Thomas Szasz's book My Madness Saved Me: The Madness and Marriage of Virginia Woolf (ISBN 0-7658-0321-6) was published in 2006.
Rita Martin’s play Flores no me pongan (2006) considers Woolf's last minutes of life in order to debate polemical issues such as bisexuality, Jewishness and war. Written in Spanish, the play was performed in Miami under the direction of actress Miriam Bermudez.
[edit] DepictionsMichael Cunningham's 1998 Pulitzer Prize winning novel, The Hours, focused on three generations of women affected by Woolf's novel Mrs Dalloway. In 2002, a film version of the novel was released starring Nicole Kidman as Woolf, a role for which she won the 2002 Academy Award for Best Actress. The film also starred Julianne Moore and Meryl Streep. Susan Sellers' novel Vanessa and Virginia (2008) explores the close sibling relationship between Woolf and her sister, Vanessa Bell. It was adapted for the stage by Elizabeth Wright in 2010 and first performed by Moving Stories Theatre.
[edit] BibliographySee also: Bibliography of Virginia Woolf
[edit] NovelsThe Voyage Out (1915)
Night and Day (1919)
Jacob's Room (1922)
Mrs Dalloway (1925)
To the Lighthouse (1927)
Orlando (1928)
The Waves (1931)
The Years (1937)
Between the Acts (1941)
[edit] Short story collectionsMonday or Tuesday (1921)
A Haunted House and Other Short Stories (1944)
Mrs Dalloway's Party (1973)
The Complete Shorter Fiction (1985)
[edit] "Biographies"Virginia Woolf published three books to which she gave the subtitle "A Biography":
Orlando: A Biography (1928, usually characterised Novel, inspired by the life of Vita Sackville-West)
Flush: A Biography (1933, more explicitly cross-genre: fiction as "stream of consciousness" tale by Flush, a dog; non-fiction in the sense of telling the story of the owner of the dog, Elizabeth Barrett Browning), reprinted in 2005 by Persephone Books
Roger Fry: A Biography (1940, usually characterised non-fiction, however: "[Woolf's] novelistic skills worked against her talent as a biographer, for her impressionistic observations jostled uncomfortably with the simultaneous need to marshall a multitude of facts."[28])
[edit] Non-fiction booksModern Fiction (1919)
The Common Reader (1925)
A Room of One's Own (1929)
On Being Ill (1930)
The London Scene (1931)
The Common Reader: Second Series (1932)
Three Guineas (1938)
The Death of the Moth and Other Essays (1942)
The Moment and Other Essays (1947)
The Captain's Death Bed And Other Essays (1950)
Granite and Rainbow (1958)
Books and Portraits (1978)
Women And Writing (1979)
Collected Essays (four volumes)
[edit] DramaFreshwater: A Comedy (performed in 1923, revised in 1935, and published in 1976)
[edit] Autobiographical writings and diariesA Writer’s Diary (1953) – Extracts from the complete diary
Moments of Being (1976)
A Moment's Liberty: the shorter diary (1990)
The Diary of Virginia Woolf (five volumes) – Diary of Virginia Woolf from 1915 to 1941
Passionate Apprentice: The Early Journals, 1897–1909 (1990)
Travels With Virginia Woolf (1993) – Greek travel diary of Virginia Woolf, edited by Jan Morris
The Platform of Time: Memoirs of Family and Friends, Expanded Edition, edited by S. P. Rosenbaum (London, Hesperus, 2008)
[edit] LettersCongenial Spirits: The Selected Letters (1993)
The Letters of Virginia Woolf 1888–1941 (six volumes, 1975–1980)
Paper Darts: The Illustrated Letters of Virginia Woolf (1991)
[edit] Prefaces, contributionsSelections Autobiographical and Imaginative from the Works of George Gissing ed. Alfred C. Gissing, with an introduction by Virginia Woolf (London & New York, 1929)
[edit] BiographiesVirginia Woolf by Nigel Nicolson. New York, Penguin Group. 2000
Virginia Woolf: A Biography by Quentin Bell. New York, Harcourt Brace Jovanovich, 1972; Revised editions 1990, 1996
"Vanessa and Virginia" by Susan Sellers (Two Ravens, 2008; Harcourt 2009) [Fictional biography of Woolf and her sister Vanessa Bell]
The Unknown Virginia Woolf by Roger Poole. Cambridge UP, 1978.
The Invisible Presence: Virginia Woolf and the Mother-Daughter Relationship by Ellen Bayuk Rosenman. Louisiana State University Press, 1986.
Virginia Woolf and the politics of style, by Pamela J. Transue. SUNY Press, 1986. ISBN 0887062865.
The Victorian heritage of Virginia Woolf: the external world in her novels, by Janis M. Paul. Pilgrim Books, 1987. ISBN 0937664731.
Virginia Woolf's To the lighthouse, by Harold Bloom. Chelsea House, 1988. ISBN 1555460348.
Virginia Woolf: the frames of art and life, by C. Ruth Miller. Macmillan, 1988. ISBN 0333448804.
Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work by Louise DeSalvo. Boston: Little Brown, 1989
A Virginia Woolf Chronology by Edward Bishop. Boston: G.K. Hall & Co., 1989.
A Very Close Conspiracy: Vanessa Bell and Virginia Woolf by Jane Dunn. Boston: Little, Brown, 1990
Virginia Woolf: A Writer's Life by Lyndall Gordon. New York: Norton, 1984; 1991.
Virginia Woolf and war, by Mark Hussey. Syracuse University Press, 1991. ISBN 0815625375.
The Flight of the Mind: Virginia Woolf's Art and Manic-Depressive Illness by Thomas D. Caramago. Berkeley: U of California Press, 1992
Virginia Woolf by James King. NY: W.W. Norton, 1994.
Art and Affection: A Life of Virginia Woolf by Panthea Reid. New York: Oxford UP, 1996.
Virginia Woolf by Hermione Lee. New York: Knopf, 1997.
Granite and Rainbow: The Hidden Life of Virginia Woolf by Mitchell Leaska. New York: Farrar, Straus and Giroux, 1998.
The Feminist Aesthetics of Virginia Woolf, by Jane Goldman. Cambridge University Press, 2001. ISBN 0521794587.
Virginia Woolf and the nineteenth-century domestic novel, by Emily Blair. SUNY Press, 2002. ISBN 0791471195.
Virginia Woolf: becoming a writer, by Katherine Dalsimer. Yale University Press, 2002. ISBN 0300092083.
Virginia Woolf: The Will to Create as a Woman by Ruth Gruber. New York: Carroll & Graf Publishers, 2005
My Madness Saved Me: The Madness and Marriage of Virginia Woolf by Thomas Szasz, 2006
Virginia Woolf: An Inner Life, by Julia Briggs. Harcourt, 2006. ISBN 0156032295.
The Bedside, Bathtub and Armchair Companion to Virginia Woolf and Bloomsbury by Sarah M. Hall, Continuum Publishing, 2007
Virginia Woolf and the Visible World, by Emily Dalgarno. Cambridge University Press, 2007. ISBN 0521033608,.
A Life of One's Own: A Guide to Better Living through the Work and Wisdom of Virginia Woolf by Ilana Simons, New York: Penguin Press, 2007
Sudden Endings: 13 Profiles in Depth of Famous Suicides by M. J. Meaker, Garden City, NY: Doubleday & Company, Inc., 1964, p. 250-269: "The Fatal Game: Virginia Woolf".
[edit] Notes1.^ Smith College libraries biography of Julia Prinsep Stephen
2.^ Alan Bell, ‘Stephen, Sir Leslie (1832–1904)’, Oxford Dictionary of National Biography, Oxford University Press, Sept 2004; online edn, May 2006
3.^ a b Robert Meyer, 1998, Case Studies in Abnormal Behaviour, Allyn and Bacon
4.^ Christine Kenyon Jones and Anna Snaith, ‘“Tilting at Universities”: Woolf at King’s College London’, Woolf Studies Annual, volume 16, 2010, pages 1–44."
5.^ Bell 1996: 44
6.^ Briggs, Virginia Woolf (2005), 69–70
7.^ Claire Messud (10 December 2006). "The Husband". New York Times. http://www.nytimes.com/2006/12/10/books/review/Messud.t.html?_r=1&n=Top%2fFeatures%2fBooks%2fBook%20Reviews&oref=slogin. Retrieved 10 August 2008.
8.^ Boynton, Victoria and Malin, Jo (2005) Encyclopedia of Women's Autobiography: K-Z Greenwood Press p580
9.^ Blamires, Harry (1983) A Guide to twentieth century literature in English Routledge p307 ISBN 978-0416364507
10.^ "Virginia Woolf". http://www.kirjasto.sci.fi/vwoolf.htm. Retrieved 5 October 2007.
11.^ Haule, J. (1982). Melymbrosia: An Early Version of "The Voyage out". Contemporary Literature, 23, 100–104.
12.^ a b Lee, Hermione: "Virginia Woolf." Knopf, 1997.
13.^ "Critical Essays on Virginia Woolf", Morris Beja, 1985, Introduction, p.1
14.^ "Critical Essays on Virginia Woolf", Morris Beja, 1985, Introduction, p.1,3,53.
15.^ "Tales of abjection and miscegenation: Virginia Woolf's and Leonard Woolf's Jewish stories" Twentieth Century Literature, Fall, 2003 by Leena Kore Schroder, http://findarticles.com/p/articles/mi_m0403/is_3_49/ai_n6130106/pg_17/
16.^ "Mr. Virginia Woolf". Commentarymagazine.com. http://www.commentarymagazine.com/cm/main/viewArticle.aip?id=10801&page=2. Retrieved 8 September 2008.
17.^ "The Letters of Virginia Woolf" Volume Five 1932–1935, Nigel Nicolson & Joanne Trautmann, 1979, p. 321.
18.^ a b "The Hours" DVD, "Special Features", "The Mind and Times of Virginia Woolf", 2003.
19.^ "Critical Essays on Virginia Woolf", Morris Beja, 1985, p.13,53.
20.^ "Critical Essays on Virginia Woolf", Morris Beja, 1985, p.15-17.
21.^ "The Novels of Virginia Woolf", Hermione Lee, 1977, pp.138–157.
22.^ "Critical Essays on Virginia Woolf", Morris Beja, 1985, p.19.
23.^ "Critical Essays on Virginia Woolf", Morris Beja, 1985, p.24.
24.^ "From Clapham to Bloomsbury: a genealogy of morals", Professor Gertrude Himmelfarb, 2001.
25.^ Panken, Shirley (1987). ""Oh that our human pain could here have ending" – Between the Acts". Virginia Woolf and the "Lust of Creation": a Psychoanalytic Exploration. SUNY Press. pp. 260–262. ISBN 9780887062001. http://books.google.com/?id=de4UyeBbCIwC&pg=PA260. Retrieved 13 August 2009.
26.^ Rose, Phyllis (1986). Woman of Letters: A Life of Virginia Woolf. Routledge. pp. 243. ISBN 0863580661. http://books.google.com/?id=Nco9AAAAIAAJ&pg=PA243&dq=%22I+don%27t+think+two+people+could+have+been+happier+than+we+have+been.%22. Retrieved 24 September 2008.
27.^ "Mr. Virginia Woolf". Commentarymagazine.com. http://www.commentarymagazine.com/cm/main/viewArticle.aip?id=10801. Retrieved 8 September 2008.
28.^ Frances Spalding (ed.), Virginia Woolf: Paper Darts: the Illustrated Letters, Collins & Brown, 1991, (ISBN 1-85585-046-X) (hb) & (ISBN 1-85585-103-2) (pb), pp. 139–140
[edit] External links Wikisource has original works written by or about: Virginia Woolf
Wikiquote has a collection of quotations related to: Virginia Woolf
Wikimedia Commons has media related to: Virginia Woolf
Literature portal
Archival material relating to Virginia Woolf listed at the UK National Register of Archives
Works by Virginia Woolf at Project Gutenberg
Works by or about Virginia Woolf in libraries (WorldCat catalog)
Biography of Virginia Woolf on the Yale Modernism Lab
Listen to Virginia Woolf's BBC Broadcast (29 April 1937) 'Words Fail Me'
Rare recordings of Virginia Woolf, Conan Doyle, and others
Monk's House information at the National Trust
The Virginia Woolf Collection at the Victoria University Library Special Collections
[hide]v · d · eWorks by Virginia Woolf
Novels The Voyage Out · Night and Day · Jacob's Room · Mrs Dalloway · To the Lighthouse · Orlando: A Biography · The Waves · The Years · Between the Acts
Short stories A Haunted House · A Society · Monday or Tuesday · An Unwritten Novel · The String Quartet · Blue & Green · Kew Gardens · The Mark on the Wall · The New Dress · The Duchess and the Jeweller
Biographies Flush: A Biography · Roger Fry: A Biography
Non-fiction Modern Fiction · The Common Reader · A Room of One's Own · On Being Ill · The London Scene · The Second Common Reader · Three Guineas · The Death of the Moth and Other Essays · The Moment and Other Essays · Women and Writing
Bibliography of Virginia Woolf
Persondata
Name Woolf, Virginia
Alternative names Stephen, Virginia
Short description English novelist, essayist
Date of birth 25 January 1882
Place of birth London, England, UK
Date of death 28 March 1941
Place of death near Lewes, England, UK
Retrieved from "http://en.wikipedia.org/wiki/Virginia_Woolf"
Categories: Virginia Woolf
1882 births
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