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Virginia Woolf

Virginia Woolf in 1902; photograph by GeorgeCharles Beresford.

Born Adeline Virginia Stephen25 January 1882Kensington, Middlesex, England

Died 28 March 1941 (aged 59)River Ouse, near Lewes, Sussex,England

Occupation Novelist, essayist, publisher, critic

Nationality British

Alma mater King's College London

Notableworks

To the LighthouseMrs DallowayOrlando: A BiographyA Room of One's Own

Spouse Leonard Woolf(m. 1912–1941; her death)

Signature

Virginia WoolfFrom Wikipedia, the free encyclopedia

This article is about the British modernist author. For the American children's author, see VirginiaEuwer Wolff. For the British rock band, see Virginia Wolf.

Adeline Virginia Woolf (née Stephen; 25 January 1882 –28 March 1941) was an English writer and one of theforemost modernists of the twentieth century.

During the interwar period, Woolf was a significant figurein London literary society and a central figure in theinfluential Bloomsbury Group of intellectuals. Her mostfamous works include the novels Mrs Dalloway (1925),To the Lighthouse (1927) and Orlando (1928), and thebook-length essay A Room of One's Own (1929), with itsfamous dictum, "A woman must have money and a roomof her own if she is to write fiction."

Woolf suffered from severe bouts of mental illnessthroughout her life, thought to have been the result ofwhat is now termed bipolar disorder,[1] and committedsuicide by drowning in 1941 at the age of 59.

Contents1 Early life2 Bloomsbury3 Work

3.1 Attitudes toward Judaism, Christianityand fascism

4 Death5 Modern scholarship and interpretations

5.1 Feminism5.2 Mental illness

6 Depictions7 Tributes8 Exhibition9 Bibliography

9.1 Novels9.2 Short story collections9.3 Biographies9.4 Non-fiction books9.5 Drama9.6 Translations9.7 Autobiographical writings and diaries9.8 Letters

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Woolf's voice

from a BBC radio broadcast made on 29April 1937

Photographic portrait of Woolf'smother, Julia Stephen, taken by JuliaMargaret Cameron, Julia's aunt

9.9 Prefaces, contributions9.10 Photograph albums

10 See also11 Notes12 References13 Further reading

13.1 Biographies13.2 Literary themes13.3 Other

14 External links

Early lifeVirginia Woolf was born Adeline Virginia Stephen at 22 Hyde ParkGate in Kensington, London.[2] Her parents were Sir Leslie Stephen(1832–1904) and Julia Prinsep Duckworth Stephen (née Jackson,1846–1895).[2] Leslie Stephen was a notable historian, author, criticand mountaineer.[3] He was a founding editor of the Dictionary ofNational Biography, a work that would influence Woolf's laterexperimental biographies. Julia Stephen was born in British India toDr. John and Maria Pattle Jackson. She was the niece of thephotographer Julia Margaret Cameron and first cousin of thetemperance leader Lady Henry Somerset. Julia moved to Englandwith her mother, where she served as a model for Pre-Raphaelitepainters such as Edward Burne-Jones.[4] Julia named her daughterafter the Pattle family: Adeline after Lady Henry's sister, whomarried George Russell, 10th Duke of Bedford; and Virginia, thename of yet another sister (who died young) but also of their mother,Julia's aunt.

Woolf was educated by her parents in their literate and well-connected household. Her parents had each been married previouslyand been widowed, and, consequently, the household contained the children of three marriages. Julia hadthree children by her first husband, Herbert Duckworth: George, Stella, and Gerald Duckworth. Leslie hadfirst married Harriet Marian (Minny) Thackeray (1840–1875), the daughter of William Thackeray, and theyhad one daughter: Laura Makepeace Stephen, who was declared mentally disabled and lived with the familyuntil she was institutionalised in 1891.[5] Leslie and Julia had four children together: Vanessa Stephen (laterknown as Vanessa Bell) (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,meant that his children were raised in an environment filled with the influences of Victorian literary society.Henry James, George Henry Lewes, and Virginia's honorary godfather, James Russell Lowell, were amongthe visitors to the house. Julia Stephen was equally well connected. She came from a family of beauties wholeft their mark on Victorian society as models for Pre-Raphaelite artists and early photographers, includingher aunt Julia Margaret Cameron who was also a visitor to the Stephen household. Supplementing these

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Julia Prinsep Stephen portrayed byEdward Burne-Jones, 1866

influences was the immense library at the Stephens' house, from which Virginia and Vanessa were taught theclassics and English literature. Unlike the girls, their brothers Adrian and Julian (Thoby) were formallyeducated and sent to Cambridge, a difference that Virginia would resent. The sisters did, however, benefitindirectly from their brothers' Cambridge contacts, as the boys brought their new intellectual friends home tothe Stephens' drawing room.

According to Woolf's memoirs, her most vivid childhood memorieswere not of London but of St Ives, Cornwall, where the family spentevery summer until 1895. The Stephens' summer home, TallandHouse, looked out over Porthminster Bay, and is still standing,though somewhat altered. Memories of these family holidays andimpressions of the landscape, especially the Godrevy Lighthouse,informed the fiction Woolf wrote in later years, most notably To theLighthouse.

The sudden death of her mother in 1895, when Virginia was 13, andthat of her half-sister Stella two years later, led to the first ofVirginia's several nervous breakdowns. She was, however, able totake courses of study (some at degree level) in Ancient Greek, Latin,German and history at the Ladies' Department of King's CollegeLondon between 1897 and 1901. This brought her into contact withsome of the early reformers of women's higher education such as theprincipal of the Ladies' Department, Lilian Faithfull (one of the so-called Steamboat ladies), Clara Pater (sister of the more famous

Walter, George Warr.[6] Her sister Vanessa also studied Latin, Italian, art and architecture at King's Ladies'Department. (In 2013 Woolf was honoured by her alma mater with the opening of a building named afterher on Kingsway.[7]

The death of her father in 1904 provoked her most alarming collapse and she was briefly institutionalised.[5]

Modern scholars (including her nephew and biographer, Quentin Bell) have suggested[8] her breakdownsand subsequent recurring depressive periods were also influenced by the sexual abuse to which she and hersister Vanessa were subjected by their half-brothers George and Gerald Duckworth (which Woolf recalls inher 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. She spent threeshort periods in 1910, 1912 and 1913 at Burley House, 15 Cambridge Park, Twickenham, described as "aprivate nursing home for women with nervous disorder".[9] Though this instability often affected her sociallife, her literary productivity continued with few breaks throughout her life.

BloomsburyAfter the death of their father and Virginia's second nervous breakdown, Vanessa and Adrian sold 22 HydePark Gate and bought a house at 46 Gordon Square in Bloomsbury.

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The Dreadnought Hoaxers inAbyssinian regalia; Virginia Woolf isthe bearded figure on the far left.

A portrait of Woolf by Roger Fryc. 1917

External video

Woolf came to know Lytton Strachey, Clive Bell, Rupert Brooke, Saxon Sydney-Turner, Duncan Grant,Leonard Woolf, John Maynard Keynes, David Garnett, and Roger Fry, who together formed the nucleus ofthe intellectual circle of writers and artists known as the Bloomsbury Group. Several members of the groupattained notoriety in 1910 with the Dreadnought hoax, which Virginia participated in disguised as a maleAbyssinian royal. Her complete 1940 talk on the hoax was discovered and is published in the memoirscollected in the expanded edition of The Platform of Time (2008). In1907 Vanessa married Clive Bell, and the couple's interest in avantgarde art would have an important influence on Woolf's developmentas an author.[10]

Virginia Stephen married the writer Leonard Woolf on 10 August1912.[11] Despite his low material status (Woolf referring to Leonardduring their engagement as a "penniless Jew") the couple shared aclose bond. Indeed, in 1937, Woolf wrote in her diary: "Love-making—after 25 years can't bear to be separate ... you see it is enormouspleasure being wanted: a wife. And our marriage so complete." Thetwo also collaborated professionally, in 1917 founding the HogarthPress, which subsequently published Virginia's novels along withworks by T. S. Eliot, Laurens van der Post, and others.[12] The Pressalso commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell.

The ethos of the Bloomsbury group encouraged a liberal approach tosexuality, and in 1922 she met the writer and gardener VitaSackville-West, wife of Harold Nicolson. After a tentative start, theybegan a sexual relationship, which, according to Sackville-West in aletter to her husband dated August 17, 1926, was only twiceconsummated.[13] However, Virginia's intimacy with Vita seems tohave continued into the early 1930s.[14] In 1928, Woolf presentedSackville-West with Orlando, a fantastical biography in which theeponymous hero's life spans three centuries and both sexes. NigelNicolson, Vita Sackville-West's son, wrote, "The effect of Vita onVirginia is all contained in Orlando, the longest and most charminglove letter in literature, in which she explores Vita, weaves her in andout of the centuries, tosses her from one sex to the other, plays withher, dresses her in furs, lace and emeralds, teases her, flirts with her,drops a veil of mist around her."[15] After their affair ended, the twowomen remained friends until Woolf's death in 1941. Virginia Woolfalso remained close to her surviving siblings, Adrian and Vanessa;Thoby had died of typhoid fever at the age of 26.[16]

WorkWoolf began writing professionally in 1900, initially for the TimesLiterary Supplement with a journalistic piece about Haworth, homeof the Brontë family.[17] Her first novel, The Voyage Out, was

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Rare recording of Virginia Woolf(http://www.bbc.com/news/entertainment-arts-28231055), 1937, speaking about thecraftsmanship of words on BBC Radio

Lytton Strachey and Woolf atGarsington, 1923[19]

published in 1915 by her half-brother's imprint, Gerald Duckworthand Company Ltd. This novel was originally titled Melymbrosia,but Woolf repeatedly changed the draft. An earlier version of TheVoyage Out has been reconstructed by Woolf scholar LouiseDeSalvo and is now available to the public under the intended title.DeSalvo argues that many of the changes Woolf made in the textwere in response to changes in her own life.[18]

Woolf went on to publish novels and essays as a public intellectualto both critical and popular success. Much of her work was self-published through the Hogarth Press. She is seen as a majortwentieth-century novelist and one of the foremost modernists.[20]

Woolf is considered a major innovator in the English language. Inher works she experimented with stream of consciousness and theunderlying psychological as well as emotional motives ofcharacters. Woolf's reputation declined sharply after World War II,but her importance was re-established with the growth of feministcriticism in the 1970s.[21]

Virginia Woolf's peculiarities as a fiction writer have tended toobscure her central strength: she is arguably the major lyricalnovelist in the English language. Her novels are highly experimental:a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptiveconsciousness. Intense lyricism and stylistic virtuosity fuse to createa world overabundant with auditory and visual impressions.[22]

Woolf has often been credited with stream of consciousness writingalongside her modernist contemporaries like James Joyce and JosephConrad.[23]

The intensity of Virginia Woolf's poetic vision elevates the ordinary,sometimes banal settings—often wartime environments—of most ofher novels. For example, Mrs Dalloway (1925) centres on the effortsof Clarissa Dalloway, a middle-aged society woman, to organise aparty, even as her life is paralleled with that of Septimus WarrenSmith, a working-class veteran who has returned from the FirstWorld War bearing deep psychological scars.[24]

To the Lighthouse (1927) is set on two days ten years apart. The plotcentres on the Ramsay family's anticipation of and reflection upon avisit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is thestruggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of thefamily drama. The novel is also a meditation upon the lives of a nation's inhabitants in the midst of war, andof the people left behind. It also explores the passage of time, and how women are forced by society to allowmen to take emotional strength from them.[25]

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Orlando (1928) is one of Virginia Woolf's lightest novels. A parodic biography of a young nobleman wholives for three centuries without ageing much past thirty (but who does abruptly turn into a woman), thebook is in part a portrait of Woolf's lover Vita Sackville-West. It was meant to console Vita for the loss ofher ancestral home, though it is also a satirical treatment of Vita and her work. In Orlando, the techniques ofhistorical biographers are being ridiculed; the character of a pompous biographer is being assumed in orderfor it to be mocked.[26]

The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than tointerior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centred novel.[27]

Flush: A Biography (1933) is a part-fiction, part-biography of the cocker spaniel owned by Victorian poetElizabeth Barrett Browning. The book is written from the dog's point of view. Woolf was inspired to writethis book from the success of the Rudolf Besier play The Barretts of Wimpole Street. In the play, Flush is onstage for much of the action. The play was produced for the first time in 1932 by the actress KatharineCornell.

Her last work, Between the Acts (1941), sums up and magnifies Woolf's chief preoccupations: thetransformation 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 symbolicnarrative encompassing almost all of English history. This book is the most lyrical of all her works, not onlyin feeling but in style, being chiefly written in verse.[28] While Woolf's work can be understood asconsistently in dialogue with Bloomsbury, particularly its tendency (informed by G. E. Moore, amongothers) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals.[29]

Woolf's works have been translated into over 50 languages by writers such as Jorge Luis Borges andMarguerite Yourcenar.

Attitudes toward Judaism, Christianity and fascism

Though happily married to a Jewish man, Woolf often wrote of Jewish characters in stereotypical archetypesand generalisations, including describing some of her Jewish characters as physically repulsive and dirty.[30]

She wrote in her diary: "I do not like the Jewish voice; I do not like the Jewish laugh." In a 1930 letter to thecomposer Ethel Smyth, quoted in Nigel Nicolson's biography Virginia Woolf, she recollects her boasts ofLeonard's Jewishness confirming her snobbish tendencies, "How I hated marrying a Jew—What a snob Iwas, for they have immense vitality."[31]

In another letter to Smyth, Woolf 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."[32]

Woolf and her husband Leonard hated and feared 1930s fascism with its antisemitism even before knowingthey were on Hitler's death list for Britain. Her 1938 book Three Guineas was an indictment of fascism.[22]

Death

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Virginia Woolf 1882–1941. Stamp ofRomania, 2007.

After completing the manuscript of her last (posthumously published) novel, Between the Acts, Woolf fellinto a depression similar to that which she had earlier experienced. The onset of World War II, thedestruction of her London home during the Blitz, and the cool reception given to her biography of her latefriend Roger Fry all worsened her condition until she was unable to work.[19] On 28 March 1941, Woolf puton her overcoat, filled its pockets with stones, walked into the River Ouse near her home, and drownedherself. Woolf's body was not found until 18 April 1941.[33] Her husband buried her cremated remains underan elm in the garden of Monk's House, their home in Rodmell, Sussex.

In her last note to her husband she wrote:

Dearest, I feel certain that I am going mad again. I feel we can't go through another of thoseterrible times. And I shan't recover this time. I begin to hear voices, and I can't concentrate. So Iam 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 beenhappier till this terrible disease came. I can't fight any longer. I know that I am spoiling yourlife, that without me you could work. And you will I know. You see I can't even write thisproperly. I can't read. What I want to say is I owe all the happiness of my life to you. You havebeen entirely patient with me and incredibly good. I want to say that—everybody knows it. Ifanybody could have saved me it would have been you. Everything has gone from me but thecertainty of your goodness. I can't go on spoiling your life any longer. I don't think two peoplecould have been happier than we have been. V.[34][35]

Modern scholarship and interpretationsThough at least one biography of Virginia Woolf appeared in herlifetime, the first authoritative study of her life was published in 1972by her nephew Quentin Bell. Hermione Lee's 1996 biographyVirginia Woolf provides a thorough and authoritative examination ofWoolf'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 (2005) focuses onWoolf's writing, including her novels and her commentary on thecreative process, to illuminate her life.

Feminism

Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and PatriciaCramer.

Woolf's best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine thedifficulties that female writers and intellectuals face because men hold disproportionate legal and economicpower and the future of women in education and society. In The Second Sex (1949), Simone de Beauvoircounts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes"Katherine Mansfield—who have explored "the given."[36]

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Woolf's bust in TavistockSquare, London, by StephenTomlin. Erected in 2004, thisis a cast of an original of1931.

Mental illness

Much scholarship has been made of Woolf's mental illness, described as a "manic-depressive illness" inThomas Caramagno's 1992 book, The Flight of the Mind: Virginia Woolf's Art and Manic-Depressive Illness,in which he also warns against the "neurotic-genius" way of looking at mental illness, where peoplerationalise that creativity is somehow born of mental illness.[37] In two books by Stephen Trombley, Woolfis described as having a confrontational relationship with her doctors, and possibly being a woman who is a"victim of male medicine", referring to the contemporary relative lack of understanding about mentalillness.[38] Thomas Szasz's book My Madness Saved Me: The Madness and Marriage of Virginia Woolf waspublished in 2006.

Irene Coates's book Who's Afraid of Leonard Woolf: A Case for the Sanity of Virginia Woolf holds thatLeonard Woolf's treatment of his wife encouraged her ill health and ultimately was responsible for her death.Though extensively researched, this view is not accepted by Leonard's family. Victoria Glendinning's bookLeonard Woolf: A Biography argues that Leonard Woolf was not only supportive of his wife but enabled herto live as long as she did by providing her with the life and atmosphere she needed to live and write.Virginia's own diaries support this view of the Woolfs' marriage.[39]

Controversially, Louise A. DeSalvo reads most of Woolf's life and career through the lens of the incestuoussexual abuse Woolf suffered as a young woman in her 1989 book Virginia Woolf: The Impact of ChildhoodSexual Abuse on her Life and Work.[note 1]

Woolf's fiction is also studied for its insight into shell shock, war, class and modern British society.

DepictionsMichael Cunningham's 1998 Pulitzer Prize-winning novel The Hoursfocused on three generations of women affected by Woolf's novel MrsDalloway. In 2002, a film version of the novel was released starring NicoleKidman as Woolf, a role for which she won the 2002 Academy Award forBest Actress. The film also starred Julianne Moore and Meryl Streep andfeatured an award-winning score by the American composer Philip Glass.Susan Sellers' novel Vanessa and Virginia (2008) explores the close siblingrelationship between Woolf and her sister, Vanessa Bell. It was adapted forthe stage by Elizabeth Wright in 2010 and first performed by Moving StoriesTheatre Company. Priya Parmar's 2014 novel Vanessa and Her Sister alsoexamined the Stephen sisters' relationship during the early years of theirassociation with what became known as the Bloomsbury Group.[40] TheBBC three-hour drama Life in Squares also focuses on the sisters.

Tributes

The artwork The Dinner Party features a place setting for Woolf.[41]

Exhibition

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An exhibition on Virginia Woolf was held at the National Portrait Gallery from July to October 2014.[42]

BibliographySee also: Bibliography of Virginia Woolf

Novels

The 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)

Short story collections

Kew Gardens (1919)Monday or Tuesday (1921)A Haunted House and Other Short Stories (1944)Mrs Dalloway's Party (1973)The Complete Shorter Fiction (1985)Carlyle's House and Other Sketches (2003)

Biographies

Virginia Woolf published three books to which she gave the subtitle "A Biography":

Orlando: A Biography (1928, usually characterised as a novel inspired by the life of Vita Sackville-West)Flush: A Biography (1933, more explicitly cross-genre: fiction as "stream of consciousness" tale byFlush, a dog; non-fiction in the sense of telling the story of the owner of the dog, Elizabeth BarrettBrowning), reprinted in 2005 by Persephone BooksRoger Fry: A Biography (1940, usually characterised as non-fiction, however: "[Woolf's] novelisticskills worked against her talent as a biographer, for her impressionistic observations jostleduncomfortably with the simultaneous need to marshal a multitude of facts."[43])

Non-fiction books

Modern 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)

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Shelf of Shakespeare Plays handbound by Virginia Woolf in herbedroom at Monk's House[a]

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)

Drama

Freshwater: A Comedy (performed in 1923, revised in 1935,and published in 1976)

Translations

Stavrogin's Confession & the Plan of 'The Life of a GreatSinner, from the notes of Fyodor Dostoevsky, translated inpartnership with S. S. Koteliansky (1922)

Autobiographical writings and diaries

A Writer's Diary (1953)—Extracts from the complete diaryMoments 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 1941Passionate Apprentice: The Early Journals, 1897–1909 (1990)Travels With Virginia Woolf (1993)—Greek travel diary of Virginia Woolf, edited by Jan MorrisThe Platform of Time: Memoirs of Family and Friends, Expanded Edition, edited by S. P. Rosenbaum(London, Hesperus, 2008)

Letters

Congenial 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)

Prefaces, contributions

Selections Autobiographical and Imaginative from the Works of George Gissing ed. Alfred C. Gissing,with an introduction by Virginia Woolf (London & New York, 1929)

Photograph albums

Monk's House photograph album 1 (1863–1938 (http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4458847)) – 2 (1909–1922) (http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4394409)– 3 (1890–1933) (http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4394410) – 4 (1890–1947)(http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4395032) – 5 (1892–1938) (http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4395033) – 6 (1850–1900) (http://nrs.harvard.edu/urn-3:FHCL.HOUGH:4420078)

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See alsoInterior monologueModernismStream of consciousness (narrative mode)Who's Afraid of Virginia Woolf?

Notes1. For more information on DeSalvo's views on the sexual abuse suffered by Woolf see Williams, L. C. A. (2014).

Virginia Woolf’s History of Sexual Victimization: A Case Study in Light of Current Research. Psychology, 5, 1151-1164. http://dx.doi.org/10.4236/psych.2014.510128

a. It has been suggested that Woolf bound books to help cope with her depression, as is hinted at in her writing: "Agreat part of every day is not lived consciously. one walks, eats, sees things, deals with what has to be done; thebroken vacuum cleaner; ... cooking dinner; bookbinding."[44]

References1. Lee, Hermione. Virginia Woolf. New York: Vintage, 1999, p. 185.2. Lyndall Gordon, ‘Woolf , (Adeline) Virginia (1882–1941)', Oxford Dictionary of National Biography, Oxford

University Press, May 2005 Retrieved 25 March 2013 (http://www.oxforddnb.com/view/article/37018,)3. Alan Bell, "Stephen, Sir Leslie (1832–1904)", Oxford Dictionary of National Biography, Oxford University Press,

Sept 2004; online edn, May 20064. Smith College libraries biography of Julia Prinsep Stephen

(http://www.smith.edu/libraries/libs/rarebook/exhibitions/stephen/31a.htm)5. Robert Meyer, 1998, Case Studies in Abnormal Behaviour, Allyn and Bacon6. Christine Kenyon Jones and Anna Snaith, ‘"Tilting at Universities": Woolf at King's College London', Woolf Studies

Annual, volume 16, 2010, pages 1–44."7. "Virginia Woolf honoured by new Strand Campus building". King's College London. 2 May 2013. Retrieved

30 August 2013.8. Bell 1996: 449. Pearce, Brian Louis (2007). Virginia Woolf and the Bloomsbury Group in Twickenham. Borough of Twickenham

Local History Society. p. 7. ISBN 978-0-903341-80-6.10. Briggs, Virginia Woolf (2005), 69–7011. "Virginia and Leonard Woolf marry". History. Retrieved 11 January 2012.12. Claire Messud (10 December 2006). "The Husband". New York Times. Retrieved 10 August 2008.13. Boynton, Victoria and Malin, Jo (2005) Encyclopedia of Women's Autobiography: K-Z Greenwood Press p. 580.14. Eileen Barrett and Patricia Cramer Virginia Woolf Lesbian Readings, New York University Press, 1997, p.12615. Blamires, Harry (1983) A Guide to twentieth century literature in English Routledge, p. 307, ISBN 978-0-416-

36450-7.16. Briggs, Julia. Virginia Woolf; An Inner Life. New York: Mariner Books, 2006, p. 13.17. Liukkonen, Petri. "Virginia Woolf". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library.

Archived from the original on 10 February 2015.18. Haule, J. (1982) (http://links.jstor.org/sici?sici=0010-

7484%28198224%2923%3A1%3C100%3AVW%3E2.0.CO%3B2-3). Melymbrosia: An Early Version of "TheVoyage out". Contemporary Literature, 23, 100–104.

19. Lee, Hermione: Virginia Woolf. Knopf, 1997.20. Critical Essays on Virginia Woolf, Morris Beja, 1985, Introduction, p. 1.21. Critical Essays on Virginia Woolf, Morris Beja, 1985, Introduction, pp. 1, 3, 53.

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22. The Hours DVD, "Special Features", "The Mind and Times of Virginia Woolf", 2003.23. "Modernism - Literature Periods & Movements". Retrieved 13 September 2014.24. Critical Essays on Virginia Woolf, Morris Beja, 1985, pp. 13, 53.25. Critical Essays on Virginia Woolf, Morris Beja, 1985, pp. 15–17.26. The Novels of Virginia Woolf, Hermione Lee, 1977, pp. 138–157.27. Critical Essays on Virginia Woolf, Morris Beja, 1985, p. 19.28. Critical Essays on Virginia Woolf, Morris Beja, 1985, p. 24.29. "From Clapham to Bloomsbury: a genealogy of morals (http://www.facingthechallenge.org/himmelfarb.php)",

Professor Gertrude Himmelfarb, 2001.30. Tales of abjection and miscegenation: Virginia Woolf's and Leonard Woolf's Jewish stories

(http://findarticles.com/p/articles/mi_m0403/is_3_49/ai_n6130106/pg_17/) Twentieth Century Literature Fall 2003,by Leena Kore Schroder,

31. "Mr. Virginia Woolf". Commentary Magazine. Retrieved 8 September 2008.32. The Letters of Virginia Woolf, Volume Five 1932–1935, Nigel Nicolson and Joanne Trautmann, 1979, p. 321.33. 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 978-0-88706-200-1.Retrieved 13 August 2009.

34. Jones, Josh. "Virginia Woolf’s Handwritten Suicide Note: A Painful and Poignant Farewell (1941)". Open Culture.Retrieved 28 August 2013.

35. Rose, Phyllis (1986). Woman of Letters: A Life of Virginia Woolf. Routledge. p. 243. ISBN 0-86358-066-1.Retrieved 24 September 2008.

36. Beauvoir, Simone de (1949). The Second Sex. Trans. Constance Borde and Sheila Malovany-Chevallier (translated2009). Random House: Alfred A. Knopf. p. 748. ISBN 978-0-307-26556-2.

37. Caramagno, Thomas, "The Flight of the Mind: Virginia Woolf's Art and Manic-Depressive Illness", 1995, Berkeley ;Oxford : University of California Press, ISBN 0520205049 ;ISBN 9780520205048

38. Trombley, Stephen, "All that summer she was mad : Virginia Woolf and her doctors", 1981, London: Junction Books,ISBN 086245039X ; ISBN 9780862450397

39. "Mr. Virginia Woolf". Commentary Magazine. Retrieved 8 September 2008.40. https://www.goodreads.com/book/show/23000264-vanessa-and-her-sister41. Place Settings (https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings). Brooklyn Museum. Retrieved

on 2015-08-06.42. http://www.theguardian.com/books/2014/jul/09/virginia-woolf-gallery-national-portrait43. 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. 139–140.44. Virginia Woolf: The Patterns of Ordinary Experience

(https://www.ashgate.com/pdf/SamplePages/Virginia_Woolf_Intro.pdf)

Further reading

Biographies

Bell, Quentin. Virginia Woolf: A Biography. Rev. ed. New York: Harcourt Brace Jovanovich, 1996.Bennett, Maxwell. Virginia Woolf and Neuropsychiatry. Dordrecht, London: Springer, 2013.Briggs, Julia. Virginia Woolf: An Inner Life. Orlando, FL: Harcourt, 2006. ISBN 0-15-603229-5.Caramago, Thomas D. The Flight of the Mind: Virginia Woolf's Art and Manic-Depressive Illness.Berkeley: University of California Press, 1992.Curtis, Anthony. "Virginia Woolf: Bloomsbury & Beyond", Haus Books, 2006.Dalsimer, Katherine. Virginia Woolf: Becoming a Writer. New Haven: Yale University Press, 2002.ISBN 0-300-09208-3.Dunn, Jane. A Very Close Conspiracy: Vanessa Bell and Virginia Woolf. Boston: Little, Brown, 1990.Gordon, Lyndall. Virginia Woolf: A Writer's Life. New York: Norton, 1984.

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Wikilivres has originalmedia or text related to thisarticle:

Virginia Woolf

Gruber, Ruth. Virginia Woolf: The Will to Create as a Woman. New York: Carroll & Graf, 2005.King, James. Virginia Woolf. New York: Norton, 1994.Leaska, Mitchell. Granite and Rainbow: The Hidden Life of Virginia Woolf. New York: Farrar, Strausand Giroux, 1998.Lee, Hermione. Virginia Woolf. New York: Knopf, 1997.Nicolson, Nigel. Virginia Woolf. New York: Penguin, 2000.Poole, Roger. The Unknown Virginia Woolf. Cambridge, New York: Cambridge University Press,1978.Reid, Panthea. Art and Affection: A Life of Virginia Woolf. New York: Oxford University Press, 1996.Rosenman, Ellen Bayuk. The Invisible Presence: Virginia Woolf and the Mother-DaughterRelationship. Baton Rouge: Louisiana State University Press, 1986.Szasz, Thomas. "My Madness Saved Me": The Madness and Marriage of Virginia Woolf. NewBrunswick, NJ : Transaction Publishers, 2006.

Literary themes

Blair, Emily. Virginia Woolf and the Nineteenth-century Domestic Novel. Albany: State University ofNew York Press, 2007. ISBN 0-7914-7119-5.Dalgarno, Emily. Virginia Woolf and the Visible World. Cambridge, New York: Cambridge UniversityPress, 2007. ISBN 0-521-03360-8.DeSalvo, Louise. Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work.Boston: Little, Brown, 1989.Goldman, Jane. The Feminist Aesthetics of Virginia Woolf. Cambridge, New York: CambridgeUniversity Press, 2001. ISBN 0-521-79458-7.Hussey, Mark. Virginia Woolf and War. Syracuse: Syracuse University Press, 1991. ISBN 0-8156-2537-5.Miller, C. Ruth. Virginia Woolf: The Frames of Art and Life. New York: St. Martin's Press, 1988.ISBN 0-333-44880-4.Paul, Janis M. The Victorian Heritage of Virginia Woolf: The External World in Her Novels. NewYork : St. Martin's Press, 1988. ISBN 0-937664-73-1.Transue, Pamela J. Virginia Woolf and the Politics of Style. Albany: State University of New YorkPress, 1986. ISBN 0-88706-286-5.

Other

Bishop, Edward. A Virginia Woolf Chronology. Boston: G. K. Hall, 1989.Hall, Sarah M.. The Bedside, Bathtub and Armchair Companion to Virginia Woolf and Bloomsbury.London, New York: Continuum, ©2007.Sellers, Susan. Vanessa & Virginia. Boston: Houghton Mifflin Harcourt, 2009.

External linksArchival material relating to Virginia Woolf

(https://apps.nationalarchives.gov.uk/nra/searches/subjectView.asp?ID=P31199) listed at the UKNational Archives

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Page 14 of 14https://en.wikipedia.org/wiki/Virginia_Woolf

Biography of Virginia Woolf on the Yale Modernism Lab(http://modernism.research.yale.edu/wiki/index.php/Virginia_Woolf)Works by Virginia Woolf (http://www.gutenberg.org/author/Woolf,+Virginia) at Project GutenbergWorks by or about Virginia Woolf (https://archive.org/search.php?query=%28subject%3A%22Woolf%2C%20Virginia%22%20OR%20subject%3A%22Virginia%20Woolf%22%20OR%20creator%3A%22Woolf%2C%20Virginia%22%20OR%20creator%3A%22Virginia%20Woolf%22%20OR%20creator%3A%22Woolf%2C%20V%2E%22%20OR%20title%3A%22Virginia%20Woolf%22%20OR%20description%3A%22Woolf%2C%20Virginia%22%20OR%20description%3A%22Virginia%20Woolf%22%29%20OR%20%28%221882-1941%22%20AND%20Woolf%29) at Internet ArchiveWorks by Virginia Woolf (http://librivox.org/author/843) at LibriVox (public domain audiobooks) Rare recordings of Virginia Woolf, Conan Doyle, and others (http://news.bbc.co.uk/2/hi/7684201.stm)Monk's House information at the National Trust (http://www.nationaltrust.org.uk/main/w-vh/w-visits/w-findaplace/w-monkshouse/)The Virginia Woolf Collection at the Victoria University Library Special Collections(http://library.vicu.utoronto.ca/special/woolf/wlfindex.htm)Virginia Woolf collection of papers, 1882-1984 (bulk 1912-1940) (http://archives.nypl.org/brg/19159),held by the Henry W. and Albert A. Berg Collection of English and American Literature, New YorkPublic LibraryThe Legacy, full text and audio file (http://cle.ens-lyon.fr/47784005/0/fiche___pagelibre/&RH=CLE_ANG110100)The Searchlight, full text and audio file (http://cle.ens-lyon.fr/44663661/0/fiche___pagelibre/&RH=CLE_ANG110100)

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