Anne Fernald Virginia Woolf Essays

Notes on Contributors viii

Acknowledgments xiii

Introduction 1

Part I Textual Encounters 11

1 The Lives of Houses: Woolf and Biography 13
Alison Booth

2 The Short Fiction 27
Laura Marcus

3 Silence and Cries: The Exotic Soundscape of The Voyage Out 41
Emma Sutton

4 The Transitory Space of Night and Day 55
Elizabeth Outka

5 Jacob's Room: Occasions of War, Representations of History 67
Vincent Sherry

6 Mrs. Dalloway: Of Clocks and Clouds 79
Paul K. Saint-Amour

7 A Passage to the Lighthouse 95
Maud Ellmann

8 Orlando's Queer Animals 109
Derek Ryan

9 Global Objects in The Waves 121
Jane Garrity

10 The Years and Contradictory Time 137
Anna Snaith

11 Between the Acts: Novels and Other Mass Media 151
Marina MacKay

12 Flush: A Biography: Speaking, Reading, andWriting with the Companion Species 163
Jane Goldman

13 Woolf's Essays, Diaries, and Letters 177
Anne E. Fernald

14 A Room of One's Own in the World: The Pre-life and After-life of Shakespeare's Sister 189
Susan Stanford Friedman

15 Three Guineas and the Politics of Interruption 203
Jessica Berman

Part II ApproachingWoolf 217

16 VirginiaWoolf and the Politics of Class 219
Jean Mills

17 Woolf and the Law 235
Ravit Reichman

18 Woolf and the Natural Sciences 249
Christina Alt

19 DigitalWoolf 263
Mark Hussey

20 Woolf and Crip Theory 277
Madelyn Detloff

21 Woolf and the Visual 291
Maggie Humm

22 FeministWoolf 305
Pamela L. Caughie

23 EcocriticalWoolf 319
Bonnie Kime Scott

24 Woolf,War, Violence, History, and …Peace 333
Sarah Cole

25 QueerWoolf 347
Melanie Micir

Part III Woolf in theWorld 359

26 Woolf, Bloomsbury, and Intimacy 361
Jesse Wolfe

27 Woolf, the Hogarth Press, and Global Print Culture 377
Claire Battershill and Helen Southworth

28 Woolf's Urban Rhythms 397
Tamar Katz

29 Woolf and Geography 411
Andrew Thacker

30 Woolf's Spatial Aesthetics and Postcolonial Critique 427
Nels Pearson

31 Woolf in Translation 441
Genevieve Brassard

32 ReadingWoolf in India 453
Supriya Chaudhuri

33 Woolf in Hispanic Countries: Buenos Aires and Madrid 467
Laura Ma Lojo-Rodriguez

Index 481

This week a member of the VWoolf Listserv asked for resources she could peruse regarding Virginia Woolf and Marcel Proust. As usual, list participants came quickly to the rescue. Here are some of the resources they shared:

From Anne Fernald:

“There is a lovely scene in the closing pages of the first section of vol. 1 of Proust of watching Japanese paper flowers unfold in water. It’s a scene that I think Woolf drew on, more than the madeleine–especially, say in Peter Walsh’s memories of Sally’s flowers at Bourton.

“More generally, Proust shared Woolf’s fascination with parties. Like Woolf, he was a serious, contemplative writer who took seriously the kinds of social foibles that might unfold at a party like the one Clarissa Dalloway gives. Knowing that Woolf read Proust while writing Dalloway is helpful: I imagine that his example fortified her sense that the topic, flimsy in the wrong hands, had possibilities for greatness.

“Woolf’s diaries, Hermione Lee, Sallye Greene, and Nicola Luckhurst might all be places to comb for more.”

Articles and books shared by several list members:

  • Pericles Lewis. “Proust, Woolf, and Modern Fiction.” Romanic Review. 99:1
  • Cheryl Mares, “‘The Burning Ground of the Present: Woolf and Her Contemporaries.”  Virginia Woolf and the Essay. Eds. Beth Rosenberg and Jeanne Dubino. NY: St. Martin’s Press, 1997. 117-36.
  • “Reading Proust: Woolf and the Painter’s Perspective.” The Multiple Muses of Virginia Woolf. Ed. Diane Gillespie. University of Missouri Press, 1993. 58-89.
  • “Woolf’s Reading of Proust.” Reading Proust Now. Eds. Mary Ann Caws and Eugene Nicole. Peter Lang, 1990.
  •  J. Hillis Miller writes of Proust and the party in Mrs. Dalloway in Fiction and Repetition.
  • Emily Delgarno has a chapter on “Proust and the Fictions of the Unconscious” in her Virginia Woolf and the Migrations of Language

And quotes from Woolf on Proust shared by two on the list:

Last night I started on Vol 2 [Jeunes Filles en Fleurs] of him (the novel) and propose to sink myself in it all day. [. . . ] But Proust so titillates my own desire for expression that I can hardly set out the sentence. Oh if I could write like that! I cry. And at the moment such is the astonishing vibration and saturation and intensification that he procures?theres something sexual in it?that I feel I can write like that, and seize my pen and then I can’t write like that. Scarcely anyone so stimulates the nerves of language in me: it becomes an obsession. But I must return to Swann” – Letter to Roger Fry, 6 May 1922 (Letters II 525)

My great adventure is really Proust. Well–what remains to be written after that? I’m only in the first volume, and there are, I suppose, faults to be found, but I am in a state of amazement; as if a miracle were being done before my eyes. How, at last, has someone solidified what has always escaped–and made it too into this beautiful and perfectly enduring substance?  One has to put the book down and gasp. The pleasure becomes physical–like sun and wine and grapes and perfect serenity and intense vitality combined. Far otherwise is it with Ulysses. – Letter to Roger Fry, 3 October 1922 (Letters II 565-6)

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