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Virginia Woolf
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This article is about the British modernist author. For the American children's author, see Virginia Euwer Wolff. For the British rock band, see Virginia Wolf. For the cartoon character, see List of Rocko's Modern Life characters.
Virginia Woolf
Virginia Woolf 1902; photograph by George Charles Beresford
Born
Adeline Virginia Stephen
(1882-01-25)25 January 1882
Kensington, London
Died
28 March 1941(1941-03-28) (aged 59)
Lewes, Sussex, England
Cause of death
Drowning by suicide
Residence
Monk's House, Rodmell, East Sussex
Nationality
British
Alma mater
King's College London[1]
Occupation
Novelist, essayist, publisher, critic
Spouse(s)
Leonard Woolf (m. 1912–1941)
Parent(s)
Leslie Stephen 1832−1904
Julia Stephen 1846–1895
Relatives
List[show]
George Herbert Duckworth (stepbrother)
Stella Duckworth (stepsister)
Gerald Duckworth (stepbrother)
Vanessa Stephen (sister)
Thoby Stephen (brother)
Adrian Stephen (brother)
Woolf's voice
from a BBC radio broadcast made on 29 April 1937
Signature
Adeline Virginia Woolf (/wʊlf/;[2] née Stephen; 25 January 1882 – 28 March 1941) was an English writer, who is considered one of the foremost modernist authors of the 20th century and a pioneer in the use of stream of consciousness as a narrative device.
She was born in an affluent household in Kensington, London, attended the Ladies' Department of King's College and was acquainted with the early reformers of women's higher education. Having been home-schooled for the most part of her childhood, mostly in English classics and Victorian literature, Woolf began writing professionally in 1900. During the interwar period, Woolf was a significant figure in London literary society and a central figure in the influential Bloomsbury Group of intellectuals. She published her first novel titled The Voyage Out in 1915, through her half-brother’s publishing house, Gerald Duckworth and Company. Her best-known 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 dictum, "A woman must have money and a room of her own if she is to write fiction."
Woolf became one of the central subjects of the 1970s movement of feminist criticism, and her works have since garnered much attention and widespread commentary for "inspiring feminism", an aspect of her writing that was unheralded earlier. Her works are widely read all over the world and have been translated into more than fifty languages. She suffered from severe bouts of mental illness throughout her life and took her own life by drowning in 1941 at the age of 59.
Contents
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1 Life
1.1 Family of origin
1.2 22 Hyde Park Gate (1882–1904)
1.2.1 1882–1895
1.2.2 Talland House (1882–1894)
1.2.3 1895–1904
1.2.4 Education
1.3 Bloomsbury
1.3.1 Gordon Square (1904–1907)
1.3.2 Fitzroy Square (1907–1911), Brunswick Square (1911–1912) and beyond
1.4 Mental health
1.5 Death
2 Work
2.1 Influences on Woolf
2.2 List of selected publications
3 Views
4 Modern scholarship and interpretations
4.1 Historical feminism
5 In popular culture
6 Legacy
6.1 Monuments and memorials
7 Family trees
8 Notes
9 References
10 Bibliography
10.1 Books and theses
10.1.1 Biography: Virginia Woolf & Bloomsbury
10.1.2 Biography: Other
10.1.3 Literary commentary
10.2 Chapters and contributions
10.3 Articles
10.4 Websites
10.5 Images
10.6 Other
11 External links
Life
Family of origin
See also: Julia Stephen
Parents
Leslie Stephen 1860
Julia Stephen 1867
Childhood homes
22 Hyde Park Gate, 2015[a]
Talland House, St. Ives, c. 1882–1895
Virginia Woolf was born Adeline Virginia Stephen on January 25, 1882 at 22 Hyde Park Gate in Kensington, London[4] to Julia (née Jackson) (1846–1895) and Leslie Stephen (1832–1904).[4] Julia Jackson was born in 1846 in Calcutta, Bengal, British India to Dr John and Maria (Mia) Pattle Jackson, from two Anglo-Indian families.[5] Dr Jackson FRCS was the third son of George Jackson and Mary Howard of Bengal, a physician who spent 25 years with the Bengal Medical Service and East India Company and a professor at the fledgling Calcutta Medical College. While Dr Jackson was an almost invisible presence, the Pattle family (see Pattle family tree) were famous beauties, and moved in the upper circles of Bengali society.[6] The seven Pattle sisters all married into important families.[7] Julia Margaret Cameron was a celebrated photographer while Virginia married Earl Somers, and their daughter, Julia Jackson's cousin, was Lady Henry Somerset, the temperance leader. Julia moved to England with her mother at the age of two and spent much of her early life with another of her mother's sister, Sarah. Sarah and her husband Henry Thoby Prinsep, conducted an artistic and literary salon at Little Holland House where she came into contact with a number of Pre-Raphaelite painters such as Edward Burne-Jones, who she modelled for.[8] Julia was the youngest of three sisters and Adeline Virginia Stephen was named after her mother's oldest sister Adeline Maria (1837–1881)[9] and her mother's aunt Virginia (see Pattle family tree and Table of ancestors). The Jacksons were a well educated, literary and artistic proconsular middle-class family.[10][11] In 1867, Julia Jackson married Herbert Duckworth, a barrister,[12] but within three years was left a widow with three infant children.[13] She was devastated and entered a prolonged period of mourning, abandoning her faith and turning to nursing and philanthropy. Julia and Herbert Duckworth had three children;[14]
George (March 5, 1868 – 1934), a senior civil servant, married Lady Margaret Herbert 1904
Stella (May 30, 1869 – 1897), died aged 28[b]
Gerald (October 29, 1870 – 1937), founder of Duckworth Publishing, married Cecil Alice Scott-Chad 1921
Leslie Stephen was born in 1832 in Kensington to Sir James and Lady Jane Catherine Stephen (née Venn), daughter of John Venn, rector of Clapham. The Venns were the centre of the evangelical Clapham sect. Sir James Stephen was the under secretary at the Colonial Office, and with another Clapham member, William Wilberforce, was responsible for the passage of the Slavery Abolition Bill in 1833.[4][16] As a family of educators, lawyers and writers the Stephens represented the elite intellectual aristocracy. While his family were distinguished and intellectual, they were less colourful and aristocratic than Julia Jackson's. A graduate and fellow of Cambridge University he renounced his faith and position to move to London where he became a notable man of letters.[17] In the same year as Julia Jackson's marriage, he wed Harriet Marian (Minny) Thackeray (1840–1875), youngest daughter of William Makepeace Thackeray, who bore him a daughter, Laura (1870–1945),[c][19] but died in childbirth in 1875. Laura turned out to be developmentally handicapped. and was eventually institutionalised.[20][21]
The widowed Julia Duckworth knew Leslie Stephen through her friendship with Minny's older sister Anne (Anny) Isabella Ritchie and had developed an interest in his agnostic writings. She was present the night Minny died[22] and added Lesley Stephen to her list of people needing care, and helped him move next door to her on Hyde Park Gate so Laura could have some companionship with her own children.[23][24][3] Both were preoccupied with mourning and although they developed a close friendship and intense correspondence, agreed it would go no further.[d][25][26] Lesley Stephen proposed to her in 1877, an offer she declined, but when Anny married later that year she accepted him and they were married on March 26, 1878. He and Laura then moved next door into Julia's house, where they lived till his death in 1904. Julia was 32 and Leslie was 46.[21][27]
Their first child, Vanessa, was born on May 30, 1879. Julia, having presented her husband with a child, and now having five children to care for, had decided to limit her family to this.[28] However, despite the fact that the couple took "precautions",[28] the "imperfect art of contraception in the nineteenth century"[29] resulted in the birth of three more children over the next four years.[e][30][10][31]
22 Hyde Park Gate (1882–1904)
1882–1895
Julia Stephen and Virginia 1884
Virginia provides insight into her early life in her autobiographical essays, including Reminiscences (1908),[32] 22 Hyde Park Gate (1921)[33] and A Sketch of the Past (1940).[34] She also alludes to her childhood in her fictional writing. In To The Lighthouse (1927)[35] Her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there.[36][25][37] However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure of her mother becomes more nuanced and filled in.[38] In 1891, Vanessa and Virginia Stephen began the Hyde Park Gate News,[39] chronicling life and events within the Stephen family,[40][31] while the following year the Stephen sisters also used photography to supplement their insights, as did Stella Duckworth.[41] Vanessa Bell's 1892 portrait of her sister and parents in the Library at Talland House (see image) was one of the family's favourites, and was written about lovingly in Leslie Stephen's memoir.[42]
Virginia was born into a literate and well-connected household of six children, with two half brothers and a half sister (the Duckworths, from her mother's first marriage), another half sister, Laura (from her father's first marriage, and an older sister, Vanessa and brother Thoby. The folllowing year, another brother Adrian would follow. The handicapped Laura Stephen lived with the family until she was institutionalised in 1891.[43] Julia and Leslie had four children together:[14]
Vanessa "Nessa" (May 30, 1879 – 1961), married Clive Bell
Thoby (September 9, 1880 – 1906), founded Bloomsbury Group
Virginia "Jinny", "Ginia" (January 25, 1882 – 1941), married Leonard Woolf
Adrian (October 27, 1883 – 1948), married Karin Costelloe
Virginia was born at 22 Hyde Park Gate and lived there till her father's death in 1904. Number 22 Hyde Park Gate, Kensington, lay at the south east end of Hyde Park Gate, a cul-de-sac running south from Kensington Road, just west of the Royal Albert Hall, and opposite Hyde Park,[44] where the family regularly took their walks (see Map). Built in the early nineteenth century as one of a row of single family townhouses for the upper middle class, it soon became too small for their expanding family. At the time of their marriage, it consisted of a basement, two stories and an attic. In 1886 substantial renovations added a new top floor, converted the attic into rooms, and added the first bathroom.[f] It was a tall but narrow townhouse, that at that time had no running water. The servants worked "downstairs" in the basement. The ground floor had a drawing room, separated by a curtain from the servant's pantry and a library. Above this on the first floor were Julia and Leslie's bedrooms. On the next floor were the Duckworth children's rooms, and above them the day and night nurseries of the Stephen children occupied two further floors.[46] Finally in the attic, under the eaves, were the servant's bedrooms, accessed by a back staircase.[19][34][3] The house was described as dimly lit and crowded with furniture and paintings.[47] Within it the younger Stephens formed a close-knit group. Life in London differed sharply from that in Cornwall, their outdoor activities consisting mainly of walks in nearby Hyde Park, and their daily activities around their lessons.[4]
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 among the visitors to the house. Julia Stephen was equally well connected. Her aunt was a pioneering early photographer Julia Margaret Cameron who was also a visitor to the Stephen household. The two Stephen sisters, Vanessa and Virginia, were almost three years apart in age, and exhibited some sibling rivalry. Virginia christened her older sister "the saint" and was far more inclined to exhibit her cleverness than her more reserved sister. Virginia resented the domesticity Victorian tradition forced on them, far more than her sister. They also competed for Thoby's affections.[48] Virginia would later confess her ambivalence over this rivalry to Duncan Grant in 1917. "indeed one of the concealed worms of my life has been a sister's jealousy — of a sister I mean; and to feed this I have invented such a myth about her that I scarce know one from t'other".[49]
Virginia showed an early affinity for writing. Although both parents disapproved of formal education for females, writing was considered a respectable profession for women, and her father encouraged her in this respect. Later she would describe this as "ever since I was a little creature, scribbling a story in the manner of Hawthorne on the green plush sofa in the drawing room at St. Ives while the grown-ups dined". By the age of five she was writing letters and could tell her father a story every night. Later she, Vanessa and Adrian would develop the tradition of inventing a serial about their next-door neighbours, every night in the nursery, or in the case of St. Ives, of spirits that resided in the garden. It was her fascination with books that formed the strongest bond between her and her father.[4]
Talland House (1882–1894)
Julia, Leslie and Virginia, Talland House 1892
Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a house in St. Ives, Cornwall, and took out a lease on it that September.[50] Although it had limited amenities[g], its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse,[4] which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927).[35] It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea.[4] Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House[4][51][h] as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise",[52] described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called ‘orchard’ beyond".[53] It was in Leslie's words, a place of "intense domestic happiness".[54]
In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy.[10] As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker".[55] While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London.[51][52][i] Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles.[34] Frequent guests included literary figures such as Henry James and George Meredith,[55] as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House.[47] The family did not return, following Julia Stephen's death in May 1895.[52]
For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of March 22, 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One’s past, I suppose; I see children running in the garden … The sound of the sea at night … almost forty years of life, all built on that, permeated by that: so much I could never explain".[4][56] Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922),[57] To the Lighthouse (1927),[57] and The Waves (1931).[58][59]
1895–1904
Julia Stephen fell ill with influenza in February 1895, and never properly recovered, dying on May 5,[60] when Virginia was only 13. This was a pivotal moment in her life and the beginning of her struggles with mental illness.[4] The Duckworths were travelling abroad at the time of their mother's death, and Stella returned immediately to take charge and assume her role. That summer, rather than return to the memories of St Ives, the Stephens went to Freshwater, Isle of Wight, where a number of their mother's family lived. It was there that Virginia had the first of her many nervous breakdowns, and Vanessa was forced to assume some of her mother's role in caring for Virginia's mental state.[60] Stella became engaged to Jack Hills the following year and they were married on April 10, 1897, making Virginia even more dependent on her older sister. The death of Stella Duckworth, her pregnant surrogate mother, on July 19 1897, after a long illness,[61] was a further blow to Virginia's sense of self, and the family dynamics.[62] In April 1902 their father became ill, and although he underwent surgery later that year he never fully recovered, dying on February, 22, 1904.[63] Virginia's father's death precipitated a further breakdown.[64] Later, Virginia would describe this time as one in which she was dealt successive blows as a "broken chrysalis" with wings still creased.[4]
Education
Education
Virginia (3rd from left) with her mother and the Stephen children at their lessons, Talland House c. 1894
13 Kensington Square, former home of the Ladies' Department, King's College
In the late nineteenth century, education was sharply divided along gender lines, a tradition that Virginia would note and condemn in her writing.. Boys were sent to school, and in upper middle class families such as the Stephens, this involved private boys schools, often boarding schools, and university.[65][66][67][j] Girls, if they were afforded the luxury of education, received it from their parents, governesses and tutors.[69] Virginia was educated by her parents who shared the duty. There was a small classroom off the back of the drawing room, with its many windows, which they found perfect for quiet writing and painting. Julia taught the children Latin, French and History, while Leslie taught them mathematics. They also received piano lessons.[70] Supplementing their lessons was the children's unrestricted access to Leslie Stephen's large library. After Public School, the boys in the family all attended Cambridge University. The girls derived some indirect benefit from this, as the boys introduced them to their friends.[71]
Later, between the ages of 15 and 19 she was able to pursue higher education. She took courses of study, some at degree level, in beginning and advanced Ancient Greek, intermediate Latin and German, together with continental and English history at the Ladies' Department of King's College London at nearby 13 Kensington Square between 1897 and 1901.[k] She studied Greek under the eminent scholar George Charles Winter Warr, professor of Classical Literature at King's.[73] In addition she had private tutoring in German, Greek and Latin. One of her Greek tutors was Clara Pater (1899–1900), who taught at King's.[1][72][74] Another was Janet Case, who involved her in the women's rights movement, and whose obituary Virginia would later write in 1937. Her experiences there led to her 1925 essay On Not Knowing Greek.[75] Her time at King's also brought her into contact with some of the early reformers of women's higher education such as the principal of the Ladies' Department, Lilian Faithfull (one of the so-called Steamboat ladies), in addition to Pater.[76] Her sister Vanessa also enrolled at the Ladies' Department (1899–1901).
Bloomsbury
The Dreadnought hoaxers in Abyssinian regalia; Virginia Woolf is the bearded figure on the far left.
Gordon Square (1904–1907)
46 Gordon Square
A portrait of Woolf by Roger Fry c. 1917
After the death of their father in 1904 and Virginia's second nervous breakdown, Vanessa and Adrian sold 22 Hyde Park Gate in respectable Kensington and bought a house at 46 Gordon Square in bohemian Bloomsbury. Woolf came to know Lytton Strachey, Clive Bell, Rupert Brooke, E. M. Forster, Saxon Sydney-Turner, Duncan Grant, Leonard Woolf, John Maynard Keynes, David Garnett, and Roger Fry, who together formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. While at Gordon Square, Virginia suffered a further loss with the death of her cherished brother Thoby in 1906, when he was only 26.[77]
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 Woolf's development as an author.[78] With Vanessa's marriage, Virginia and Adrian set up house at 29 Fitzroy Square.
Fitzroy Square (1907–1911), Brunswick Square (1911–1912) and beyond
Vanessa's first child, Julian was born in 1908, and it was then that Virginia's rivalry with her sister resurfaced, flirting with Clive, which he reciprocated, and which lasted on and off from 1908 to 1914, by which time her sister's marriage was breaking down.[79]
Virginia and Leonard Woolf, 1912
In 1911 Virginia and Adrian moved to 38 Brunswick Square, where they were joined by the writer, Leonard Woolf in December. In May 1912 Virginia agreed to marry Woolf, and the marriage took place on August 10.[80] 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.[81] The Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell. Woolf believed that to break free of a patriarchal society that women writers needed a "room of their own" to develop and often fantasised about an "Outsider's Society" where women writers would create a virtual private space for themselves via their writings to develop a feminist critique of society.[82] Though Woolf never created the "Outsider's society", the Hogarth Press was the closest approximation as the Woolfs chose to publish books by writers that took unconventional points of view to form a reading community.[82] Until 1930, Woolf often helped her husband print the Hogarth books as the money for employees was not there.[82] Both the Woolfs were internationalists and pacifists who believed that promoting understanding between peoples was the best way to avoid another world war and chose quite consciously to publish works by foreign authors of whom the British reading public were unaware.[82] The first non-British author to be published was the Soviet writer Maxim Gorky, the book Reminiscences of Leo Nikolaiovich Tolstoy in 1920, dealing with his friendship with Count Leo Tolstoy.
17 The Green Richmond, 2017
The Round House, Lewes, 2017
The Woolfs continued to live at Brunswick Square till October 1912, when they moved to 13 Clifford’s Inn. In October 1914, Leonard and Virginia Woolf lived at 17 The Green, Richmond; Leonard talks about it in his autobiography Beginning Again (1964). In early March 1915, the couple moved to nearby Hogarth House, Paradise Road.[83] In 1919, the Woolfs purchased the Round House in Pipe Passage, Lewes. The same year they discovered Monk’s House in nearby Rodmell, which both she and Leonard favoured because of its orchard and garden. They then bought Monk’s House and sold the Round House.[84] Between 1924 and 1939 the Wolfs lived at 52 Tavistock Square,[l] from where they ran the Hogarth Press from the basement, where Virginia also had her writing room, and is commemorated with her bust (see illustration).[86]
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. At the time, Sackville-West was the more successful writer both commercially and critically, and it was not until after Woolf's death that she became considered the better writer.[87] After a tentative start, they began a sexual relationship, which, according to Sackville-West in a letter to her husband dated 17 August 1926, was only twice consummated.[88] However, Virginia's intimacy with Vita seems to have continued into the early 1930s.[89] Woolf was also inclined to brag of her affairs with other women within her intimate circle, such as Sibyl Colefax and Comtesse de Polignac.[90]
Sackville-West worked tirelessly to lift up Woolf's self-esteem, encouraging her not to view herself as a quasi-reclusive inclined to sickness who should hide herself away from the world, but rather offered praise for her liveliness and sense of wit, her health, her intelligence and achievements as a writer.[91] Sackville-West led Woolf to reappraise herself, developing a more positive self-image, and the feeling that her writings were the products of her strengths rather than her weakness.[91] Starting at the age of 15, Woolf had believed the diagnosis by her father and his doctor that reading and writing were deleterious to her nervous condition, requiring a regime of physical labour such as gardening to prevent a total nervous collapse. This led Woolf to spend much time obsessively engaging in such physical labour.[91] Sackville-West was the first to argue to Woolf she had been misdiagnosed, and that it was far better to engage in reading and writing to calm her nerves—advice that was taken.[91] Under the influence of Sackville-West, Woolf learned to deal with her nervous ailments by switching between various forms of intellectual activities such as reading, writing and book reviews, instead of spending her time in physical activities that sapped her strength and worsened her nerves.[91] Sackville-West chose the financially struggling Hogarth Press as her publisher in order to assist the Woolfs financially. Seducers in Ecuador, the first of the novels by Sackville-West published by Hogarth, was not a success, selling only 1500 copies in its first year, but the next Sackville-West novel they published, The Edwardians, was a bestseller that sold 30,000 copies in its first six months.[91] Sackville-West's novels, though not typical of the Hogarth Press, saved Hogarth, taking them from the red into the black.[91] However, Woolf was not always appreciative of the fact that it was Sackville-West's books that kept the Hogarth Press profitable, writing dismissively in 1933 of her "servant girl" novels.[91] The financial security allowed by the good sales of Sackville-West's novels in turn allowed Woolf to engage in more experimental work, such as The Waves, as Woolf had to be cautious when she depended upon Hogarth entirely for her income.[91]
In 1928, Woolf presented Sackville-West with Orlando,[92] a fantastical biography in which the eponymous hero's life spans three centuries and both sexes. 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."[93] 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 typhoid fever at the age of 26.[94]
Mental health
Much examination has been made of Woolf's mental health (e.g. see Mental health bibliography). Throughout her life, Woolf suffered by periodic mood swings and associated illnesses, which the family referred to as her "madness".[95] She spent three short periods in 1910, 1912 and 1913 at Burley House, 15 Cambridge Park, Twickenham, described as "a private nursing home for women with nervous disorder".[96] The death of her father in 1904 provoked her most alarming collapse and she was briefly institutionalised[43] under the care of her father's friend, the eminent psychiatrist George Savage. Savage blamed her education, frowned on by many at the time as unsuitable for women,[69] for her illness.[64][97] She spent time recovering at her friend Violet Dickinson's house, and at her aunt Caroline's house in Cambridge.[98] Modern scholars, including her nephew and biographer, Quentin Bell, have suggested[99] her breakdowns and subsequent recurring depressive periods were also influenced by the sexual abuse to which she and her sister Vanessa were subjected 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). Though this instability often affected her social life, her literary productivity continued with few breaks throughout her life.
Her mental health, described as "manic-depressive illness" in Thomas 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 people rationalise that creativity is somehow born of mental illness.[100] In a book by Stephen Trombley, Woolf is 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 mental illness.[101][102] Woolf's fiction is also studied for its insight into shell shock, war, witchcraft,[103] class and modern British society.[citation needed]
Death
After completing the manuscript of her last novel (posthumously published), 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.[104] When Leonard enlisted in the Home Guard, Virginia disapproved. She held fast to her pacifism and criticized her husband for wearing what she considered to be the silly uniform of the Home Guard.[105] After World War II began, Woolf's diary indicates that she was obsessed with death, which figured more and more as her mood darkened.[106] On 28 March 1941, Woolf drowned herself by filling her overcoat pockets with stones and walking into the River Ouse near her home.[107] Her body was not found until 18 April.[108] Her husband buried her cremated remains beneath an elm tree in the garden of Monk's House, their home in Rodmell, Sussex.[109]
In her suicide note, addressed to her husband, she wrote:
Virginia Woolf's suicide letter to her husband
Dearest, 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 till this terrible disease came. I can't fight it 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.[110][111]
Work
Lytton Strachey and Woolf at Garsington, 1923[104]
Woolf is a major novelist and one of the pioneers among modernist writers using stream of consciousness as a narrative device, alongside her contemporaries Marcel Proust, Dorothy Richardson and James Joyce.[112] Woolf's reputation declined sharply after World War II, but her importance was re-established with the growth of feminist criticism in the 1970s.[113]
She began writing professionally in 1900. The first of her writings to be accepted for publication, "Haworth, November 1904", a journalistic account of a visit to the Brontë family home at Haworth, was published anonymously in a women's supplement to a clerical journal, The Guardian in December 1904.[4] From 1905 she wrote for The Times Literary Supplement.[114]
Her first novel, The Voyage Out,[115] was published in 1915 at the age of 33, by her half-brother's imprint, Gerald Duckworth and Company Ltd. This novel was originally titled 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.[116] The novel is set on a ship bound for South America, and a group of young Edwardians onboard and their various mismatched yearnings and misunderstandings. In the novel are hints of themes that would emerge in later work, including the gap between preceding thought and the spoken word that follows, and the lack of concordance between expression and underlying intention, together with how these reveal to us aspects of the nature of love.[117]
Woolf would go on to publish novels and essays as a public intellectual to both critical and popular acclaim. Much of her work was self-published through the Hogarth Press.
"Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: she 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".[118]
"The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings"—often wartime environments—"of most of her novels".[118] "For example, Mrs Dalloway (1925)[119] 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",[118]
"To the Lighthouse (1927)[35] is set on two days ten years apart. The plot centres on 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."[118] It also explores the passage of time, and how women are forced by society to allow men to take emotional strength from them.[120]
Orlando (1928)[92] is one of Virginia Woolf's lightest novels. A parodic biography of a young nobleman who lives for three centuries without ageing much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of Woolf's lover Vita Sackville-West. It was meant to console Vita for the loss of her ancestral home, Knole House, 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.[121]
External video
Rare recording of Virginia Woolf, 1937, speaking about the craftsmanship of words on BBC Radio
"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-centred novel".[118]
Flush: A Biography (1933) is a part-fiction, part-biography of the cocker spaniel owned by Victorian poet Elizabeth Barrett Browning. The book is written from the dog's point of view. Woolf was inspired to write this book from the success of the Rudolf Besier play The Barretts of Wimpole Street. In the play, Flush is on stage for much of the action. The play was produced for the first time in 1932 by the actress Katharine Cornell.
"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."[118] This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse.[122] While Woolf's work can be understood as consistently in dialogue with the Bloomsbury group, particularly its tendency (informed by G. E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals.[16]
Woolf's works have been translated into over 50 languages by writers such as Jorge Luis Borges and Marguerite Yourcenar.[citation needed]
Influences on Woolf
Shelf of Shakespeare plays hand-bound by Virginia Woolf in her bedroom at Monk's House[m]
A major influence on Woolf from 1912 onward was Russian literature as Woolf adopted the aesthetic conventions of Russian literature.[124] The style of Fyodor Dostoyevsky with his depiction of a fluid mind in operation helped to influence Woolf's writings about a "discontinuous writing process", though Woolf objected to Dostoyevsky's obsession with "psychological extremity" and the "tumultuous flux of emotions" in his characters together with his right-wing, monarchist politics as Dostoyevsky was an ardent supporter of the autocracy of the Russian Empire.[124] In contrast to her objections to Dostoyevsky's "exaggerated emotional pitch", Woolf found much to admire in the work of Anton Chekhov and Leo Tolstoy.[124] Woolf admired Chekhov for his stories of ordinary people living their lives, doing banal things and plots that had no neat endings.[124] From Tolstoy, Woolf drew lessons about how a novelist should depict a character's psychological state and the interior tension within.[124] From Ivan Turgenev, Woolf drew the lessons that there are multiple "I's" when writing a novel, and the novelist needed to balance those multiple versions of him- or herself to balance the "mundane facts" of a story vs. the writer's overreaching vision, which required a "total passion" for art.[124]
Another influence on Woolf was the American writer Henry David Thoreau, with Woolf writing in a 1917 essay that her aim as a writer was to follow Thoreau by capturing "the moment, to burn always with this hard, gem-like flame" while praising Thoreau for his statement "The millions are awake enough for physical labor, but only one in hundreds of millions is awake enough to a poetic or divine life. To be awake is to be alive".[125] Woolf praised Thoreau for his "simplicity" in finding "a way for settling free the delicate and complicated machinery of the soul".[125] Like Thoreau, Woolf believed that it was silence that set the mind free to really contemplate and understand the world.[125] Both authors believed in a certain transcendental, mystical approach to life and writing, where even banal things could be capable of generating deep emotions if one had enough silence and the presence of mind to appreciate them.[125] Woolf and Thoreau were both concerned with the difficulty of human relationships in the modern age.[125]
Other notable influences include William Shakespeare, George Eliot, Leo Tolstoy, Marcel Proust, Anton Chekhov, Emily Brontë, Daniel Defoe, James Joyce, and E. M. Forster.
List of selected publications
Main article: Bibliography of Virginia Woolf
see Kirkpatrick & Clarke (1997)
Novels
Woolf, Virginia (2017) [1915]. The voyage out. FV Éditions. ISBN 979-10-299-0459-2. see also The Voyage Out & Complete text
— (2015) [1922]. Jacob's Room. Mondial. ISBN 978-1-59569-114-9. see also Jacob's Room & Complete text
— (2012) [1925]. Mrs. Dalloway. Broadview Press. ISBN 978-1-55111-723-2. see also Mrs Dalloway & Complete text
— (2004) [1927]. To the Lighthouse. Collector's Library. ISBN 978-1-904633-49-5. see also To the Lighthouse & Complete text, also Texts at Woolf Online
Woolf, Virginia (2006) [1928]. DiBattista, Maria, ed. Orlando (Annotated): A Biography. HMH. ISBN 978-0-547-54316-1. see also Orlando: A Biography & Complete text
— (2000) [1931]. The Waves. Wordsworth Editions. ISBN 978-1-84022-410-8. see also The Waves & Complete text
— (2014) [1941]. Between the Acts. Houghton Mifflin Harcourt. ISBN 978-0-544-45178-0. see also Between the Acts & Complete text
Short stories
Kew Gardens (short story) (1919)
Monday or Tuesday (1921)
Woolf, Virginia (2016) [1944]. The Short Stories of Virginia Woolf. Read Books Limited. ISBN 978-1-4733-6304-5. see also A Haunted House and Other Short Stories
Mrs Dalloway's Party (1973)
Carlyle's House and Other Sketches (2003)
Cross-genre
Flush: A Biography (1933) – Fictional "stream of consciousness" tale by Flush, a dog, but non-fiction in the sense of telling the story of the owner of the dog, Elizabeth Barrett Browning
Non-fiction
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)
Three Guineas (1938)
Roger Fry: A Biography (1940)
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)
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 Great Sinner, from the notes of Fyodor Dostoevsky, translated in partnership with S. S. Koteliansky (1922)
Autobiographical writings and diaries
A Writer's Diary (1953) – Extracts from the complete diary
Woolf, Virginia (1985) [1976]. Schulkind, Jeanne, ed. Moments of being: unpublished autobiographical writings (2nd ed.). Harcourt Brace Jovanovich. ISBN 978-0-15-162034-0. (see Moments of Being)
Schulkind, Jeanne. Preface to the Second Edition. p. 6. , in Woolf (1985)
Schulkind, Jeanne. Introduction. pp. 11–24. , in Woolf (1985)
Reminiscences. 1908. pp. 25–60.
A Sketch of the Past. 1940. pp. 61–160. [n]
22 Hyde Park Gate. 1921. pp. 162–178.
A Moment's Liberty: the shorter diary (1990)
Woolf, Virginia (1977–1984). Bell, Anne Oliver, ed. The Diary of Virginia Woolf 5 vols. Houghton Mifflin.
Woolf, Virginia (1979). The Diary of Virginia Woolf Volume One 1915–1919. ISBN 978-0-544-31037-7.
Woolf, Virginia (1981). The Diary of Virginia Woolf Volume Two 1920–1924. ISBN 978-0-14-005283-1.
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)
Photograph albums
Woolf, Virginia (1983). "Virginia Woolf Monk's House photographs, ca. 1867-1967 (MS Thr 564)" (Guide). Harvard Theatre Collection, Houghton Library, Harvard Library. Retrieved 31 December 2017.
List of Album Guides
Album 1 (1863–1938)
Album 2 (1909–1922)
Album 3 (1890–1933)
Album 4 (1890–1947)
Album 5 (1892–1938)
Album 6 (1850–1900)
Collections
Woolf, Virginia (2013). Delphi Complete Works of Virginia Woolf (Illustrated). Delphi Classics. ISBN 978-1-908909-19-0.
"eBooks@Adelaide". Library of University of Adelaide. 22 September 2015. Retrieved 14 February 2018.
Woolf, Virginia (2009). Bradshaw, David, ed. Selected Essays. Oxford University Press. ISBN 978-0-19-955606-9.
The Complete Shorter Fiction (1985)
Collected Essays (six volumes)
Letters
Congenial Spirits: The Selected Letters (1993)
Paper Darts: The Illustrated Letters of Virginia Woolf (1991)
Woolf, Virginia (1975–1980). Nicolson, Nigel; Banks, Joanne Trautmann, eds. The Letters of Virginia Woolf 6 vols. New York: Harcourt Brace Jovanovich.
Woolf, Virginia (1982). The Letters of Virginia Woolf: 1932-1935. Harcourt Brace Jovanovich. ISBN 978-0-15-650886-5.
Views
Though happily married to a Jewish man, Woolf often wrote of Jewish characters in stereotypical archetypes and generalisations, including describing some of her Jewish characters as physically repulsive and dirty.[127] For example, while travelling on a cruise to Portugal she protests at finding "a great many Portuguese Jews on board, and other repulsive objects, but we keep clear of them".[128] Furthermore, she wrote in her diary: "I do not like the Jewish voice; I do not like the Jewish laugh." 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."[129]
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 toenail—more human love, in one hair."[130] Woolf claimed in her private letters that she thought of herself as an atheist.[131]
Woolf and her husband Leonard came to despise and fear the 1930s fascism and antisemitism. Her 1938 book Three Guineas was an indictment of fascism and what Woolf described as a recurring propensity among patriarchal societies to enforce repressive societal mores by violence.[132]
Modern scholarship and interpretations
External video
Presentation by Hermione Lee on her book Virginia Woolf, June 13, 1997, C-SPAN
Woolf's bust in Tavistock Square, London, by Stephen Tomlin, 2004
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. Hermione Lee's 1996 biography Virginia Woolf provides a thorough and authoritative examination of Woolf's life and work.[104] 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 on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. The sociologist Pierre Bourdieu also uses Woolf's literature to understand and analyse gender domination.
Historical feminism
"Recently, 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."[118]
In 1928, Virginia Woolf took a grassroots approach to informing and inspiring feminism. She addressed undergraduate women at the ODTAA Society at Girton College, Cambridge and the Arts Society at Newnham College with two papers that eventually became A Room of One’s Own. Woolf's best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties that female writers and intellectuals faced because men held disproportionate legal and economic power, as well as the future of women in education and society, as the societal effects of industrialization and birth control had not yet fully been realized.[citation needed] In The Second Sex (1949), Simone de Beauvoir counts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes" Katherine Mansfield— have explored "the given."[133]
In popular culture
Virginia Woolf 1882–1941. Stamp of Romania, 2007.
Who's Afraid of Virginia Woolf? is a 1962 play by Edward Albee. It examines the structure of the marriage of an American middle-aged academic couple, Martha and George. Mike Nichols directed a film version in 1966, starring Elizabeth Taylor and Richard Burton. Taylor won the 1966 Academy Award for Best Actress for the role.
' 'Me! I'm Afraid of Virginia Woolf, a 1978 TV play, references the title of the Edward Albee play and features an English literature teacher who has a poster of her. It was written by Alan Bennett and directed by Stephen Frears.
The artwork The Dinner Party (1979) features a place setting for Woolf.[134]
Michael 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.
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 Company.
Priya Parmar's 2014 novel Vanessa and Her Sister also examined the Stephen sisters' relationship during the early years of their association with what became known as the Bloomsbury Group.[135]
An exhibition on Virginia Woolf was held at the National Portrait Gallery from July to October 2014.[136]
Virginia is portrayed by both Lydia Leonard and Catherine McCormack in the BBC's three-part drama series Life in Squares (2015).[137]
On 25 January 2018, Google showed a doodle celebrating her 136th birthday.[138]
Legacy
Plaque honouring Virginia Woolf on the Virginia Woolf Building, King's College, London, Kingsway
A number of authors have sted that rheir work was influence by Virginia Woolf, including Margaret Atwood, Michael Cunningham,[o] Gabriel García Márquez,[p] and Toni Morrison.[q] Although she had no immediate descendants, a number of her extended family are notable.[142]
Monuments and memorials
In 2013 Woolf was honoured by her alma mater of King's College London with the opening of the Virginia Woolf Building on Kingsway, with a plaque commemorating her time there and her contributions (see image),[143][144] together with an this exhibit depicting her accompanied by a quotation "London itself perpetually attracts, stimulates, gives me a play & a story & a poem" from her 1926 diary.[145] Busts of Virginia Woolf have been erected at her home in Rodmell, Sussex and at Tavistock Square, London where she lived between 1924 and 1939.
Family trees
see Lee 1999, pp. xviii–xvix, Bell 1972, pp. x–xi, Bicknell 1996, p. xx,Venn 1904
[show]Ancestors of Virginia Woolf
16. James Stephen (1733–1779)[146]
8. James Stephen (1758–1832)[146]
17. Sibella Milner (died 1775)[146]
4. Sir James Stephen (1789–1859)[146]
9. Anna Stent (1758–1790)[147]
2. Leslie Stephen (1832–1904)[146]
20. Henry Venn (1725–1797)[147]
10. John Venn (1759–1813)[147]
21. Eling Bishop (1723–1767)[147]
5. Jane Catherine Venn (1793′–1875)[146][148]
22. William King (1721–1781)[147]
11. Katherine King (1760–1803)[147]
23. Katherine Thorley (d. 1808)[147]
1. Virginia Woolf (1882–1941)[146]
24. William Jackson[149][150]
12. George Jackson (1758–1823)[149]
25. Susannah Dean[149][150]
6. Dr John Jackson (1758–1823)[14]
26. William Howard (1749–1795)[149]
13. Mary Howard (1781–1858)[149]
27. Elizabeth Mitford (born 1747)[149]
3. Julia Prinsep Jackson (1846–1895)[146]
28. Thomas Pattle(1742–1818)[151][152]
14. James Peter Pattle (1775–1845)[14]
29. Sarah Haselby[153][152]
7. Maria Pattle (1818–1892)[14]
30. Chevalier Ambrose Pierre Antoine de l'Etang (1757–1840[154][155]
15. Adeline Maria de l'Etang (1793–1845)[14]
31. Therese Josephe Blin de Grincourt (1767–1866)[156][155][157]
[show]Pattle-Antoine Family Tree[158][14]
James Pattle 1775-1845 m. 1811
Adeline Antoine 1793-1845
Adeline
1812-1836 Eliza
1814-1818 Julia Margaret
1815-1879 m. 1835
Henry Prinsep
1792–1878 Sara
1816-1887 m. 1837
John Jackson
1804–1887 Maria
1818-1892 Louisa
1821-1873 m. 1850
Earl Somers
1819–1883 Virginia
1827-1910 Sophia
1829-1911
Valentine
1838–1904 m.1856
Halford Vaughan
1811–1885 Adeline Maria
1837-1881 m.1862
Herbert Fisher
1826–1903 Mary Louisa
1840-1916[r] m. (1)1867
Herbert Duckworth
1833−1870 Julia Prinsep
1846–1895 m. (2) 1878
Leslie Stephen[s]
1832–1904 Isabella Caroline
1851–1921 Adeline Marie
1852–1920
Laura
1870–1945
George
1868–1934 Stella
1869-1897 Gerald
1870–1937 Duncan Grant
1885–1978 Vanessa
1879–1961 m.1907
Clive Bell
1881–1964 Thoby
1880–1906 Virginia
1882–1941 m. 1912
Leonard Woolf
1880–1969 Adrian
1883–1948
Angelica
1918–2012 Julian
1908 –1937 Quentin
1910–1996
[show]Stephen Family Tree[146][147]
Robert Wilberforce
1728–1768 Elizabeth Bird
1730–1798
m.(1) 1783
Anna Stent
1758–1790 James Stephen
1758–1832 m.(2) 1800
Sarah Wilberforce
1757–1816 William Wilberforce
1759–1833 John Venn
1759–1813 m. 1789
Katherine King
1760–1803
William Makepeace Thackeray
1811–1863 m. 1836
Isabella Gethin Shawe
1816–1893 James
1789–1859 1814
Jane Catherine
1793–1875
m. 1877
Richmond Ritchie Annie
1837–1919 m.(1)
Minnie Thackeray
1840–1875 Leslie
1832−1904 m.(2) 1878
Julia Duckworth
1846–1895 James Fitzjames
1829–1894 Caroline
1834–1909
Laura
1870–1945 Virginia+3 other
see Julia Stephen
Notes
Jump up ^ The line separating the additional floors of 1886 can be clearly seen[3]
Jump up ^ Stella Duckworth was 26 when her mother died, and married Jack Hills (1876-1938) two years later, but died following her honeymoon. She was buried next to her mother[15]
Jump up ^ Laura was born premature, at 30 weeks[18]
Jump up ^ Quention Bell speculates that their relationship formed the background to their mutual friend Henry James' Altar of the Dead[25]
Jump up ^ As Virginia Wool puts it, they "did what they could to prevent me"[28]
Jump up ^ The Survey of London considers this renovation an example of insensitive and inappropriate mutilation, adding two brick-faced stories to a stucco-fronted house.[45][3]
Jump up ^ There was no furniture upstairs and the cold water tap did not function
Jump up ^ As of 2018[update] the house still stands, though much altered, on Albert Road, off Talland Road
Jump up ^ A notice was posted to the effect that the St. Ives Nursing Association had hired "a trained nurse ... under the direction of a Committee of Ladies to attend upon the SICK POOR of St Ives free of cost and irrespective of Creed" and that "gifts of old linen" should be sent to Mrs E Hain or Mrs Leslie Stephen, of Talland House and Hyde Park Gate. St Ives, Weekly Summary, Visitors' List and Advertiser 2 September 1893.[52] The phrase "irrespective of Creed" echoes her axiom "Pity has no creed" in Agnostic Women 1880 (see Quotations)
Jump up ^ Thoby was sent to Evelyn's Preparatory School, Hillingdon in January 1891 and Adrian followed the next year. Thoby went on to Public School at Clifton College, Bristol in September 1894 and Adrian to Westminster School in September 1896. Thoby went up to Trinity College, Cambridge in 1899 and Adrian in 1902[68]
Jump up ^ King's College began providing lectures for women in 1871, and formed the Ladies' Department in 1885. In 1900 women were allowed to prepare for degrees. Later it became Queen Elizabeth College[72]
Jump up ^ Destroyed in the blitz in 1940[85]
Jump up ^ It has been suggested that Woolf bound books to help cope with her depression, as is hinted at in her writing: "A great part of every day is not lived consciously. One walks, eats, sees things, deals with what has to be done; the broken vacuum cleaner; ... cooking dinner; bookbinding."[123]
Jump up ^ Originally published in 1976, the discovery in 1980 of a 77 page typescript acquired by the British Library, containing 27 pages of new material necessitated a new edition in 1985. This was inserted following page 107 of the first edition.[126] All page references to Sketches are to the second edition, otherwise to the first edition of Moments of Being
Jump up ^ "Like my hero Virginia Woolf, I do lack confidence. I always find that the novel I'm finishing, even if it's turned out fairly well, is not the novel I had in my mind."[139]
Jump up ^ "after having read Ulysses in English as well as a very good French translation, I can see that the original Spanish translation was very bad. But I did learn something that was to be very useful to me in my future writing—the technique of the interior monologue. I later found this in Virginia Woolf, and I like the way she uses it better than Joyce."[140]
Jump up ^ "I wrote on Woolf and Faulkner. I read a lot of Faulkner then. You might not know this, but in the '50s, American literature was new. It was renegade. English literature was English. So there were these avant-garde professors making American literature a big deal. That tickles me now."[141]
Jump up ^ Mary Louisa and Herbert Fisher's children included 1. Florence Henrietta Fisher (1864–1920) who married Frederic William Maitland (1850–1906) in 1886, who wrote the biography of Leslie Stephen[159] and 2. H. A. L. Fisher (1865–1940), whose daughter Mary Bennett (1913–2005), wrote the biography of the Jackson family[6][160]
Jump up ^ Leslie Stephen had one daughter, Laura (1870–1945), by his first wife, Minny Thackeray
References
^ Jump up to: a b King's 2017.
Jump up ^ Collins 2018.
^ Jump up to: a b c d Rosner 2008, Walls p. 69
^ Jump up to: a b c d e f g h i j k l Gordon 2004.
Jump up ^ Vine 2018, Jackson Diary
^ Jump up to: a b Bennett 2002.
Jump up ^ Lundy 2017.
Jump up ^ Kukil 2011.
Jump up ^ Smith 2011.
^ Jump up to: a b c Garnett 2004.
Jump up ^ Woolf 2016, Introduction pp. 5–6
Jump up ^ Vine 2018, Duckworth
Jump up ^ Eve 2017, Julia Prinsep Stephen. July 2014
^ Jump up to: a b c d e f g Wood 2017.
Jump up ^ Androom 2017, Hills, Stella
^ Jump up to: a b Himmelfarb 1985.
Jump up ^ ACAD & STFN850L.
Jump up ^ Koutsantoni & Oakley 2014.
^ Jump up to: a b Olsen 2012.
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^ Jump up to: a b Bicknell 1996.
Jump up ^ Bell 1972, p. 13.
Jump up ^ Wilson 1987.
Jump up ^ Nadel 2016.
^ Jump up to: a b c Bell 1965.
Jump up ^ Tolley 1997, p. 106
Jump up ^ Bloom & Maynard 1994.
^ Jump up to: a b c Woolf 1940, p. 127.
Jump up ^ Bell 1972, p.18.
Jump up ^ Bond 2000, Julia Stephen p. 23
^ Jump up to: a b Stephen 1987, Chronology pp. xvii–xxii
Jump up ^ Woolf 1908.
Jump up ^ Woolf 1921.
^ Jump up to: a b c Woolf 1940.
^ Jump up to: a b c Woolf 1927.
Jump up ^ Roe 2011.
Jump up ^ Flint 2017, p. 54
Jump up ^ Schulkind 1985, p. 13.
Jump up ^ Stephens 2005.
Jump up ^ BL 2018.
Jump up ^ Humm 2006, p. 5.
Jump up ^ Humm 2006a.
^ Jump up to: a b Meyer & Osborne 1982.
Jump up ^ Woolf 1940, p. 119.
Jump up ^ Sheppard 1975, Hyde Park Gate pp. 26–38
Jump up ^ Marler 1993, p. xxiv.
^ Jump up to: a b Marler 1993, p. xxv.
Jump up ^ Garnett 2011, pp. 19–21.
Jump up ^ Garnett 2011, p. 22.
Jump up ^ Bell 1972, Chronology p. 189.
^ Jump up to: a b Deegan & Shillingsburg 2018, Dell. Talland House
^ Jump up to: a b c d Richardson 2015.
Jump up ^ Kukil 2011, Talland House
Jump up ^ Humm 2006, p. 6.
^ Jump up to: a b Kukil 2011, Julia reading, Talland House 1892
Jump up ^ British Library 2018.
^ Jump up to: a b Woolf 1922.
Jump up ^ Woolf 1931.
Jump up ^ Saryazdi 2017.
^ Jump up to: a b Bell 1972, Chronology p. 190.
Jump up ^ Bell 1972, Chronology p. 191.
Jump up ^ Garnett 2011, p. 21.
Jump up ^ Bell 1972, Chronology pp. 193–194.
^ Jump up to: a b Banks 1998.
Jump up ^ Kukil 2011, Julia & children at lessons 1894
Jump up ^ Dunn 1990, p. 33
Jump up ^ Rosner 2014, p. 3
Jump up ^ Bell 1972, Chronology pp. 189–192.
^ Jump up to: a b Burstyn 2016.
Jump up ^ Curtis 2002, Introduction p. 58
Jump up ^ Julia&Keld 2007.
^ Jump up to: a b Maggio 2010.
Jump up ^ Prins 2017, p. 39
Jump up ^ Jones & Snaith 2010a.
Jump up ^ Lee 1999, pp. 141–142.
Jump up ^ Jones & Snaith 2010.
Jump up ^ Fallon 2016.
Jump up ^ Briggs 2006, pp. 69–70.
Jump up ^ Garnett 2011, pp. 26–28.
Jump up ^ History 2018.
Jump up ^ Messud 2006.
^ Jump up to: a b c d McTaggart 2010.
Jump up ^ Richmond 2015.
Jump up ^ Maggio 2009.
Jump up ^ Brooks 2012.
Jump up ^ Garnett 2011, pp. 52–54.
Jump up ^ Smith 2006.
Jump up ^ Boynton & Malin 2005, p. 580.
Jump up ^ Cramer 1997, p. 126
Jump up ^ Garnett 2011, p. 131.
^ Jump up to: a b c d e f g h i DeSalvo 1982.
^ Jump up to: a b Woolf 1928.
Jump up ^ Blamires 1983, p. 307.
Jump up ^ Briggs 2006, p. 13.
Jump up ^ Garnett 2011, p. 114.
Jump up ^ Pearce 2007.
Jump up ^ Adams 2016.
Jump up ^ Lewis 2000.
Jump up ^ Bell 1972, p. 44.
Jump up ^ Caramagno 1992.
Jump up ^ Trombley 1980.
Jump up ^ Trombley 1981.
Jump up ^ Brown 2015.
^ Jump up to: a b c Lee 1999.
Jump up ^ Gordon 1984, p. 269.
Jump up ^ Gordon 1984, p. 279.
Jump up ^ Lee 1999, p. 185.
Jump up ^ Panken 1987, p. 262
Jump up ^ Wilson 2016, p. 825.
Jump up ^ Jones 2013.
Jump up ^ Rose 1979, p. 243.
Jump up ^ Literature Network 2018.
Jump up ^ Beja 1985, pp. 1,3,53.
Jump up ^ Liukkonen 2008.
Jump up ^ Woolf 1915.
Jump up ^ Haule 1982.
Jump up ^ Matar 2014.
^ Jump up to: a b c d e f g Shukla 2007, p. 51
Jump up ^ Woolf 1925.
Jump up ^ Beja 1985, pp. 15–17.
Jump up ^ Lee 1977, pp. 15–17.
Jump up ^ Beja 1985, p. 24.
Jump up ^ Sim 2016.
^ Jump up to: a b c d e f Lackey 2012.
^ Jump up to: a b c d e Majumdar 1969.
Jump up ^ Schulkind 1985a.
Jump up ^ Schröder 2003.
Jump up ^ Forrester 2015, p. 47
Jump up ^ Gross 2006.
Jump up ^ Woolf 1932–1935, p. 321.
Jump up ^ Streufert 1988.
Jump up ^ Young 2002.
Jump up ^ Beauvoir 1949, p. 53
Jump up ^ Chicago 1974–1979.
Jump up ^ Parmar 2015.
Jump up ^ Brown 2014.
Jump up ^ Coe 2015.
Jump up ^ TOI 2018.
Jump up ^ Brockes 2011.
Jump up ^ Stone 1981.
Jump up ^ Bollen 2012.
Jump up ^ Brooks 2015.
Jump up ^ King's 2013.
Jump up ^ King's 2018.
Jump up ^ Squier 1985, p. 204
^ Jump up to: a b c d e f g h i Bell 1972, Family Tree pp. x–xi
^ Jump up to: a b c d e f g h Venn 1904.
Jump up ^ Bicknell 1996, p. xx
^ Jump up to: a b c d e f Geni 2018.
^ Jump up to: a b Vine 2018, Jackson Family
Jump up ^ Lundy 2017, p. 47591 § 475902
^ Jump up to: a b Llewellyn-Jones 2017.
Jump up ^ Lundy 2017, p. 47591 § 475904
Jump up ^ Lundy 2017, p. 47592 § 475911
^ Jump up to: a b Caws & Wright 1999, p. 387, Note 4
Jump up ^ Lundy 2017, p. 47592 § 475912
Jump up ^ Wolf 1998, p. 81.
Jump up ^ Forrester 2015, Family Tree
Jump up ^ Maitland 1906.
Jump up ^ Vogeler 2014.
Bibliography
Books and theses
Beauvoir, Simone de (2015) [1949]. The Second Sex (Vintage Feminism Short Edition). Random House. ISBN 978-1-4735-2191-9. see also The Second Sex
Burstyn, Joan N. (2016) [1980]. Victorian Education and the Ideal of Womanhood. Taylor & Francis. ISBN 978-1-315-44430-7.
Jaillant, Lise (17 April 2017). Cheap Modernism: Expanding Markets, Publishers' Series and the Avant-Garde. Edinburgh University Press. ISBN 978-1-4744-1724-2.
‘Classics behind Plate Glass’: the Hogarth Press and the Uniform Edition of the Works of Virginia Woolf. pp. 120–139.
Parmar, Priya (2015). Vanessa and Her Sister. Doubleday Canada. ISBN 978-0-385-68134-6.
Prins, Yopie (2017). Ladies' Greek: Victorian Translations of Tragedy. Princeton University Press. ISBN 978-1-4008-8574-9.
Rosner, Victoria (2008). Modernism and the Architecture of Private Life. Columbia University Press. ISBN 978-0-231-13305-0.
Sellers, Susan (2010). Vanessa & Virginia: A Novel. Boston: Houghton Mifflin Harcourt. ISBN 978-0-547-39388-9.
Sheppard, FHW, ed. (1975). Survey of London. Vol. 38. South Kensington Museums Area. London: Institute of Historical Research (British History Online). ISBN 978-0-485-48238-6. see also Survey of London
Shukla, Bhaskar A. (2007). Feminism:From Mary Wollstonecraft To Betty Friedan. Sarup & Sons. ISBN 978-81-7625-754-1.
Stephen, Julia D. (1987). Steele, Elizabeth; Gillespie, Dianne F, eds. Julia Duckworth Stephen: Stories for Children, Essays for Adults. Syracuse University Press. ISBN 978-0-8156-2592-6.
Broughton, Panthea Reid (1989). "Julia Stephen's Prose: An Unintentional Self-Portrait". English Literature in Transition, 1880-1920 (Review). 22 (1): 125–128.
Biography: Virginia Woolf & Bloomsbury
Acheson, James, ed. (2017). Virginia Woolf. Palgrave Macmillan. ISBN 978-1-137-43083-0.
Bell, Quentin (1972). Virginia Woolf: A Biography. Harcourt Brace Jovanovich. ISBN 978-0-15-693580-7.
Vol. I: Virginia Stephen 1882 to 1912. London: Hogarth Press. 1972.
Vol. II: Virginia Woolf 1912 to 1941. London: Hogarth Press. 1972.
Bishop, Edward (1988). A Virginia Woolf Chronology. Palgrave Macmillan UK. ISBN 978-1-349-07881-3.
Bond, Alma Halbert (2000). Who Killed Virginia Woolf?: A Psychobiography. Insight Books Human Sciences. ISBN 978-0-595-00205-4.
Poole, Roger (1991). "Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work, and: Who Killed Virginia Woolf?: A Psychobiography, and: Virginia Woolf: A Study of the Short Fiction, and: Virginia Woolf: Strategist of Language". MFS Modern Fiction Studies (Review). 37 (2): 300–305. doi:10.1353/mfs.0.0773.
Boynton, Victoria; Malin, Jo, eds. (2005). Encyclopedia of Women's Autobiography: Volume 2 K-Z. Greenwood Press. ISBN 978-0-313-32739-1.
Briggs, Julia (2006). Virginia Woolf: An Inner Life. Harcourt. ISBN 978-0-15-603229-2.
Caws, Mary Ann; Wright, Sarah Bird (1999). Bloomsbury and France: Art and Friends. Oxford University Press. ISBN 978-0-19-802781-2.
Curtis, Vanessa (2002). Virginia Woolf's Women. University of Wisconsin Press. ISBN 978-0-299-18340-0.
Curtis, Anthony (2006). Virginia Woolf: Bloomsbury & Beyond. Haus Publishing. ISBN 978-1-904950-23-3.
Dalsimer, Katherine (2008) [2001]. Virginia Woolf: Becoming a Writer. Yale University Press. ISBN 978-0-300-13376-9.
Dally, Peter John (1999). Virginia Woolf: The Marriage of Heaven and Hell. Robson Books. ISBN 978-1-86105-219-3.
DeSalvo, Louise A. (1989). Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work. Women's Press. ISBN 978-0-7043-5042-7.
Beattie, L. Elisabeth (23 July 1989). "In short". New York Times (Review).
Poole, Roger (1991). "Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work, and: Who Killed Virginia Woolf?: A Psychobiography, and: Virginia Woolf: A Study of the Short Fiction, and: Virginia Woolf: Strategist of Language". MFS Modern Fiction Studies (Review). 37 (2): 300–305. doi:10.1353/mfs.0.0773.
Dunn, Jane (1990). A Very Close Conspiracy: Vanessa Bell and Virginia Woolf. Random House. ISBN 978-1-4464-3465-9. (additional excerpts)
Forrester, Viviane (2015). Virginia Woolf: A Portrait. Columbia University Press. ISBN 978-0-231-53512-0.
Goldman, Jane (2006). The Cambridge Introduction to Virginia Woolf. Cambridge University Press. ISBN 978-1-139-45788-0.
Gordon, Lyndall (1984). Virginia Woolf: A Writer's Life. Oxford University Press. ISBN 978-0-19-811723-0.
Hall, Sarah M. (2007). The Bedside, Bathtub & Armchair Companion to Virginia Woolf and Bloomsbury. Bloomsbury Academic. ISBN 978-0-8264-8675-2.
Holtby, Winifred (2007) [1932]. Virginia Woolf: a critical memoir. London: Bloomsbury. ISBN 9780826494436.
Humm, Maggie (2006). Snapshots of Bloomsbury: The Private Lives of Virginia Woolf and Vanessa Bell. Rutgers University Press. ISBN 978-0-8135-3706-1. * King, James (1995). Virginia Woolf. New York: Norton. ISBN 978-0-393-03748-7.
Leaska, Mitchell A. (2000). Granite and Rainbow: The Hidden Life of Virginia Woolf. Cooper Square Publishing, LLC. ISBN 978-0-8154-1047-8.
Lee, Hermione (1999). Virginia Woolf. Vintage Books. ISBN 978-0-375-70136-8. (excerpt - Chapter 1)
Nadel, Ira (2016). Virginia Woolf. Reaktion Books. ISBN 978-1-78023-712-1.
Nicolson, Nigel (2000). Virginia Woolf. Penguin Publishing Group. ISBN 978-1-4406-7921-6.
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.
Poole, Roger (1995) [1978]. The Unknown Virginia Woolf. CUP Archive. ISBN 978-0-521-48402-2.
Reid, Panthea (1996). Art and Affection: A Life of Virginia Woolf. Oxford University Press. ISBN 978-0-19-510195-9.
Rose, Phyllis (1979). Woman of Letters: A Life of Virginia Woolf. Oxford University Press. ISBN 978-0-19-502621-4.
Rosenman, Ellen Bayuk (1986). The Invisible Presence: Virginia Woolf and the Mother-daughter Relationship. Louisiana State University Press. ISBN 978-0-8071-1290-8.
Caramagno, Thomas C. (1989). "Review of Virginia Woolf and the Real World; The Invisible Presence: Virginia Woolf and the Mother-Daughter Relationship". Modern Philology (Review). 86 (3): 324–328.
Rosner, Victoria, ed. (2014). The Cambridge Companion to the Bloomsbury Group. Cambridge University Press. ISBN 978-1-107-01824-2.
Spalding, Frances (2014). Virginia Woolf: Art, Life and Vision (Exhibition catalogue). National Portrait Gallery, London. ISBN 978-1-85514-481-1.
Squier, Susan Merrill (1985). Virginia Woolf and London: The Sexual Politics of the City. University of North Carolina Press. ISBN 978-1-4696-3991-8.
Streufert, Mary J. (8 June 1988). Measures of reality: the religious life of Virginia Woolf (MA thesis). Oregon State University.
Todd, Pamela (2001). Bloomsbury at Home. Pavilion. ISBN 978-1-86205-428-8.
Wilson, Jean Moorcroft (1987). Virginia Woolf's London: A Guide to Bloomsbury and Beyond. Tauris Parke Paperbacks. ISBN 978-1-86064-644-7.
Mental health
Bennett, Maxwell (2013). Virginia Woolf and Neuropsychiatry. Springer Science & Business Media. ISBN 978-94-007-5748-6. additional excerpts
Bond, Alma Halbert (2000). Who Killed Virginia Woolf?: A Psychobiography. Insight Books Human Sciences. ISBN 978-0-595-00205-4.
Poole, Roger (1991). "Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work, and: Who Killed Virginia Woolf?: A Psychobiography, and: Virginia Woolf: A Study of the Short Fiction, and: Virginia Woolf: Strategist of Language". MFS Modern Fiction Studies (Review). 37 (2): 300–305. doi:10.1353/mfs.0.0773.
Caramagno, Thomas C. (1992). The Flight of the Mind: Virginia Woolf's Art and Manic-Depressive Illness. University of California Press. ISBN 978-0-520-93512-9.
Meyer, Robert G.; Osborne, Yvonne Hardaway (1982). Case Studies in Abnormal Behavior. Allyn and Bacon. ISBN 978-0-205-07744-1.
Panken, Shirley (1987). Virginia Woolf and the "Lust of Creation": A Psychoanalytic Exploration. SUNY Press. ISBN 978-0-88706-200-1.
Szasz, Thomas (2011). My Madness Saved Me: The Madness and Marriage of Virginia Woolf. Transaction Publishers. ISBN 978-1-4128-0945-0.
Trombley, Stephen (October 1980). Virginia Woolf and her doctors (PDF) (PhD thesis). University of Nottingham.
Trombley, Stephen (1981). All that Summer She was Mad: Virginia Woolf and Her Doctors. London: Junction Books. ISBN 978-0-86245-039-7.
Biography: Other
Bell, Vanessa (1993). Marler, Regina, ed. The Selected Letters of Vanessa Bell. Pantheon Books. ISBN 978-0-679-41939-6.
Marler, Regina. Biographical introduction. pp. xvii–xviii.
Bennett, Mary (2002). Who was Dr Jackson?: Two Calcutta Families, 1830-1855. BACSA. ISBN 978-0-907799-78-8.
Vogeler, Martha S. (11 July 2014). "Bennett, Mary. Who Was Dr. Jackson? Two Calcutta Families: 1830–1855. London: British Association for Cemeteries in South Asia. 2002. Pp. xv, 116. £12. ISBN 0-90779-9-78-71". Albion (Review). 36 (2): 388–389. doi:10.2307/4054289. JSTOR 4054289.
Bicknell, John W, ed. (1996). Selected Letters of Leslie Stephen: Volume 1. 1864-1882. Basingstoke: Macmillan. ISBN 9781349248872.
Bicknell, John W, ed. (1996). Selected Letters of Leslie Stephen: Volume 2. 1882-1904. Ohio State University Press. ISBN 978-0-8142-0691-1.
Bloom, Abigail Burnham; Maynard, John, eds. (1994). Anne Thackeray Ritchie: Journals and letters. Columbus: Ohio State Univ. Press. ISBN 9780814206386.
Curtis, Anthony (2002). Before Bloomsbury: the 1890s diaries of three Kensington ladies : Margaret Lushington, Stella Duckworth and Mildred Massingberd. The Eighteen Nineties Society. ISBN 978-0-905744-28-5.
Garnett, Angelica (2011) [1985]. Deceived With Kindness. Random House. ISBN 978-1-4464-7525-6.
Garnett, Henrietta (2004). Anny: A Life of Anny Thackeray Ritchie. London: Chatto & Windus. ISBN 0-7011-7129-4.
Lee, Hermione (10 January 2004). "A perfect match". The Guardian (Review).
Glendinning, Victoria (2006). Leonard Woolf: A Biography. Simon and Schuster. ISBN 978-0-7432-4653-8.
Messud, Claire (10 December 2006). "The Husband". New York Times (Review). Retrieved 14 February 2018.
Llewellyn-Jones, Rosie (2017). The Louisa Parlby Album: Watercolours from Murshidabad 1795–1803 (PDF) (Exhibition catalogue: 23 October – 1 December 2017). London: Francesca Galloway. ISBN 978-0-956-914-767.
Maitland, Frederic William (1906). The life and letters of Leslie Stephen. London: Duckworth & Co. Retrieved 2 January 2018.
Stephen, Virginia; Stephen, Vanessa; Stephen, Thoby (2005). Hyde Park Gate News: The Stephen Family Newspaper. Hesperus Press. ISBN 978-1-84391-701-4.
"'Hyde Park Gate News', a magazine by Virginia Woolf and Vanessa Bell". Collection items (Manuscript). British Library. Retrieved 9 January 2018. * Tolley, Christopher (1997). Domestic Biography: The Legacy of Evangelicalism in Four Nineteenth-century Families. Clarendon Press. ISBN 978-0-19-820651-4.
Venn, John (2012) [1904 Macmillan, London]. Annals of a Clerical Family: Being Some Account of the Family and Descendants of William Venn, Vicar of Otterton, Devon, 1600-1621. Cambridge University Press. ISBN 978-1-108-04492-9. also Internet archive
Wilson, Scott (2016). Resting Places: The Burial Sites of More Than 14,000 Famous Persons (3rd ed.). McFarland & Company. ISBN 978-1-4766-2599-7.
Wolf, Sylvia, ed. (1998). Julia Margaret Cameron's Women. Art Institute of Chicago. ISBN 978-0-300-07781-0. also available through MOMA here
Literary commentary
Barrett, Eileen; Cramer, Patricia, eds. (1997). Virginia Woolf: Lesbian Readings. NYU Press. ISBN 978-0-8147-1263-4.
Cramer, Patricia. Lesbian readings of Woolf's novels: Introduction. pp. 117–127.
Beja, Morris (1985). Critical essays on Virginia Woolf. G.K. Hall. ISBN 978-0-8161-8753-9.
Blair, Emily (2012). Virginia Woolf and the Nineteenth-Century Domestic Novel. SUNY Press. ISBN 978-0-7914-7992-6.
Blamires, Harry (1983). A Guide to Twentieth Century Literature in English. Methuen. ISBN 978-0-416-36450-7.
Booth, Alison (1992). Greatness Engendered: George Eliot and Virginia Woolf. Cornell University Press. ISBN 0-8014-9930-5.
Dalgarno, Emily (2007). Virginia Woolf and the Visible World. Cambridge University Press. ISBN 978-0-521-03360-2.
Goldman, Jane (2001). The Feminist Aesthetics of Virginia Woolf: Modernism, Post-Impressionism, and the Politics of the Visual. Cambridge University Press. ISBN 978-0-521-79458-9.
Gruber, Ruth (2012) [2005]. Virginia Woolf: The Will to Create as a Woman. Open Road Media. ISBN 978-1-4532-4864-5.
Hussey, Mark (1991). Virginia Woolf and war: fiction, reality, and myth. Syracuse University Press. ISBN 978-0-8156-2537-7.
Kirkpatrick, Brownlee Jean; Clarke, Stuart N. (1997). A Bibliography of Virginia Woolf. Clarendon Press. ISBN 978-0-19-818383-9.
Lee, Hermione (1977). The novels of Virginia Woolf. Holmes & Meier.
Miller, C. Ruth (24 November 1988). Virginia Woolf: The Frames of Art and Life. Palgrave Macmillan UK. ISBN 978-1-349-19595-4.
Paul, Janis M. (1987). The Victorian heritage of Virginia Woolf: the external world in her novels. Pilgrim Books. ISBN 978-0-937664-73-5.
Ryan, Derek; Bolaki, Stella, eds. (2012). Contradictory Woolf. Liverpool University Press. ISBN 978-1-942954-11-8.
Sim, Lorraine (2016). Virginia Woolf: The Patterns of Ordinary Experience. Routledge. ISBN 978-1-317-00160-7.
Introduction (PDF). pp. 1 26.
Transue, Pamela J. (1986). Virginia Woolf and the Politics of Style. Albany, NY: SUNY Press. ISBN 978-1-4384-2228-2.
Chapters and contributions
Flint, Kate. Victorian Roots: The sense of the past in Mrs Dalloway and To the Lighthouse. pp. 46–59. , in Acheson (2017)
Articles
Anonymous (25 January 2018). "Google celebrates 136th birthday of Virginia Woolf with a doodle". The Times of India. Retrieved 25 January 2018.
Banks, Joanne Trautmann (April 1998). "Mrs Woolf in Harley Street". The Lancet. 351 (9109): 1124–1126. doi:10.1016/S0140-6736(98)02502-1.
Bell, Quentin (1965). "The Mausoleum Book". A Review of English Literature. 6 (1): 9–18.
Bollen, Christopher (1 May 2012). "Toni Morrison". Interview. Retrieved 23 February 2018.
Brockes, Emma (7 February 2011). "Michael Cunningham: A life in writing". The Guardian. Retrieved 23 February 2018.
Brown, Mark (9 July 2014). "Virginia Woolf celebrated in gallery she spurned as it was 'filled with men'". The Guardian.
Byers, Paula, ed. (2004). "Virginia Stephen Woolf". Encyclopedia of World Biography. Gale Group.
DeSalvo, Louise A. (Winter 1982). "Lighting the Cave: The Relationship between Vita Sackville-West and Virginia Woolf". Signs. 8 (2): 195–214.
Fallon, Claire (25 January 2016). "Virginia Woolf's Guide To Grieving". Huffington Post. Retrieved 9 February 2018.
Garnett, Jane (23 September 2004). "Stephen [née Jackson], Julia Prinsep (1846–1895)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/46943. (Subscription or UK public library membership required.)
Gordon, Lyndall (2004). "Woolf [née Stephen], (Adeline) Virginia". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/37018. (Subscription or UK public library membership required.)
Gross, John (1 December 2006). "Mr. Virginia Woolf". Commentary. archived version
Haule, James (Winter 1982). "Virginia Woolf's First Voyage: A Novel in the Making by Louise A. DeSalvo; Melymbrosia: An Early Version of "The Voyage out" by Virginia Woolf and Louise A. DeSalvo". Contemporary Literature (Review). 23 (1): 100. doi:10.2307/1208147. JSTOR 1208147.
Himmelfarb, Gertrude (1 February 1985). "From Clapham to Bloomsbury: a genealogy of morals". Commentary. archived version
Humm, Maggie (2006). "The Stephen sisters as young photographers". Canvas. Firle, East Sussex: Charleston Trust (15).
Jones, Christine Kenyon; Snaith, Anna (2010). ""Tilting at Universities": Woolf at King's College London". Woolf Studies Annual. 16: 1–44.
Jones, Christine Kenyon; Snaith, Anna (31 January 2010a). "A castle of one's own". Kings College Report. 17: 26–31.
Lackey, Michael (2012). "Virginia Woolf and British Russophilia". Journal of Modern Literature. 36 (1): 150. doi:10.2979/jmodelite.36.1.150. </ref>
Koutsantoni; Oakley, Madeleine (2 April 2014). "Hypothesis of Autism and Psychosis in the Case of Laura Makepeace Stephen". Disability Studies. 4 (3). doi:10.2139/ssrn.2418709.
Lewis, Alison M (Autumn 2000). "Caroline Emelia Stephen (1834-1909) and Virginia Woolf (1882-1941): A Quaker Influence on Modern English Literature". Quaker Theology (3). Retrieved 12 February 2018.
Luebering, J. E. (21 December 2006). Sir Leslie Stephen. Encyclopædia Britannica. Retrieved 2 January 2018.
Majumdar, Raja (Fall 1969). "Virginia Woolf and Thoreau". The Thoreau Society Bulletin (109): 4–5.
Matar, Hisham (10 November 2014). "The Unsaid: The Silence of Virginia Woolf". The New Yorker.
McTaggart, Ursula (2010). ""Opening the Door": The Hogarth Press as Virginia Woolf's Outsiders' Society". Tulsa Studies in Women's Literature. pp. 63–81. JSTOR 41337032.
Reid, Panthea (25 January 2018). "Virginia Woolf". Encyclopaedia Britannica.
Schröder, Leena Kore (Autumn 2003). "Tales of Abjection and Miscegenation: Virginia Woolf's and Leonard Woolf's "Jewish" Stories". Twentieth Century Literature. 49 (3): 298–327. doi:10.2307/3175983. JSTOR 3175983. (text also available here)
Smith, Victoria L. (2006). ""Ransacking the Language": Finding the Missing Goods in Virginia Woolf's "Orlando"". Journal of Modern Literature. 29 (4): 57–75. JSTOR 3831880.
Stone, Peter H. (Winter 1981). "Gabriel García Márquez, The Art of Fiction No. 69". The Paris Review (82). Retrieved 23 February 2018. * Swenson, Kristine (26 October 2017). "Hothouse Victorians: Art and Agency in Freshwater". Open Cultural Studies. 1 (1). doi:10.1515/culture-2017-0017.
Websites
Brooks, Rebecca Beatrice (2018). "The Virginia Woolf Blog". Retrieved 19 January 2018.
Brooks, Rebecca Beatrice (21 March 2012). "Virginia Woolf's Homes Destroyed in the London Blitz". Retrieved 28 February 2018.
Brooks, Rebecca Beatrice (10 July 2012). "Did Virginia Woolf Live in a Haunted House?". Retrieved 28 February 2018.
Brooks, Rebecca Beatrice (8 April 2015). "Virginia Woolf's Family". Retrieved 19 January 2018.
Brown, Kimmy Sophia (8 April 2015). "Virginia Woolf— On the Track of the Lost Novelist". Significato. Retrieved 17 February 2018.
Carter, Jason (14 September 2010). "Virginia Woolf Seminar". Women's Studies, University of Alabama, Huntsville.
Deegan, Marilyn; Shillingsburg, Peter, eds. (2018). "Woolf Online: A digital archive of Virginia Woolf's To the Lighthouse (1927)". Society of Authors. Retrieved 7 January 2018.
Eve, Kimberly (19 November 2017). "Victorian Musings". Retrieved 26 December 2017.
Gordon, Lyndall (25 May 2016). "Too much suicide?". Discovering Literature: 20th century. London: British Library. Retrieved 9 February 2018.
Jones, Josh (26 August 2013). "Virginia Woolf's Handwritten Suicide Note: A Painful and Poignant Farewell (1941)". Open Culture. Retrieved 18 February 2018.
Liukkonen, Petri (2008). "Virginia Woolf (1882-1941)". Books and Writers. Finland: Kuusankoski Public Library. Archived from the original on 28 January 2015. Retrieved 8 February 2016.
Maggio, Paula (9 April 2010). "New discovery says Woolf had college courses of her own". Retrieved 11 February 2018. , in Blogging Woolf (2018)
Saryazdi, Melissa (27 September 2017). "Writers In Cornwall: Virginia Woolf". FalWriting: English & Creative Writing at Falmouth. Retrieved 28 February 2018.
Olsen, Victoria (1 February 2012). "Looking for Laura". Open Letters Monthly. Retrieved 20 January 2018.
Richardson, Phyllis (24 March 2015). "Tales from Talland House". Unbound. Retrieved 1 January 2018.
Roe, Dinah (2011). "Virginia Woolf and Holman Hunt go To The Lighthouse". Pre-Raphaelites in the city. Retrieved 25 December 2017.
White, Sian (2015). "Virginia Woolf in Time and Space". James Madison University. Retrieved 17 February 2018.
Adams, Terry (29 September 2016). "The death of George Savage". Virginia Woolf in Time and Space. Retrieved 17 February 2018.
"Virginia Woolf". Notable alumni. King's College, London. Retrieved 2 February 2018.
"Virginia and Leonard Woolf marry". This day in history. A & E Television. 2018. Retrieved 14 February 2018.
"Virginia Woolf (1882-1941) and Hogarth House". London Borough of Richmond upon Thames. 9 January 2015. Retrieved 15 February 2018.
British Library (2018). "To the Lighthouse". 20th century works. 37018. Retrieved 9 February 2018.
"Stephen, Leslie (STFN850L)". A Cambridge Alumni Database. University of Cambridge. Retrieved 14 February 2018.
Literature Network (2018). "Modernism". The Literature Network. Jalic. Retrieved 21 February 2018.
"Androom Archives". 2017. Retrieved 19 December 2017.
"Blogging Woolf". 2018. Retrieved 11 February 2018.
Maggio, Paula (4 May 2009). "Virginia's Round House in Lewes up for sale". , in Blogging Woolf (2018)
"Woolf". Collins English Dictionary. Harper Collins Publishers. Retrieved 2 February 2018.
Julia&Keld (8 September 2007). "Julian Thoby Stephen (1880–1906)". Find a Grave. Retrieved 9 February 2017.
"Woolf, Creativity and Madness: From Freud to FMRI". Smith College Libraries: Online exhibits. Northampton MA: Smith College Libraries. Retrieved 15 December 2017.
"Virginia Woolf Building (22 Kingsway)". King's College London. 2018. Retrieved 12 February 2018.
"Virginia Woolf honoured by new Strand Campus building". News. King's College London. 2 May 2013. Archived from the original on 13 July 2015. Retrieved 15 February 2018.
Chicago, Judy (1974–1979). "The Dinner Party: Place Settings". Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum. Retrieved 23 February 2018.
"Virginia Woolf Society of Great Britain". Retrieved 26 December 2017.
"Virginia Woolf: Art, Life and Vision" (Museum exhibition). National Portrait Gallery. 10 July – 20 October 2014.
Timelines
"Timeline of Virginia Woolf's Life". February 9, 2012a. Retrieved 19 January 2018. , in Brooks (2018)
Clarke, S. N. (2000). "Where Virginia Woolf Lived in London". Retrieved 1 March 2018. , in VWS (2017)
"Chronological List of Works By Virginia Woolf". 4 December 2002. Retrieved 1 March 2018. , in Carter (2010)
"Chronology of Virginia Woolf's Life". July 7, 1997. Retrieved 1 March 2018. , in Carter (2010)
Genealogy
Lundy, Darryl (2017). "The Peerage". Retrieved 19 December 2017.
Vine, Nikki. "Nikki's Family History and Wells Local History Pages". Retrieved 6 January 2018.
Wood, Dudley (3 November 2017). "Family Histories of Wood of Kent, Bone of Hampshire, Lloyd of Cheshire, Thompson of West Yorkshire". Retrieved 30 December 2017.
"Geni". 2018. Retrieved 2 January 2018.
"Relatives of Virginia Woolf". 22 Mar 2011. Retrieved 15 December 2017. , in Smith (2017)
Images
Kukil, Karen V. (2011). "Julia Prinsep Jackson, c.1856". Leslie Stephen's Photograph Album (Exhibition catalogue: photograph album). Northampton MA: Smith College. Retrieved 19 December 2017.
"Map of location of 22 Hyde Park Gate". Google Earth (Map). Retrieved 23 January 2018.
Other
Eric Neal Young (director) (2002). The Mind and Times of Virginia Woolf (Documentary). USA: Miramax. excerpt
Amanda Coe (producer) (2015). Life in Squares (T.V. series (3)). U.K.: BBC. see also Life in Squares
External links
Bibliowiki has original media or text related to this article: Virginia Woolf (in the public domain in Canada)
"Archival material relating to Virginia Woolf". UK National Archives.
Virginia Woolf at the British Library
Biography of Virginia Woolf on the Yale Modernism Lab
Works by Virginia Woolf at Project Gutenberg
Works by Virginia Woolf at Faded Page (Canada)
Works by or about Virginia Woolf at Internet Archive
Works by Virginia Woolf at LibriVox (public domain audiobooks)
Virginia Woolf on IMDb
Virginia Woolf (Character) on IMDb
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 (Toronto) Library Special Collections
Virginia Woolf collection of papers, 1882–1984 (bulk 1912–1940), held by the Henry W. and Albert A. Berg Collection of English and American Literature, New York Public Library
The Legacy, full text and audio file
The Searchlight, full text and audio file
Library resources about
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Virginia Woolf (works)
Novels
The Voyage Out
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The Hours (novel, film)
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Authority control
WorldCat Identities
VIAF: 39385478
LCCN: n79041870
ISNI: 0000 0003 6863 4109
GND: 118635174
SELIBR: 137658
SUDOC: 027199746
BNF: cb11929398t (data)
BIBSYS: 90068620
ULAN: 500330927
MusicBrainz: b6349539-7ff8-4ed1-b53a-5988ba6e1b66
NLA: 35619284
NDL: 00461439
NKC: jn19990009273
ICCU: IT\ICCU\CFIV\016490
BNE: XX990758
SNAC: w6qg9gvk
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values: Guidance on how to use and edit Wikipedia

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values: فرجينيا وولف – Arabic

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values: ভার্জিনিয়া উল্‌ফ – Bangla

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values: Вірджынія Вульф – Belarusian

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values: Вірджынія Ўулф – Belarusian (Taraškievica orthography)

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values: वर्जीनिया वुल्फ – Bhojpuri

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values: Вирджиния Улф – Bulgarian

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values: Βιρτζίνια Γουλφ – Greek

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values: ویرجینیا وولف – Persian

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values: 버지니아 울프 – Korean

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values: वर्जिनिया वुल्फ़ – Hindi

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values: וירג'יניה וולף – Hebrew

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values: ವರ್ಜೀನಿಯಾ ವೂಲ್ಫ್ – Kannada

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values: ვირჯინია ვულფი – Georgian

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values: Вирджиния Вулф – Kazakh

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values: Вирџинија Вулф – Macedonian

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values: വിർജിനിയ വുൾഫ് – Malayalam

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values: व्हर्जिनिया वूल्फ – Marathi

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values: ویرجینیا وولف – Mazanderani

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values: भर्जिनिया वुल्फ – Nepali

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values: ヴァージニア・ウルフ – Japanese

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values: ਵਰਜੀਨੀਆ ਵੁਲਫ਼ – Punjabi

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values: Вулф, Вирджиния – Russian

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values: වර්ජිනියා වුල්ෆ් – Sinhala

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values: Вирџинија Вулф – Serbian

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values: வெர்ஜீனியா வூல்ஃப் – Tamil

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values: వర్జీనియా వూల్ఫ్ – Telugu

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values: เวอร์จิเนีย วูล์ฟ – Thai

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values: Вирҷиниа Вулф – Tajik

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values: ವರ್ಜೀನಿಯಾ ವೂಲ್ಫ್ – Tulu

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values: Вірджинія Вулф – Ukrainian

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values: ورجینیا وولف – Urdu

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values: 弗吉尼亚·吴尔夫 – Chinese

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