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Godrevy Lighthouse

For years, Virginia Woolf readers and scholars around the globe have fought against development plans that threatened the view of the Cornwall coast and Godrevy Lighthouse from Talland House in St. Ives, Cornwall. Now, it seems, that popular and precious view will likely be lost forever.

The message below was contributed by Polly Carter, the National Trust certified gardener at Talland House, and circulated by the Virginia Woolf Society of Great Britain. It is the latest update on the opposition to the plans and includes a discussion of legal options, costs, and the path ahead.

Background

Talland House is important to Woolf’s legacy for several reasons. It was the setting and inspiration for her 1927 novel To the Lighthouse. It was also where Woolf and her family spent their summers  until her mother, Julia Stephen, died in 1895, when Woolf was 13.

As many of you will be aware, news broke in the new year that there was an application with Cornwall Council for amendments to a 2009 planning permission for a 5-storey block of 12 luxury apartments on a site in front of Talland house, which would block the famous view of the bay and lighthouse from Woolf’s formative childhood summer home in St Ives.

Professor Maggie Humm, vice-chair of the Virginia Woolf Society of Great Britain, and Councillor Johnnie Wells, Deputy Mayor of St. Ives at the Talland House plaque unveiling on Sept. 11, 2022. Photo: St. Ives September Festival

Because the application was for amendments to an existing planning permission we were unable to object on grounds of harm to the setting of a listed building, which according to accounts from St Ives Town Council and Cornwall Council, we would have been successful in doing. We still wanted to object to the application for amendments in the hope that the developer would not want to build to the original plans and put in new planning permission, which we could them object to on heritage grounds.

Because our grounds for objecting to the specificity of the amendments were so limited, we chose to bring in legal expertise. Sarah Clover, Barrister at The Kings Chambers, a top of her field expert in planning law. She found fault with Cornwall Council’s route to applying the amendments to the original planning permission. Cornwall Council objected to the points raised in our KC’s advice and granted the permission anyway.

Last week we met with KC Clover and planning law expert solicitor Brendon Lee and they both considered that we do have a legal challenge worth bringing to judicial review. This would mean employing them to create a case detailing the legal mistakes made by Cornwall Council, inviting Cornwall Council to defend themselves and seeing if a judge agrees that the case is worth bringing to court.

If they did, then we could fight it in court in the hope of winning, resulting in the quashing of the application for amendments. Our problem is that the chances of winning are unpredictable and costs could potentially accumulate to un-manageable amounts.

The financial risks

Estimated costs could include:

  • Initial legal preparation: £10,000–£20,000
  • Further legal work if the case progresses: £10,000–£30,000
  • Potential court costs if the case proceeds and is unsuccessful: £10,000–£30,000
    In total, costs could potentially reach £30,000–£80,000.

Because of these risks, it would likely require a named individual to act as the legal client, which also enables a lower cost capping threshold, rather than relying solely on a loosely organized fundraising effort, in case the fundraising cannot meet the demand.

A difficult decision

The group now faces a very narrow window of time. If a judicial review is to be pursued, legal preparations would need to begin within the next two weeks to meet the filing deadline. After this date, the option of judicial review is no longer available.

But the financial implications make this decision impossible without substantial and swift backing. Even if all the money could be found, the risk that it would still come to nothing at all, and even with a win that the original planning permission is still valid, it feels like too much to ask of anyone.

So, we have likely come to the end of the road for quashing the current application for amendments that the developer has asked for and received.

Looking forward

While the potential loss of the historic view from Talland House would be deeply disappointing to many who value its connection to Virginia Woolf, there is also growing interest in strengthening public engagement with the site itself.

Ideas being discussed include:

  • Developing visual arts related programming around Talland House
  • Increasing the garden tours and sharing the story of the meaningful planting being developed there
  • Setting up a Virginia Woolf themed Book Club in St Ives to connect local people to the significance of Woolf’s work and St Ives’ place within that
  • Building a broader network of supporters committed to protecting the cultural legacy of Talland House.
  • Exploring the possibility of a Virginia Woolf museum and gallery in St Ives
  • Curating To The Lighthouse centenary celebrations next year

Whatever the immediate outcome, the conversation has already highlighted how strongly many people feel about preserving the literary and historical significance of Talland House for future generations.

Thank-yous

Lots of work by lots of people has gone into the overall process so far, and despite it not being quite over yet I wanted to thank some key people who have been instrumental in getting us to this stage.

As the gardener at Talland house I am deeply connected to the place and have experienced first-hand how deeply moved people are by experiencing it and hearing its story which has urged me on. I’d like to thank:

  • Peter Eddy, the owner of Talland House, who has allowed these forms of engagement and supported the campaign opposing the development.
  • The residents of Talland house whose privacy I have tried to respect in this process, but who all care deeply about the place.
  • The Virginia Woolf Society of Great Britain, particularly Maggie Humm who has been beside me all the way in this process, Sarah Latham Philips, previously of the VWSGB Executive but is still supporting the campaign and my development within it,  Lynn Fox who helped put the case file together ahead of decision date and has been an encouraging support, the residents of Gallinus Point,  who were among those who contributed to the legal fees, Gemma Jerome, environmental planner who appeared miraculously at just the right time and has provided guidance and clarity, and a huge thank you to Sharon Bylenga who jumped to action on day one, new year’s eve and has given essential financial support and unwavering guidance to and confidence in me and the team.
  • And finally, everyone who lodged an objection in the planning portal or wrote to the Council/MP’s.

For answers to any questions or to add offers for further support, please write to pollycartergardener@icloud.com, and follow @Tallandhouse on Instagram for future updates.

Blogging Woolf was part of a pilgrimage to Talland House in 2004. This photo depicts the front right corner of the home.

In mid-January, we reported on the most recent plan to construct a multi-million dollar flat project that would obstruct the view of the Cornwall coast and Godrevy Lighthouse from Talland House in St. Ives, Cornwall, the setting and inspiration for Virginia Woolf’s 1927 novel To the Lighthouse. We are sad to report that the plan is moving ahead, according to the Virginia Woolf Society of Great Britain.

Below is the text of a March 13 message sent by the Virginia Woolf Society of Great Britain, which helped lead the resistance effort.

Talland House planning update

”It is with regret that we report the decision of the Planning Committee of Cornwall Council this week to allow the planning application for a building in front of Talland
House in St Ives to go ahead.

“There were over 130 objections to the plan, including a handwritten letter from our President Dame Eileen Atkins. The Talland House Group, including the VWSGB and led by Polly Carter, the heritage gardener at Talland House, employed a KC who raised a legal challenge to the lawfulness of the application.

“The particular points brought by our Counsel remain unaddressed by Cornwall

Godrevy Lighthouse in St. Ives, Cornwall

Council’s legal department. They responded, but not to the points raised. Sadly, the developer can go ahead and build what will irrevocably destroy the To the Lighthouse view. BBC Cornwall supported our campaign.

“We are considering opening this up to judicial review and are exploring other options. The Talland House Group is to be formalised, and may have a website and events that celebrate the view and its importance to Virginia Woolf and her works.

“Time will be needed to re-focus our strategy, but we hope to issue more guidance as to how you can further support the campaign and all that Talland House stands for.

“Our thanks to everyone who contributed to the campaign against this development, and we will keep you updated. This story may not be over yet!”

 

Virginia Woolf scholars from Brazil invite participants from all over the world to submit a proposal to the open forum Virginia Woolf: Sound and Rhythm in Translation, in preparation for the 35th Annual International Conference Virginia Woolf: Woolf and Sound, which will take place in Istanbul, Turkey, 24-28 June 2026.

About the forum

The forum aims to discuss the participants’ texts on sound and rhythm concerning the translation of Virginia Woolf’s oeuvre, with the prospect of having them published after the conference. Papers about all forms of translation, including intersemiotic translations and adaptations, are welcome.

For the detailed call for participants, download the PDF: CALL FOR PARTICIPANTS 35th International Conference Virginia Woolf.

Zoom meetings before and after

Important notice: There will be a pre-conference meeting to discuss proposals on 22 May 2026, from 9-10 a.m. (GMT-3), pre-conference readings, and a post-conference follow-up to discuss publication ideas on a date to be determined. Both pre- and post-conference meetings will be held online. The number of participants is limited to 15.

As the forum follows a collaborative model, in which researchers share their works in progress and explore possible connections with other researchers’ work, participants are encouraged to take part in both the pre- and post-conference meetings even if they do not plan to attend the conference in person.

How to submit

Submit your proposals (200–300 words) by 30 March 2026. Should you have any questions or comments, please write to woolftranssound26@gmail.com

Editor’s Note: Woolf scholar Kristin Czarnecki contributed this post about her creative experience with Mrs. Dalloway and erasure poetry.

A year or so ago, on the recommendation of a friend, I bought Sarah J. Sloat’s Hotel Almighty, a book of erasure poems born from Stephen King’s novel Misery. Each page bears not only Sloat’s erasures but also her beautiful, evocative art and collages.

I read it repeatedly and became curious about the potential of erasure poetry. As Sloat says in her introduction to Hotel Almighty, “The form leaves room for chance.”

I suspected the form was something I’d enjoy, and as I so often do, I turned to my shelves of Woolf books for inspiration.

Right away, my eye went to the Eastern Press edition of Mrs. Dalloway I’d found years ago in a Lexington, Kentucky, bookstore. It was bound in genuine leather in a glorious, saturated shade of green, my favorite color, and I snapped it up.

And there it sat on a shelf for years until, in a fit of purging, I brought it to Half-Price Books to see what I could get for it in trade. Not much, but I easily let it go, confident it would wind up with someone who would appreciate it.

A book returns

Fast forward a few months, when an English major at the college where I was teaching stopped by my office one afternoon. She and her girlfriend had taken several classes with me, including modern British literature, which of course had Mrs. Dalloway on the syllabus.

That day in my office, she reached into her bag, drew out a book, and proudly handed me the Eastern Press edition of Mrs. Dalloway I’d recently given away.

“We found this at Half Price Books!” she said, “And we knew we had to get it for you.”

I was deeply moved by the gesture and thought, “Well, I’m clearly meant to have this book.”

I kept it in my campus office, and when my husband and I moved across the country, it of course came with us.

Having fun with Mrs. Dalloway

Looking at the book recently, I began to wonder how I might do justice to
Woolf’s words, to my students’ thoughtful gift, and also to the physical thing. I wondered how it might manifest into a different type of aesthetic object, and I wondered if I might fall under Woolf’s spell once again if I approached her writing in a different way.

Since leaving academia nearly four years ago, I’d been losing interest in Woolf, a sad and unsettling experience I hoped was only temporary.

“Mostly, I set out to have fun,” Sloat writes towards the end of her introduction to Hotel Almighty. I set out to do the same when creating erasure poetry from Mrs. Dalloway.

I sought combinations of words that would reflect Woolf’s concerns in the novel, like the vagaries of time and fluctuating relationships. Sometimes, I sought to counteract the unbearable sadness on the page, like Septimus Warren Smith’s suicidal despair. Sometimes, I tried not to overthink it and just remain alert to any words or phrases that might jump out.

I decided to create 51 erasures, Clarissa Dalloway’s age in the novel.

Adding art to the words

As for the art, some of the erasures called out for a particular color or striking color combination. For a few, I wanted strips of paper to cover all but the circled words. For added visual interest, I cut out some of my drawings and paintings from other notebooks and pasted them in.

I appreciate anew, or differently now, her writing to a rhythm, her threading of specific motifs throughout the novel, her aversion to verbs (!), and her insights into the multitudes of human experience.

The process of running a paint brush, colored pencils, or pastel crayons across the lines, a repetitive and meditative action, found me absorbing and thinking about words I hadn’t singled out.

Selecting from among Woolf’s words and adorning them with art made for a unique and enjoyable creative experience. I appreciate anew, or differently now, her writing to a rhythm, her threading of specific motifs throughout the novel, her aversion to verbs (!), and her insights into the multitudes of human experience.

I like to believe we created these erasures together. And, it’s nice to have her back.

About the author

Kristin Czarnecki at the 2019 Annual International Conference on Virginia Woolf held at Mount St. Joseph University in Cincinnati, Ohio.

Kristin Czarnecki taught English in Georgetown, Kentucky, for many years and is now executive director of the Rockport Art Association & Museum in Rockport, Massachusetts. A former president of the International Virginia Woolf Society,  she has published literary criticism in Woolf Studies AnnualJournal of Feminist ScholarshipJournal of Modern Literature, the CEA CriticCollege Literature, and Journal of Beckett Studies as well as in edited volumes. She is also the author of two memoirs: Encounters with Inscriptions (Legacy Book Press, 2024), about the books inscribed and given to her by her parents over the years, and The First Kristin: The Story of a Naming (Main Street Rag, 2020), about the experience of being named after a deceased sibling. Her chapbook, Sliced, was published by dancing girl press & studio in 2023. Her next book, My Moomin Memoir: Reflections on Tove Jansson’s Classic Tales, is forthcoming from Legacy Book Press.

Erasure poems from Mrs. Dalloway by Kristin Czarnecki

The Sunlight by Kristin Czarnecki

The Dear Boy by Kristin Czarnecki

The Shaggy Dog by Kristin Czarnecki

She Made the Drawing Room by Kristin Czarnecki

To Split Asunder by Kristin Czarnecki

 

The organizers of the 34th Annual International Conference on Virginia Woolf, held in London and Sussex last July on the theme of “Woolf and Dissidence,” invite submissions for the upcoming volume in the Virginia Woolf: Selected Papers series.

The volume will add to the digital, open-access series published by Clemson University Press, and will add to the edited collections open to scholars and readers of Woolf from around the world.

The collection will focus on the theme of the 34th annual conference — “Woolf and Dissidence” — and will explore the many forms that dissent takes in Woolf’s work, continuing a conversation about the nature and context of Woolf’s dissidence, while also exploring dissident approaches and responses to Woolf’s writing.

As with previous volumes, between 25 and 30 of the hundreds of papers presented at the conference will be selected for inclusion in the volume.

Submission guidelines and deadline

Submissions should be approximately 2,000-3,500 words, including notes. All submissions must be in Word and follow the Chicago Manual Style Guide. (See further style and formatting guidance here). Authors must secure permissions for quotations or images.

Please send complete, edited papers by March 31 to H.Tyson@sussex.ac.uk.

Please note that submission does not guarantee acceptance; there will be a selection process. Any questions can be sent to Helen Tyson  at H.Tyson@sussex.ac.uk.

At the 34th Annual International Conference on Virginia Woolf: Woolf and Dissidence, Anne Fernald gives a keynote address, “Dangerous Days: A Century with Clarissa Dalloway.”