The foundation, for women writers and artists, will award its To the Lighthouse Poetry Publication Prize for the best, unpublished poetry collection by a woman. Apply here by Aug. 31. The 2010 winner was Carolyn Guinzio for her volume E.
AROHO is a nonprofit institution working on behalf of women writers. The $50,000 Gift of Freedom Award is given every two years and is the largest grant of its kind to women in the United States.
The virtual public square featuring conversations about Virginia Woolf is a reality. Anne Fernald, writer in residence at The New York Public Library’s Wertheim Study last year, just posted this news on Facebook: The talk she gave at the NYPL in October is now available online as a free podcast.
Anne Fernald
“On Traffic Lights and Full Stops: Editing Mrs. Dalloway” focuses on her work preparing a textual edition of Virginia Woolf’s Mrs. Dalloway (1925) for Cambridge University Press. The 68-minute piece includes discussion of manuscript material housed in the Berg Collection of the New York Public Library.
Fernald is an associate professor of English at Fordham University where she also directs the first-year writing and composition program and is the author of Virginia Woolf: Feminism and the Reader (Palgrave 2006). She blogs at Fernham.
Other talks in the three-day Woolf lecture “festival” at the NYPL are available as free podcasts as well. They include:
A recent query to the VWoolf Listserv asked for sources regarding Virginia Woolf and Anton Chekhov. Here is a compilation of the responses that were sent round, along with several notes of my own:
Roberta Rubenstein’s Virginia Woolf and the Russian Point of View (Palgrave Macmillan, 2009). Rubenstein herself wrote to say that her work includes a full chapter on Woolf’s response to Chekhov as well an appendix that includes her own transcription of Woolf’s unpublished review, “Tchekhov on Pope.” “The review, written in 1926, was ostensibly of a new edition of Pope’s “Rape of the Lock” but is as much about Woolf’s interest in Chekhov and the Russian influence as it is about Pope’s poem,” Rubenstein wrote. See the Google preview.
Christine Froula’s “‘The Play in the Sky of the Mind’: Dialogue, ‘the Tchekhov method’ and Between the Acts‘” in Woolf Across Cultures (Pace UP, 2004)
Karen Smythe’s “Virginia Woolf’s Elegaic Enterprise” in NOVEL: A Forum on Fiction. Duke UP 26:1 (Autumn, 1992), pp. 64-79
Anthony Domestico’s “The Russian Point of View” on The Modernism Lab at Yale University. Domestico is a graduate student in English at Yale.
Darya Protopopova’s “Virginia Woolf and the Russians: Readings of Russian Literature in British Modernism,” doctoral thesis at Oxford University. The author is an alumnus of Oxford’s New College, and Hermione Lee supervised her work. See more information from Darya in her comment below.
Virginia Woolf and Bloomsbury, an unannotated database of more than 28,000 records compiled and updated since the early 1970s, although Stuart N. Clarke, who compiled the database, wrote that it did not supply much more of significance on the topic.
Woolf herself wrote “The Russian Point of View,” in which she offers her assessments of three Russian writers: Chekhov, Dostoevsky and Tolstoy. The essay can be found in The Essays of Virginia Woolf. Ed. Andrew McNeille. Vol. 4. London: Hogarth, 1994. 181-189.
In Translations from the Russian, Woolf and S.S. Koteliansky translated three works: Stavrogin’s Confession and the Plan of the Life of a Great Sinner, Tolstoi’s Love Letters and Talks with Tolstoi. This volume was edited by Stuart N. Clarke and includes an introduction by Laura Marcus.
Ilana Simons' Woolf painting as it appears on Flickr
Ilana Simons, sent out an invite to a Jan. 14 gallery opening in Chelsea featuring the work of 11 visual artists and her own stitching series, “Let Me Self Soothe Without Self-Harm.”
I live too far away to attend, but I’m wondering if any Blogging Woolf readers stopped by last Friday. The exhibit included Simons’ most recent painting of Woolf.
Simons has painted Woolf before. On paper plates, in fact. Two Woolf portraits are included in Simons’ collection of 50 portraits of authors on plates, which she created one summer using 99-cent tubs of acrylics.
Björn Kohlström told Blogging Woolf that interest in Virginia Woolf has slowly but steadily increased in Sweden during the last few years.
As a result, several things have happened. His biography of Woolf, the first book about Woolf written in Swedish, according to Kohlström, was recently published. And a variety of Woolf’s work is available in Swedish as well.
All 10 of her novels are out, along with a translation of her diary called Moments of Freedom, and some of her essays. However, Kohlström says the translations of several of the novels are rather old — The Years dates from 1942 and Jacob’s Room from 1927.
Kohlström’s book, Virginia Woolf. En författarbiografi, is part of a series called Profiles in Literature. His is the first. Later volumes will cover Dostoevsky, Camus, Kafka and many Swedish authors.
I did discover another Swedish connection to Woolf — a blog titled A Room of My Own. And after this post was published, Kohlström spread the news of this post on his blog.
