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Archive for May, 2013

Bloomsbury in Bloom

Posted in Virginia Woolf on Monday 13 May 2013| 2 Comments »

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A video tour of Monk’s House

Posted in films, Monk's House, Virginia Woolf, tagged , , , , , on Friday 3 May 2013| 2 Comments »

This video tour of Virginia and Leonard Woolf’s Monk’s House in Rodmell, Sussex was produced by the BBC and is hosted by Paul Martin.

If you haven’t walked in her steps through England — or even if you have — this is a great way to get an up-close look at the Woolfs’ longtime home.

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Handwritten Manuscript Pages From Classic Novels

Posted in Virginia Woolf on Friday 3 May 2013| Leave a Comment »

Including a page from Virginia Woolf’s Mrs. Dalloway

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Toby’s Room: Better late than never

Posted in Bloomsbury, Charleston Farmhouse, Virginia Woolf, Woolf in Contemporary Fiction, Woolf sightings, tagged , , , , , , on Thursday 2 May 2013| 1 Comment »

 I finally read Pat Barker’s Toby’s Room. My library’s reservation system is fantastic but does require some patience! Paula first Toby's Roommentioned it here last summer, noting the allusions—in more than the title—to Woolf’s Jacob’s Room, as did Hermione Lee, who reviewed it for The Guardian.

I read Barker’s Life Class around that time before I knew it was the prequel to Toby’s Room, and I posted on the “near sightings,” the Bloomsbury references when the protagonist, Slade art student Elinor Brooke, has tea at Ottoline Morrell’s.

Elinor’s brother Toby, like Jacob before him, dies serving in World War I, and like Jacob is revealed mostly through family and friends. Toby’s Room is still Elinor’s story, in which she seeks to unearth the mysterious details of his death. Woolf appears in entries from Elinor’s diary. She records her impressions from a weekend at Charleston Farmhouse, presumably at the invitation of Vanessa Bell:

“VB was in the drawing room when I arrived, with her sister, Mrs. Woolf. I’ve met her more than once, though I don’t think she remembered me and gave me a lukewarm welcome. Doesn’t like young women, I suspect. I thought the talk would be well above my head, but they were quite relaxed and gossipy and we chatted on easily enough. Or they did. I was too nervous to say much. It was like listening to an old married couple. They’ve got that habit of completing each other’s sentences…”

The other guests are “the conscientiously objecting young men” working at the farm, none of whom, she realizes, are going to be interested in her. There’s talk of the war at dinner, and Woolf talks about “how women are outside the political process and therefore the war’s got nothing to do with them.”

Elinor is struck by Woolf’s observation but finds it less convincing when she later tries to echo the sentiment herself. Barker has no such problem making her case. In both novels, she challenges readers to explore the role of art and artists in time of war, heightening the drama with real, fictional and hybrid characters as she did in her Regeneration trilogy.

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