Feeds:
Posts
Comments

Archive for the ‘Virginia Woolf’ Category

Did Virginia Woolf really do all of her writing standing up?

A student asked me that question recently, and I had to think for a moment before I could give her an answer.

We had just finished reading Three Guineas for a class I teach on gender roles in war and peace. The students were not familiar with Woolf. Some of them admitted being afraid to read her novels, as they had heard she was “difficult.” Most had not read more than a snippet or two of A Room of One’s Own.

The student raised the question of Woolf’s writing posture when we took a break in our discussion of Three Guineas. She had read that Woolf did all of her writing standing up, she said, and found it unbelievable that Woolf — or anyone — would be able to do so much writing on foot. It sounded exhausting.

I was excited by her question. It meant that despite the rumored or real “difficulty” of Woolf’s writing, this student had appreciated her enough to find out more about her.

I told my student that I thought Woolf had used a stand-up desk as a young woman living in her parents’ home in Kensington. I mentioned, too, that I recalled seeing a regular desk and chair in Woolf’s writing lodge at Monk’s House in Sussex.

Later, I found a photo posted on Flikr by Renaud Camus that pictures the desk. The Smith College Libraries Woolf in the World online exhibit also links an image of Robert Browning’s portable desk to a quote from one of Woolf’s letters in which she asks for “a desk that shuts up… something that would hold all my letters, papers, ink pots, & shut up & lock, & have drawers, & harmonise with my sister’s decorations.”

And, of course, one can order one’s own Woolf-alike stand-up desk, as long as one has the necessary stamina for writing on foot, as well as the requisite funds.

Read more about where writers write and the routines they follow — including a mention of Woolf’s — on the BBC Web site.

Read Full Post »

Virginia Woolf is the token woman writer marketed as a doll by the Oddfellows Online Store.

The tip came to Blogging Woolf from Cristina, of the Brontë Blog team.

Check out the doll. It’s only $5.99.

Read Full Post »

Did Lydia Lopokova serve as inspiration for the character of the Russian princess Sasha in Virginia Woolf’s Orlando?

That was the question that popped into my mind after reading a review in The Guardian of Judith Mackrell’s book, The Bloomsbury Ballerina, which tells the story of modernist ballerina Lydia Lopokova.

The Russian ballerina took London — and the Bloomsbury circle — by storm for the 11 months of her first tour there, beginning in September 1918.

But according to the Guardian article, her sudden flight from the ballet world to take up with a Russian lover in July of 1919 disappointed the Bloomsbury crowd. By the time she returned in 1921, they were no longer enamored of her.

The review says Woolf only once made “significant fictional use” of Lopokova — as the inspiration for Rezia in Mrs. Dalloway.

However, I see another. I am struck by the similarities between the single-minded ballerina Lydia Lopokova and the exciting Muscovite princess, Sasha of Orlando.

Both moved with great grace and energy — Lopokova on the stage and Sasha on the ice. Both were charismatic. Lopokova mesmerized her audiences, and Sasha enchanted Orlando. Both were unconventional, mysterious, adventurous, and well-traveleled. And both had a dangerous side.

Lopokova and Sasha both ran off to Russia after a brief stay in London. And each of them captured the heart of a quintessential Englishman. For Lopokova, it was John Maynard Keynes’s heart, which resulted in a long-lasting marriage. For Sasha, it was Orlando’s, which resulted in heartbreak for the young lord.

All of this just brushes the surface. Feel free to add some strokes of your own — on either side of the issue.

Read Full Post »

On March 12, women in Israel will embrace Virginia Woolf’s idea that they need a private space in which to flourish.

The 2008 International Women’s Festival in Holon, Israel, will feature Woolf’s A Room of One’s Own as its theme.

The festival’s theater, dance, music, art and literature offerings aren’t negative about men, says festival artistic director Rivi Feldmesser Yaron, according to the Jerusalem Post.

Instead, they “reveal the woman’s world and its inherent power,” he said. 

Read Full Post »

Jean Guiguet is dead. But until I read about his passing on the VW Listserv,  I did not know of his connection to Woolf. Neither did I realize that he was a man.

The clues to both facts were contained within several messages to the list from Woolf scholars.

First, Stuart Clarke wrote to share the news that Guiguet died Jan. 30 at the age of 94.

Then Karen Levenback weighed in with her tribute to the French professor as one “of the earliest to recognize and honor Virginia Woolf and her achievement.”

Levenback wrote that his 1960s book, Virginia Woolf and her Works, “was one of the very few critical studies of Woolf before the publication of Quentin Bell’s biography in 1972.” 

What’s more, she wrote, it was written before Woolf’s extensive diaries and letters were available to scholars. The only such resource at the time Guiguet wrote his book was the relatively slim version of Woolf’s diaries, A Writer’s Diary, heavily edited by Leonard.

Guiguet also wrote the preface to a volume titled Contemporary Writers: Essays on Twentieth-Century Books and Authors, a collection of 40 Woolf essays on writers of her time.

In Virginia Woolf: A-Z, Mark Hussey makes numerous references to Guiguet’s Virginia Woolf and Her Works in entries covering Woolf’s fiction and non-fiction — from The Voyage Out to Three Guineas.

For a price, the Sept. 22, 1966, review of Guiguet’s book in the New York Review of Books is available online, as is Guiguet’s 1966 essay on Orlando

To read a piece of Guiguet’s work for free, download the Fall 2006 issue of the Virginia Woolf Miscellany. His “Response to Suzette Henke’s article: Virginia Woolf, James Joyce, and `The Prime Minister’: Amnesias and Genealogies begins on page 42.

Another Guiguet article, “Virginia Woolf: A Multifaceted Brain, a Single Purpose,” was published in the May 2001 issue of the Virginia Woolf Bulletin.

Both Levenback and Denise Marshall spoke of Guiguet’s valuable involvement with the International Virginia Woolf Society.   Levenback remembered him as the only French member of the group when she served as secretary-treasurer in the late 1980s. Marshall recalled that when she served in that position in the early 1990’s, the group had more international members, “but none as faithful or as communicative as Jean Guiguet.”

In memoriam, Marshall wrote, “His work helped me with my dissertation and later teaching, and his is one of those volumes I always reached for as needed. I am saddened to hear of his passing.”

“I hope  that  we remember him and his important contribution with esteem,” Levenback concurred.

Read Full Post »

« Newer Posts - Older Posts »