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Virginia Woolf, Phi Beta Kappa?

No, not really, I’m just making a playful leap.

I read a wide assortment of literary journals for the purpose of finding appropriate targets for my own creative nonfiction. Among them, though far beyond my present aspirations, is The American Scholar, the publication of Phi Beta Kappa.

A writer friend, my mentor and model, has the talent and the good fortune to have been published there a number of times, and I’ve found it to be a brilliant periodical. It’s no surprise, then, to come across Woolf in its august pages, cited twice in the Spring 2011 issue.

Doris Grumbach writes with wit and wisdom about old age in “The View from 90,” taken from her memoir, Downhill Almost All the Way, (ironic in itself, considering Leonard Woolf’s volume of autobiography, Downhill All the Way).

She tells of Somerset Maugham being asked to speak on the virtues of being old. He stood at the podium and said, “I cannot think of one,” then stepped down.

The elderly commune together socially to combat their segregation from the general population, Grumbach says, and notes that “In Mrs. Dalloway someone says that parties are held ‘to cover the silence.’”

Also in the issue is a collection of quotations on Patience collected by Anne Matthews. Along with passages from Marcus Aurelius, Walt Whitman, Garrison Keillor and others, she includes the following from The Waves:

“Certainly one cannot read this poem without effort. The page is often corrupt and mud-stained, and torn and stuck together with faded leaves, with scraps of verbena or geranium…One must put aside antipathies and jealousies and not interrupt. One must have patience and infinite care and let the light sound, whether of spiders’ delicate feet on a leaf or the chuckle of water in some irrelevant drainpipe, unfold too.”

These sightings that I stumble across, that seem to merge different areas of my life, are the ones I enjoy the most–they give me a sense of continuity and reinforcement. And as we discover repeatedly and see in the sheer numbers as well as the broad range of the sightings that Paula posts so prolifically, Virginia Woolf’s after-life is unending.

Visit the BFI’s YouTube Channel to see color and black and white film footage from the time of Virginia Woolf.

The London footage for years ranging from 1896 to 1926 is available at this link: “The Big Smoke: London on Film.”

You can view 16 street scenes that include:

  • Blackfriars Bridge (1896)
  • Trafalgar Square
  • The Thames
  • London Bridge
  • Kensington Gardens
  • Hyde Park
  • St. James Palace

The video here shows “Old London Street Scenes” from 1903.

  1. A Young Muse in the Service of Male Writers, New York Times
    And the child is reduced to mere baggage when Ms. Roiphe imagines drowning herself almost the way Virginia Woolf did, but weighted down by offspring rather than stones. “And then,” she adds, “I thought that I had better write something that could stand . . .
  2. Review: “ORLANDO” soars!, ChicagoNow (blog)
    Sarah Ruhl’s adaptation of Virginia Woolf’s Orlando is a wild ride through a whimsical landscape. A place where the individual can thrive without the limitations of time, and where all it takes is a good night’s sleep to change you from man to woman. . . .
  3. Fifty isn’t the new 30, author says, Winston-Salem Journal
    After months of trying to resuscitate her near-comatose career, Jackson sucked it up with the help of a Virginia Woolf quote — “Arrange whatever pieces come your way” — and made a documentary about taking her spoiled teenager to India’s slums . . .
  4. Making Her Mark: Paule Marshall, Patch.com
    She needed, paraphrasing Virginia Woolf, a room of her own. Against the wishes of her husband, she enlisted someone to help with Evan-Keith and rented a small apartment in order to devote more time to her fledgling novel. Two years later, in 1959, . . .
  5. Wry Virginia Woolf in ‘Room’ with view, Kuwait Times
    Don’t be afraid of Virginia Woolf; her work contains a lot of plainspoken “nuggets of truth.” By now we’re pretty familiar with Woolf’s oft-repeated opinion that a woman needs a room of her own in which to write. The one-woman play, “Room,” now being . . . Continue Reading »

I’m not sure though that the beauty of the country isn’t its granite hills, and walls, and houses, and not its sea. – Letters II, 462

Imagine this: color film footage of the harbor and streets of St. Ives, Cornwall, and of the streets of London from 1924 to 1926, during Woolf’s time. Imagine something even better: actually viewing this footage online.

The film footage is from Claude Friese-Greene’s The Open Road (1926) a fascinating social record of inter-war Britain.

The St. Ives snippet below is available on the British Film Industry‘s YouTube Channel. Don’t blink though. The video is just 19 seconds long.

First, the back story

In 1924, Friese-Greene borrowed a flash convertible and took a road trip from Land’s End to John O’Groats and back to London, filming along the way using a unique experimental color process developed by him and his father.

The result was three hours of unedited footage — and some of Britain’s first color film footage — that Friese-Green expected to edit into 26 short travelogues that would be shown weekly at the cinema. His film was first shown at trade fairs in 1925.

What happened next

Here’s what happened to Friese-Green’s film:

  • Luckily, the film was preserved. The original negatives were given to the BFI in the late 1950s.
  • The BBC used the footage to produce a three-part documentary co-produced with the BFI and titled The Lost World of Friese-Greene.
  • The BFI National Archive restored a special 65-minute compilation of highlights from the journey, using digital intermediate technology to remove the defects of the original film.

Technically, I’m on spring break. I have had a break from teaching and preparing for classes, but I haven’t gone anywhere. No sun, no sand, no waves tickling my toes.

So I pushed my current project aside and took a three-minute beach break in St. Ives, Cornwall, where Virginia Woolf spent her summers until the age of 12.

Join me there now. I’ve got the sunscreen.