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Posts Tagged ‘Alice Lowe’

The cover article of this week’s (Oct. 5) New York Times Book Review is a glowing assessment, a “run, don’t walk”jThe Assassination of Margaret Thatcher rave of Hilary Mantel’s new story collection, The Assassination of Margaret Thatcher. Speaking of Mantel’s deserved reputation in English literature, the reviewer, Terry Castle, declaims that:

“Mantel has assumed an esteemed place in what might be called a great tradition of modern British female storytelling, an ardor-filled, bluestocking lineage extending from Virginia Woolf and Katherine Mansfield in the early part of the 20th century through Elizabeth Bowen, Sylvia Townsend Warner, Elizabeth Taylor, Iris Murdoch, Edna O’Brien, Barbara Pym, Penelope Fitzgerald, Muriel Spark, Elizabeth Jane Howard, Doris Lessing, Beryl Bainbridge and many others in subsequent decades, all the way to such gifted living practitioners (again, to name only a few) as A.S. Byatt, Ruth Rendell, Maureen Duffy, Ali Smith, Jane Gardam, Emma Donoghue, Jeanette Winterson and Zadie Smith.”

I cite the entire list because it strikes me that what Castle is presenting here, in her homage to Hilary Mantel, is a sampling of Virginia Woolf’s vast legacy. These women and many more have fulfilled Woolf’s wishes for women and literature when, in A Room of One’s Own, she admonished them (us, that is) “to write all kinds of books, hesitating at no subject however trivial or however vast.”

Mantel’s fantastic title story is reproduced in its entirety in the Sept. 28 Review. I love its keenly observed descriptions and quirky but believable characters; I suspect that Virginia Woolf would have enjoyed it too.

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Blogging Woolf contributor Alice Lowe has written a chapter for Writing After Retirement: Tips from Successful Writers, an anthology of short essays on topics that cover the writing basics about getting started, along with tips for specific areas of interest, publishing and marketing, and more.

Alice’s chapter, “A Muse of One’s Own: Finding Inspiration for your Writing Life,” is, of course, focused on Virginia Woolf. It’s Chapter Three in the volume.

View the table of contents on the publisher’s website. Buy it there or on Amazon.

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Woolfians who attended the 2009 conference in New York, Woolf in the City, were treated to a keynote address by Rebecca Solnit. In person as in her prose, Rebecca paints beautiful word pictures and reflect thoughtfully on their significance.

Her talk wasn’t included in the selected papers from that conference, but now she has published it as “Woolf’s Darkness: Embracing the Inexplicable” in her newest book, Men Explain Things to Me. The essay’s title in this volume is taken from Woolf’s 1915 diary entry: “The future is dark, which is the best thing the future can be, I think.” In noting the relevance of Woolf’s work today, Solnit says: “Here we are, after all, revisiting the words of a woman who died three quarters of a century ago and yet is still alive in some sense in so many imaginations, part of the conversation, an influence with agency.”

The title essay, “Men Explain Things to Me,” may go down in history as a feminist classic along with Judy Brady’s “I Want a Wife” in the 1972 inaugural issue of Ms. Magazine. And, no surprise, Solnit evokes Woolf in her jibe at male (some, not all, she allows) know-it-allness: “A Freudian would claim to know what they have and I lack, but intelligence is not situated in the crotch—even if you can write one of Virginia Woolf’s long mellifluous musical sentences about the subtle subjugation of women in the snow with your willie.”

Virginia Woolf is clearly a strong influence and appears in almost all of Solnit’s work. In her last book of personal essays, The Faraway Nearby, she is motivated to dig deeper into reflections about her mother by Woolf’s example and words in Moments of Being: “It is only by putting it into words that I make it whole.” Rebecca Solnit puts her stories and arguments into words in a way that does credit to Woolf.

 

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Alice Lowe “observes perpetually,” and she does it in loving memory of Virginia Woolf. Truly. See Pg. 26.

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“When there are fifteen people sitting down to dinner, one cannot keep things waiting for ever.” So starts a passage from To the Lighthouse that accompanies a photograph of a bowl of boeuf en daube—the solid brown chunks of meat accented by shiny black olives and bright orange carrot slices—accompanied by a dish of Brussels sprouts and a glass of claret, served on a green cloth scattered with seashells.

This is just one of the 50 extracts from novels included in Fictitious Dishes by Dinah Fried (“fried,” really—would I make it up?). The opulence of the elegant tea spread for Rebecca and the cocktail party fare—caviar, smoked salmon and more—to represent The Great Gatsby are balanced by a simple and sumptuous basket of strawberries for Emma and, of course, Proust’s tea and madeleine.

I can’t resist the juxtaposition of food and literature, food in literature, and especially Woolf and food. It was the topic of my paper at the 20th Annual International Conference on Virginia Woolf: “’A Certain Hold on Haddock and Sausage’: Dining Well in Virginia Woolf’s Life and Work,” which was published in the selected papers from that conference.

This collection was a delightful find. There’s a website too, but the book is a visual feast. Do what I did—buy it for a gift but read it first!

 

 

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