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Posts Tagged ‘Anne Fernald’

It’s Sept. 1, which means we have only three days to wait until the U.S. Sept. 4 release of the film Virginia Woolf’s Night and Day, a playful and visually stunning adaptation of  Woolf’s second and longest novel that emphasizes her feminist theme.

Night & Day is an unromantic comedy about a passionate astronomer Katharine Hilbery who does everything she can to avoid romantic love and marriage. – official synopsis

Screenings and tickets

A Hilbery family portrait

The film will be shown in more than 100 U.S. cinemas in these cities: New York, Los Angeles, Chicago, San Francisco, Boston, Washington DC, Seattle, Philadelphia, Atlanta, Dallas, Denver, Minneapolis, Portland, Phoenix, Austin, San Diego, Miami, Detroit, Cleveland and Nashville.

You can purchase tickets at this link.

Released in the UK on June 19, after premiering in the European market early this year, Digital Spy called it a “refreshing” period drama.

The cast and the changes

Katharine Hilbery in her lab

Set in 1910, Night and Day stars Haley Bennett playing Katharine Hilbery as a would-be astronomer who wants to study at Cambridge.

Coincidentally, Haley spent her early years split between Ohio and Florida, which included attending high school in Stow, an Ohio city adjacent to mine.

Justine Waddel wrote the screenplay and produced the film. Simon Goff wrote the energetic score. Both were part of an interesting post-screening discussion at the 35th Annual International Conference on Virginia Woolf: Woolf and Sound in Istanbul in June, which was moderated by Woolf scholar Anne Fernald.

Here are some of the changes to Woolf’s novel that the film includes:

  • Jennifer Saunders and Timothy Spall play Mrs. and Mr. Hilbery, who are rather different from their novelistic originals,

    Katharine

  • Elyas M’Barek is “working-class editor” Ralph Denham,
  • Jack Whitehall is an effectual William Rodney, who confuses ‘astrologer’ with ‘astronomer’; and
  • singer Lily Allen is forthright suffragette Mary Datchet.

Filming locations

Filming took place last year at sites in in the north-east of England:

  • Literary and Philosophical Society (Newcastle upon Tyne)
  • Common Room of the Great North (The Mining Institute, also in Newcastle)
  • Ryhope Engines Museum (Sunderland)
  • Tanfield Railway (Gateshead/Durham) and
  • Beamish Museum (County Durham); as well as in Cologne.

Woolf’s novel and the film

Mary Datchet and Katharine

Woolf published Night and Day in 1919 and dedicated it to her artist sister Vanessa Bell, who readers — and Woolf herself — identify as Katharine Hilbery.

In writing the novel, Woolf noted in one of her letters that she was concerned with “the whole question . . . of the things one doesn’t say; what effect does that have?” (L2 400).

So does the film.

Mark Hussey, author of Virginia Woolf A To Z (1995), describes the novel as

“a comic novel of manners concerning five young people struggling with issue of love and work, engagement and marriage, in London in the early years of the twentieth century as the Edwardian generation Woolf herself belonged to sought to escape the social and moral strictures of their parents’ Victorian world. (183).

So does the film.

Fun and contemporary in tone, this refreshing film showcases an ensemble of humourous performances against the ravishing backdrop of London in 1910, advances in science and technology and crumbling Edwardian patriarchy. – official synopsis

Watch the trailer below for more.

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Here are just a handful of news bits about Virginia Woolf scholars. I know there are more. So if you have one, please add it as a comment below this post. Or send it to me by clicking on the email link in the right sidebar.

  • Maggie Humm’s book The Bloomsbury Photographs (2024) received two honors this year. It was a finalist in the American Writing Award 2025 for Academic/Educational book, and it won the American Writing Award 2025 for photography.
  • Amanda Golden and Karen V. Kukil edited The Poems of Sylvia Plath, which is listed in the Faber Spring Catalogue and is now available for pre-order on Amazon UK. It is considered the definitive edition of Plath’s poetry.
  • Anne Fernald has a new book coming out in August. Her Own Voice: Eight Women Who Rewrote Life and Art tells the stories of eight radical women who responded to social oppression and helped create the modernist movement. In it, Fernald argues that the stories we read shape the lives we imagine for ourselves, and offers these stories as possible templates for living boldly and creatively.
  • Ane Thon Knutsen had another of her works, A Room of One’s Own (2017), included in the Catalog for Artistic Publishing, which is a collection of the most important 100 publications from Norwegian artists.

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Publication of Virginia Woolf’s newly discovered work of fiction, The Life of Violet, continues to create a stir.

Just published Oct. 7, the volume of short stories edited by Urmila Seshagiri was featured by PBS Newshour on its art and culture series Canva on Oct. 9.

And next week, The Center for Fiction will welcome Seshagiri for a conversation with Woolf scholar Anne Fernald on the book, which is considered Woolf’s first work of experimental fiction.

The talk is available in person or as a livestream on Thursday, Oct. 16 at 7 p.m. EDT.

If you live in or near New York City, you may want to head over to 115 Lafayette St. in Brooklyn to attend in person at a cost of $10. If not, register for the livestream; it’s just $5.

Registration and details for both are available online.

Anne Fernald

Urmila Seshagiri

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Woolf readers at one of the exhibit and bookseller tables at the 34th Annual International Conference on Virginia Woolf.

Roughly 350 scholars from around the globe have gathered at the University of Sussex for the 34th Annual International Conference on Virginia Woolf. And coming from the United States, this year’s topic could not be more timely: Woolf and Dissidence.

As an American living under the destructive regime now ruling my country, I hoped that I and my compatriots would be greeted with empathy and understanding by those we met at this conference in England.

I was not disappointed. I and others from the U.S. have been embraced more warmly than ever by the students, common readers and scholars from around the world who have arrived in Falmer, the English town on the outskirts of Brighton, where the University of Sussex is located.

The universal question

Time for talk during a conference break.

Whether from Turkey, Korea, Brazil, Italy, Austria, Belgium, Norway, Canada or the UK, our fellow humans and Woolfians share our disappointment in the country I call my home.

And they almost universally ask the question we Americans have been asking ourselves since last November: “How did this happen?”

Sadly, we have no definitive answer. All we can offer are conjectures, theories, and speculations.

Dangerous words

Notice how I am writing here. I am choosing my words carefully. I am not saying exactly what I mean. Instead, I am offering hints. Instead, I am writing in a kind of code.

Why? I am afraid. Not so afraid that I will be silent, because, as Audre Lorde said, “Your silence will not protect you.”

But afraid enough to edit myself, to avoid publishing words on the web that might bring attention from the thought police. After all, I would like to get back into the country of my birth.

Clarissa Dalloway’s dangerous world

Which brings me to one of the best things I heard at the conference so far: Fordham University Professor Anne Fernald’s keynote presentation titled “Dangerous Days: A Century with Clarissa Dalloway.”

In it, she talked about the dangers we face in our current political climate and the dangers Clarissa faced in Woolf’s 1925 novel. Clarissa lost her sister at a young age. She lived through the Great War. She survived the influenza pandemic.

Woolf describes Clarissa’s feelings this way:

She had a perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always has the feeling that it was very, very dangerous to live even one day. (MD 8)

I now understand that quote. And I recognize — once again — that Woolf’s words always apply.

Anne Fernald gives her keynote address, “Dangerous Days: A Century with Clarissa Dalloway.”

 

 

 

 

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Academic tomes are usually quite pricey. But today the good news is that The Oxford Handbook of Virginia Woolf is now available in paperback, bringing the price down to $50.

The book is edited by Anne Fernald, professor of English and Women’s, Gender, and Sexuality Studies at Fordham University. Its 39 original chapters written by internationally prominent scholars do the following:

  • Consider Woolf’s career chronologically and places her novels in the context of her life, world events, and the non-fiction she wrote alongside them to highlight the centrality of essay-writing and reviewing to her career
  • Assume her feminism and examines its many facets and broadens our vision of Woolf’s world beyond Bloomsbury by looking at her many circles of women friends, her engagement with women’s education and the suffrage movement, and the role of Hogarth Press in the larger context of publishing
  • Include a wide range of chapters on Woolf’s afterlives.

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