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“Lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind.” – Virginia Woolf, A Room of One’s Own, p. 76

Yesterday, after weeks of drought in Northeast Ohio, the skies clouded over and the rain came down as both a drizzle and a downpour, continuing all afternoon and into the evening. At last!

Although I considered staying cozy and dry at home, I had a meeting to attend. So I grabbed my raincoat, started my car, flipped on my wipers, and drove along streets shining wet with our much-needed rain.

When I arrived, I would find food. I would find wine. But more importantly, I would find a gathering of mostly women doing their best to resist the tyranny under which we are all living at this terrible time in the history of the United States of America.

Not in my lifetime

I have not been around forever, but I can say that we are living in a time like none I have experienced before.

Not during my childhood, when some whites and many Blacks of all ages lay their lives on the line to demand civil rights. Not during my college years, when students faced teargas (and in the case of Kent State University on May 4, 1970—bullets) to protest the Vietnam War and women of all ages marched for equal rights.

So it is no surprise that I—and many others—feel anxious. And afraid. And disillusioned, depressed, and angry. But many of us also feel resolute, determined, and strong. Because we are committed to the belief that we can take our country back if we keep our minds free, keep the truth safe, and work together to take action.

Woolf’s words apply today

At this moment I find that Virginia Woolf’s words quoted above speak to me more than ever. They soothe my soul and give me hope that despite everything the felon’s regime is doing to destroy our freedoms, we will always have the freedom of our minds. That is the one thing that no one—not even autocrats—can control.

But here is how they persist in trying.

Libraries — and their books — under threat

Libraries are not locked yet, but they are under threat. Federal grant funding has been eliminated, and book bans are widespread.

Not surprisingly, 72 percent of those challenges came from pressure groups and government entities, according to the American Library Association.

Academic freedom disappearing

School is back in session, but public schools, which Thomas Jefferson and John Adams believed were necessary for an educated populace and a successful democracy, are losing funding to unregulated charter and private schools through voucher programs pushed by the right.

In addition, our felon in chief has made it legal for individuals to donate up to $1,700 to an organization that supports private schools and take a 100 percent tax credit for their donation.

Our federal Department of Education is being dismantled. And diversity, equity, and inclusion programs have been banned across the board.

At the state level, Texas has mandated that some time each day be allotted to prayer and Bible study. Ohio has passed a law that requires schools to give students “release time” to attend religious instruction during school hours. And according to a Pew Research Report, “Just over half of U.S. adults (52%) say they favor allowing public school teachers to lead their classes in prayers that refer to Jesus.”

Colleges and universities are still open, although the felon’s administration has withheld or threatened to withhold billions of research dollars from Brown, Columbia, Cornell, Duke, Harvard, Northwestern, Penn, Princeton and the University of California, Los Angeles until they succumb to his demands.

Professors are still teaching, although they are being closely watched, with at least 60 of them suffering recent retaliation due to comments they made on social media regarding Charlie Kirk’s murder.

Campus women’s centers and LGBTQ+ centers closed before fall semester. And ethnic studies programs are either dead or under threat.

Media censored

The media—public broadcasting, legacy media, and the major television networks—are still functioning, although in the case of for-profit media, their hands are increasingly tied and their mouths shut so their business mergers will receive government approval.

The felon’s toadies in Congress cut $1.1 billion of funding for NPR and PBS this year. The felon himself filed lawsuits against the New York Times, Washington Post, Wall Street Journal, CBS News (Paramount), and ABC News for simply reporting news he did not like.

And two of the main comedic truth tellers of our time—late night TV hosts Stephen Colbert (CBS) and Jimmy Kimmel (ABC)—have either had their show’s tenure cut short or suspended because they dared to criticize the felon in the White House.

Woolf’s eternal relevance

Today, in the face of this rising tide of autocratic populism, Woolf is more relevant than ever. Her methods of thinking, reading, and writing—as both critic and creator—remain effective fighting tools for us today and into the future.

Like her, we must value and preserve the freedom of our minds, so we can wage a smart fight against those who would take away our freedoms. As Woolf wrote in her diary during World War II:

“This idea struck me: the army is the body: I am the brain. Thinking is my fighting” (D5 285).

And so we must do as Woolf advised in Three Guineas (1938):

Think we must. Let us think in offices; in omnibuses; while we are standing in the crowd watching Coronations and Lord Mayor’s Shows; let us think as we pass the Cenotaph; and in Whitehall; in the gallery of the House of Commons; in the Law Courts; let us think at baptisms and marriages and funerals. Let us never cease from thinking – what is this ‘civilization’ in which we find ourselves? (62-3)

We must use our thinking to resist the horrors we confront in the news each day, as Woolf did in the face of even graver threats. For ignorance is the handmaiden of tyranny—and we will never become handmaids.

 

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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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Editor’s Note: As an introduction to the upcoming 34th  Annual International Conference on Virginia Woolf: “Woolf and Dissidence,” set for July 4-8 at King’s College London and the University of Sussex, England, we offer the third in a series of four posts in which Leanne Oden and Serena Wong reflect on their encounters with Virginia Woolf and with Woolf scholars — dubbed Woolfians — that they met at the 33rd Annual International Conference on Virginia Woolf: Woolf, Modernity, Technology, held June 6-9, 2024, at Fresno State University.

“Communication is health; communication is truth; communication is happiness. ”—Virginia Woolf, “Montaigne”, The Common Reader (1925)

The 2024 Woolf conference hosted a total of 29 panels across its four-day program. These panels, all brilliant, demonstrate in various methods a review of Woolf studies under the theme of technological innovation.

The two panels discussed in this post were respectively attended by the authors who also presented in them. Leanne reports on the panel “Offline Anxieties, Online Woolf’,” which is interested in the contextualizing and de-contextualizing of Woolf on public platforms in processes of reading.

Serena writes on the panel “An Examination of Craft, Technê & Aestheticism,” which engages with the relationship between crafting and reading in aesthetic approaches to Woolf’s work. Both accounts find solace – and new ideas – in their own clusters of research.

Panels

“Offline Anxieties, Online Woolf”

By Leanne Oden, Ph.D. Student, University of Rhode Island

L-R: panelists of “Offline Anxieties, Online Woolf” include Adriana Varga, Lisa Tyler, Judith Allen, Leanne Oden, and panel chair, Anne MacMaster. Photo courtesy of Amanda Golden.

The panel that I was selected to present in, alongside Lisa Tyler (Sinclair Community College), Judith Allen (Kelly Writers House), and Adriana Varga (Nevada State University), moderated by our panel chair, Anne MacMaster (Millsaps College), engaged with Woolf by rethinking the ways in which we contextualize and decontextualize her work.

From memes to politics

Lisa Tyler’s presentation, “‘Very Beautiful and Very Frightening:’ Interpreting Virginia Woolf-Related Memes,” investigates the circulation of Virginia Woolf’s images and quotations from her public and private writings on social media. She defines memes in her research as “cultural units—ideas, tunes, catchphrases, or images—that arise and propagate themselves through imitation.”

In her presentation, “Virginia Woolf, Three Guineas, and ‘the Manufacture of Consent,’” Judith Allen examines the political insights of Virginia Woolf alongside that of Walter Lippmann, who coined the term “manufacturing consent” in 1922.

Allen’s research leads her to question agents of power and their relationship to censorship, urging the audience to consider “which person, corporation, or government official controls the narrative — or at times, ‘purchases’ the narrative — and what might happen if we take risks, opposing the ‘official story’, the acceptable opinion.” In her concluding thoughts, Allen left the audience with a quote by Dr. Martin Luther King, Jr.: “And so, difficult as it may be: ‘We must speak out!’ In Martin Luther King’s words: ‘Silence is betrayal.’”

Culture, audience and responses to AROO

The presentation that I gave centers on the dynamic relationship between culture and audience as explored in Woolf’s final novel, Between the Acts (1941), as a shared experience between the characters within and the readers outside of the text. In this research, I examine the culture-audience relationship as a striking historically specific example of human-agent interaction (HAI), particularly through the literary representations of artifacts like the paintings and the newspaper.

My paper investigates the ways in which Woolf models a kind of cultural engagement that reflects new subjective modalities made possible through technology and modernity. Many thanks to Alice Wood, as well as my mentor and dear friend, Stephen Barber, for their brilliant research which has so inspired me and pushed my thinking.

Our final panelist, Adriana Varga, delivered her presentation, “‘A Room of One’s Own:’ Reevaluations,” in which she examines several 20th and 21st century responses to Virginia Woolf’s 1929 essay, A Room of One’s Own, in order to understand how different authors have interpreted and responded to it and why it continues to be a source of inspiration.

The Q&A session asked our panel of presenters to consider “where does Woolf go when decontextualized?” This sophisticated question inspired us to think across all of our presentations and the ways in which we contextualize and decontextualize her life and works.

A heartfelt thank you to my fellow panelists for their insightful research. Additional thanks to the University of Rhode Island Center for the Humanities and the International Virginia Woolf Society’s Suzanne Bellamy travel fund for their contributions to my trip to Fresno, making it possible for me to present my research. It has been a great honor to be among Woolfians and to see Woolf through their eyes.

“An Examination of Craft, Technê & Aestheticism”

By Serena Wong, Ph.D. Candidate, University of Glasgow

I presented on the third day of the conference with fellow panelists Brenna Barks (Fresno State University) and Melissa Johnson (Illinois State University), in a panel with the theme of the interlocking connections between reading, aesthetics, and craft.

Clothing, Orlando, and the intersections of craft and art

L-R: Panelists of “An Examination of Craft, Technê & Aestheticism” include Melissa Johnson, Brenna Barks, Serena Wong, and panel Chair, Marcia James. Photo courtesy of Jane Goldman.

Barks’ paper explored how clothing is used in Woolf’s 1928 novel, Orlando, and its film and play adaptions in 1992 and 2022/23 respectively.

As a fashion and art historian and material culturist, Barks is eager to define and simultaneously question gender, history, and the self in her study of these renditions regarding the making and theorizing of costumes.

Johnson, who hosted the aforementioned craft workshop, is a professor of Art History & Visual Culture at Illinois State University.

With a research focus on the histories of craft and its intersections with modern and contemporary art, Johnson examined the resonances of text and textile between Woolf’s writing and the work of artist Ann Hamilton.

In a panel that foregrounds the value of creative practice to interpretations of literature, I gladly noticed that the scholars’ discussions, as did my own, emphasized sensory experiences as a crucial tool of artistic exploration. Moreover, from our individual presentations rose an implied agreement that crafting is a political act.

Pottery as resistance

My paper, entitled “Strange Stories on a Willow Pattern Plate: Virginia Woolf, P’ou Song-Lin, and the Chinaware of Bloomsbury,” puts forward the aesthetic and orientalist tensions in Woolf’s 1913 review of Pu Songling’s short story collection Strange Stories from the Lodge of Leisure.

My creative practice with pottery painting had led me to create with artist friend Joanne Ning a chinoiserie-style plate, which found its inspiration in the depictions of this review. The plate not only serves as a visualization of the review but is more importantly offered as a project of resistance against the orientalist narratives that surround its form.

I extend my thanks to Barks and Johnson for brilliant conversions on our panel papers, and to the audience who during the Q&A impressed on my mind the blurred boundaries between aesthetic seduction and sedation.

Read past posts in this four-part series

  1. Many Paths of Crossing: Newcomers share their Woolf encounters at conference #33
  2. Many Paths of Crossing: Workshops at Woolf Conference #33

About the authors

Leanne Oden

Leanne Oden is a first-year Ph.D. student and an Instructor of Record in the English Department at the University of Rhode Island. In her forthcoming research, Leanne is interested in questioning the closure narrative of the illness versus health binary as challenged through Woolf’s writing among other modernists. In her role as an educator for the University of Rhode Island, she regularly teaches ENG 110: Introduction to Literature and WRT 106: Introduction to Research Writing.

Serena Wong

Serena Wong is a Ph.D. Candidate in English Literature at the University of Glasgow. Her doctoral study situates itself at the crossroads of British modernisms and Chinese modernity, with a focus on the orientalism in Virginia Woolf’s stylistic and formal representations of China. Her research also looks at theoretical and creative studies of ornamentation, which she positions as an important dimension of orientalist thought.

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At this time in history, with Kamala Harris poised to get the Democratic nomination for president of the United States to become the first woman of color at the top of the presidential ticket, no topic could be more timely and more pertinent than Woolf and Politics. And that is exactly what Literature Cambridge is offering for its Virginia Woolf Season 2024-25, which runs Sept. 14 through June 14, 2025.

The upcoming season of lectures and seminars on the major works of Virginia Woolf includes 10 sessions, each with a live online lecture and seminar via Zoom. They cover five of her novels and both of her polemics. All sessions are offered from 6-8 p.m. British time.

Each lecture will be recorded live and will be available to participants after the live event for up to 48 hours. The recordings are available only to people who have booked the session. The seminars are not recorded.

Dates and topics for Woolf and Politics

  1. Saturday, Sept. 14, 2024. Karina Jakubowicz on The Politics of Conquest in The Voyage Out (1915)
  2. Saturday, Oct. 12 2024. Alison Hennegan on The Politics of Flush (1933)
  3. Saturday, Nov. 23, 2024. Mark Hussey on Politics in Mrs Dalloway (1925)
  4. Saturday, Dec. 7, 2024. Ellie Mitchell on Woolf’s War Diary
  5. Saturday, Jan. 11, 2025. Danell Jones on A Room of One’s Own (1929) and Black Britain
  6. Saturday, Feb. 8, 2025. Natasha Periyan on Education in The Years (1936)
  7. Saturday, March 8, 2025. Trudi Tate on Mrs Dalloway (1925) and the Vote
  8. Saturday, April 12, 2025. Varsha Panjwani on The Politics of Orlando (1928)
  9. Saturday, May 10, 2025. Angela Harris on The Politics of Jacob’s Room (1922).
  10. Saturday, June 14, 2025. Claire Davison on Body Politics and Clothing in Three Guineas (1938)

Cost and deadlines

You can book all 10 sessions for the price of nine if you book by Saturday, Sept. 14, at 4 p.m. British Summer Time (just before the first lecture).

Get all the details and the link for booking.

 

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Literature Cambridge has scheduled interesting summer courses that have connections to Virginia Woolf and include fascinating excursions connected to her as well.

Woolf and Politics

Dates: 1-6 July 2018
Explores Woolf’s interest in the important issues of her day: women’s rights, education, the Spanish Civil War, the power of the newspapers, as well as her playful look at gender politics in Orlando.

Each day there is a lecture followed by a seminar or Cambridge supervision (tutorial). Some meals will be taken together as a group and the group will visit places around Cambridge of interest to Woolfians.

Excursions

  • King’s College: Woolf knew King’s well and had close friends there, including Dadie Rylands and E. M. Forster. She was appreciated for her wonderful conversation at college lunches. We will visit rooms with Woolf connections which are not usually open to the public. Guided by the lecturer and King’s Fellow Peter Jones, the group will also visit the marvellous chapel, built 1446-1547.
  • Fitzwilliam Museum: A rare opportunity to see the manuscript of A Room of One’s Own, one of Woolf’s most influential books. This is the only Woolf manuscript held in Cambridge. There will be a talk about the history of the manuscript, a chance to look closely at some pages, followed by a slap-up tea at Fitzbillies.
  • Wren Library, Trinity College: A visit to the Wren Library to see some of its remarkable manuscripts – Milton’s ‘Lycidas’; letters from Charlotte Bronte, George Eliot, and others; many first editions of classic works; and the manuscript of Winnie the Pooh. There will be a display about the Pethick-Lawrences, activists in the women’s suffrage movement. The group will also learn about women at Trinity and about the history of the library, once mockingly cursed by Woolf in A Room of One’s Own, now much used by women scholars and students.

Women Writers: Emily Bronte to Elizabeth Bowen

Dates: 8-13 July 2018.
Will study: Bronte, Wuthering Heights; Eliot, The Mill on the Floss; Woolf, To the Lighthouse; Mansfield, The Garden Party; Bowen, To the North

Excursions 

  • Girton College: Girton College, established in 1869, was the first residential university college for women. Clare Walker Gore will talk about George Eliot’s support for women’s education, and Alison Hennegan will discuss the remarkable history of Girton. The group will visit the room in which Virginia Woolf gave a talk that became A Room of One’s Own (1929).
  • Wren Library, Trinity College: As above; a rare treat.
  • Orchard Tea Room, Grantchester: The group will take tea and scones in this famous old tea room, enjoyed in the early 20th century by Woolf, Bertrand Russell, Rupert Brooke, John Maynard Keynes, E. M. Forster, Wittgenstein, and many others.

Wren Library, Trinity College, Cambridge

Wren Library, Trinity College, Cambridge

Literature Cambridge lecture at Girton College in July 2017

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