Feeds:
Posts
Comments

Posts Tagged ‘To the Lighthouse’

Godrevy Lighthouse

For years, Virginia Woolf readers and scholars around the globe have fought against development plans that threatened the view of the Cornwall coast and Godrevy Lighthouse from Talland House in St. Ives, Cornwall. Now, it seems, that popular and precious view will likely be lost forever.

The message below was contributed by Polly Carter, the National Trust certified gardener at Talland House, and circulated by the Virginia Woolf Society of Great Britain. It is the latest update on the opposition to the plans and includes a discussion of legal options, costs, and the path ahead.

Background

Talland House is important to Woolf’s legacy for several reasons. It was the setting and inspiration for her 1927 novel To the Lighthouse. It was also where Woolf and her family spent their summers  until her mother, Julia Stephen, died in 1895, when Woolf was 13.

As many of you will be aware, news broke in the new year that there was an application with Cornwall Council for amendments to a 2009 planning permission for a 5-storey block of 12 luxury apartments on a site in front of Talland house, which would block the famous view of the bay and lighthouse from Woolf’s formative childhood summer home in St Ives.

Professor Maggie Humm, vice-chair of the Virginia Woolf Society of Great Britain, and Councillor Johnnie Wells, Deputy Mayor of St. Ives at the Talland House plaque unveiling on Sept. 11, 2022. Photo: St. Ives September Festival

Because the application was for amendments to an existing planning permission we were unable to object on grounds of harm to the setting of a listed building, which according to accounts from St Ives Town Council and Cornwall Council, we would have been successful in doing. We still wanted to object to the application for amendments in the hope that the developer would not want to build to the original plans and put in new planning permission, which we could them object to on heritage grounds.

Because our grounds for objecting to the specificity of the amendments were so limited, we chose to bring in legal expertise. Sarah Clover, Barrister at The Kings Chambers, a top of her field expert in planning law. She found fault with Cornwall Council’s route to applying the amendments to the original planning permission. Cornwall Council objected to the points raised in our KC’s advice and granted the permission anyway.

Last week we met with KC Clover and planning law expert solicitor Brendon Lee and they both considered that we do have a legal challenge worth bringing to judicial review. This would mean employing them to create a case detailing the legal mistakes made by Cornwall Council, inviting Cornwall Council to defend themselves and seeing if a judge agrees that the case is worth bringing to court.

If they did, then we could fight it in court in the hope of winning, resulting in the quashing of the application for amendments. Our problem is that the chances of winning are unpredictable and costs could potentially accumulate to un-manageable amounts.

The financial risks

Estimated costs could include:

  • Initial legal preparation: £10,000–£20,000
  • Further legal work if the case progresses: £10,000–£30,000
  • Potential court costs if the case proceeds and is unsuccessful: £10,000–£30,000
    In total, costs could potentially reach £30,000–£80,000.

Because of these risks, it would likely require a named individual to act as the legal client, which also enables a lower cost capping threshold, rather than relying solely on a loosely organized fundraising effort, in case the fundraising cannot meet the demand.

A difficult decision

The group now faces a very narrow window of time. If a judicial review is to be pursued, legal preparations would need to begin within the next two weeks to meet the filing deadline. After this date, the option of judicial review is no longer available.

But the financial implications make this decision impossible without substantial and swift backing. Even if all the money could be found, the risk that it would still come to nothing at all, and even with a win that the original planning permission is still valid, it feels like too much to ask of anyone.

So, we have likely come to the end of the road for quashing the current application for amendments that the developer has asked for and received.

Looking forward

While the potential loss of the historic view from Talland House would be deeply disappointing to many who value its connection to Virginia Woolf, there is also growing interest in strengthening public engagement with the site itself.

Ideas being discussed include:

  • Developing visual arts related programming around Talland House
  • Increasing the garden tours and sharing the story of the meaningful planting being developed there
  • Setting up a Virginia Woolf themed Book Club in St Ives to connect local people to the significance of Woolf’s work and St Ives’ place within that
  • Building a broader network of supporters committed to protecting the cultural legacy of Talland House.
  • Exploring the possibility of a Virginia Woolf museum and gallery in St Ives
  • Curating To The Lighthouse centenary celebrations next year

Whatever the immediate outcome, the conversation has already highlighted how strongly many people feel about preserving the literary and historical significance of Talland House for future generations.

Thank-yous

Lots of work by lots of people has gone into the overall process so far, and despite it not being quite over yet I wanted to thank some key people who have been instrumental in getting us to this stage.

As the gardener at Talland house I am deeply connected to the place and have experienced first-hand how deeply moved people are by experiencing it and hearing its story which has urged me on. I’d like to thank:

  • Peter Eddy, the owner of Talland House, who has allowed these forms of engagement and supported the campaign opposing the development.
  • The residents of Talland house whose privacy I have tried to respect in this process, but who all care deeply about the place.
  • The Virginia Woolf Society of Great Britain, particularly Maggie Humm who has been beside me all the way in this process, Sarah Latham Philips, previously of the VWSGB Executive but is still supporting the campaign and my development within it,  Lynn Fox who helped put the case file together ahead of decision date and has been an encouraging support, the residents of Gallinus Point,  who were among those who contributed to the legal fees, Gemma Jerome, environmental planner who appeared miraculously at just the right time and has provided guidance and clarity, and a huge thank you to Sharon Bylenga who jumped to action on day one, new year’s eve and has given essential financial support and unwavering guidance to and confidence in me and the team.
  • And finally, everyone who lodged an objection in the planning portal or wrote to the Council/MP’s.

For answers to any questions or to add offers for further support, please write to pollycartergardener@icloud.com, and follow @Tallandhouse on Instagram for future updates.

Read Full Post »

Blogging Woolf was part of a pilgrimage to Talland House in 2004. This photo depicts the front right corner of the home.

In mid-January, we reported on the most recent plan to construct a multi-million dollar flat project that would obstruct the view of the Cornwall coast and Godrevy Lighthouse from Talland House in St. Ives, Cornwall, the setting and inspiration for Virginia Woolf’s 1927 novel To the Lighthouse. We are sad to report that the plan is moving ahead, according to the Virginia Woolf Society of Great Britain.

Below is the text of a March 13 message sent by the Virginia Woolf Society of Great Britain, which helped lead the resistance effort.

Talland House planning update

”It is with regret that we report the decision of the Planning Committee of Cornwall Council this week to allow the planning application for a building in front of Talland
House in St Ives to go ahead.

“There were over 130 objections to the plan, including a handwritten letter from our President Dame Eileen Atkins. The Talland House Group, including the VWSGB and led by Polly Carter, the heritage gardener at Talland House, employed a KC who raised a legal challenge to the lawfulness of the application.

“The particular points brought by our Counsel remain unaddressed by Cornwall

Godrevy Lighthouse in St. Ives, Cornwall

Council’s legal department. They responded, but not to the points raised. Sadly, the developer can go ahead and build what will irrevocably destroy the To the Lighthouse view. BBC Cornwall supported our campaign.

“We are considering opening this up to judicial review and are exploring other options. The Talland House Group is to be formalised, and may have a website and events that celebrate the view and its importance to Virginia Woolf and her works.

“Time will be needed to re-focus our strategy, but we hope to issue more guidance as to how you can further support the campaign and all that Talland House stands for.

“Our thanks to everyone who contributed to the campaign against this development, and we will keep you updated. This story may not be over yet!”

 

Read Full Post »

Kabe Wilson pays tribute to archives, as well as Virginia Woolf’s 1927 novel To the Lighthouse, in a newly launched film based on his creative work with modernist archives this spring.

Wilson explains that “Looking for Virginia: An Artist’s Journey Through 100 Archives” “covers a series of archival quests about my childhood holidays, which then link up with Woolf and Bell’s own holidays, as well as their collaboration on To the Lighthouse itself, before developing into an elegy to all three,” Wilson explains.

The culmination of his residency at the Centre for Modernist Studies, the multi-media presentation centers around the story of the 10 paintings of Brighton and Sussex that Wilson produced during the 2020 lockdown period, and the exciting art history discovery that led to one of them becoming the cover image of a new edition of Woolf’s To the Lighthouse.

Read more about it.

More about Kabe Wilson

For his first Woolf-related project, Wilson rearranged Woolf’s words into his novella titled Olivia N’Gowfri – Of One Woman or SoSet 80 years after the publication of Woolf’s essay, it tells the story of a young woman’s radical challenge to literary conservatism in the elitist environment of the University of Cambridge.

He then turned his work into a piece of art, a 4 x 13-ft. sheet of paper displaying the novella’s 145 pages, with each word cut out, individually, from a copy of A Room of One’s Own, and reformed to duplicate the novella.

Learn more about Wilson and his work.

Centre for Modernist Studies from A. T. Kabe on Vimeo.

 

Read Full Post »

At the 2019 Literature Cambridge course “Virginia Woolf and Gardens,” Kabe Wilson explained his art project in which he cut out the words from Woolf’s A Room of One’s Own to create the 145 pages of his novella Olivia N’Gowfri – Of One Woman or So.

Kabe Wilson is launching a new multimedia work on To the Lighthouse at the University of Sussex on May 16.

The work “covers a series of archival quests about my childhood holidays, which then link up with Woolf and Bell’s own holidays, as well as their collaboration on To the Lighthouse itself, before developing into an elegy to all three,” Wilson explains.

The culmination of his residency at the Centre for Modernist Studies, the multi-media presentation centers around the story of the 10 paintings of Brighton and Sussex that Wilson produced during the 2020 lockdown period, and the exciting art history discovery that led to one of them becoming the cover image of a new edition of Woolf’s To the Lighthouse.

A free one-day event in two parts

  • Part One: Modernist Archives Workshop at The Keep, 10 a.m. – 1 p.m., with archivists, art and literary historians, followed by lunch. Includes some connections to the Bloomsbury group. Registration is essential due to space restrictions.
  • Part Two: Film Screening of “Looking for Virginia: An Artist’s Journey Through 100 Archives,” followed by a Q & A with Wilson and chaired by Centre for Modernist Studies Directors Helen Tyson and Hope Wolf at the University of Sussex, Jubilee building, Jubilee Lecture Theatre 144, 3 p.m. – 4:30 or 5 p.m.

Get more information and register

More information is available here. Both events are free, but registration is required. Register here for one or both.

More about Kabe Wilson

Cover of the new edition of Woolf’s To the Lighthouse that features Wilson’s photo.

For his first Woolf-related project, Wilson rearranged Woolf’s words into his novella titled Olivia N’Gowfri – Of One Woman or SoSet 80 years after the publication of Woolf’s essay, it tells the story of a young woman’s radical challenge to literary conservatism in the elitist environment of the University of Cambridge.

He then turned his work into a piece of art, a 4 x 13-ft. sheet of paper displaying the novella’s 145 pages, with each word cut out, individually, from a copy of A Room of One’s Own, and reformed to duplicate the novella.

Learn more about Wilson and his work.

The cover of Woolf’s draft manuscript for “Women & Fiction,” which was the first draft of her classic feminist polemic A Room of One’s Own (1929).

 

 

 

Read Full Post »

In her commemoration of the anniversary of Virginia Woolf’s death, Paula Maggio refers to the coverage in the New York Times. This took me back to one of my favorite novels, The Lost Garden by Helen Humphreys, which was a prominent example in my 2010 Bloomsbury Heritage Series monograph, Beyond the Icon: Virginia Woolf in Contemporary Fiction.

I’ve excerpted the section here:

“The Lost Garden, a story of a team of ‘Land Girls’, as the Women’s Land Army during World War II was known, begins at the time of Woolf’s death, but she nevertheless exerts a dominant influence. Helen Humphreys builds a connection with Woolf through Gwen Davis, a horticulturalist who is assigned to oversee wartime food production at a Devon farm. When Gwen is on the train out of London in March of 1941 to assume her duties, she sees over someone’s shoulder the announcement on the front page of The Times of Virginia Woolf’s disappearance and likely death:

I think of the letter I was writing in my head this morning to Mrs. Woolf. All the letters I write in my head. And now I’ve missed my chance to let her know how much I have loved her books, and to tell her that one evening, seven years ago, I think I followed her through the streets of London.

“Woolf is never far from Gwen’s thoughts. When viewing the estate at which she will be working, she notes that, ‘There is a river at the bottom of the hill. I think of Mrs. Woolf’. When one of her charges tells about her fiancé, who is missing in action, Gwen reflects that, ‘This makes me think of Virginia Woolf. Missing in action. That’s exactly what’s happened to her. She seems definitely to be a casualty of war at the moment. Like any other’.

“When Woolf’s death is confirmed, Gwen turns to the novel she treasures, To the Lighthouse. The final scene brings her clarity and closure:

There is Lily Briscoe on the lawn, trying to finish her painting… Her hand holds a paintbrush as a conductor holds a baton. This is the music of the moment, these words and images, and all of a sudden I know that it doesn’t matter whether or not it was Mrs. Woolf I followed through London that June evening seven years ago. I will never be closer to her than now. The book is the shared experience, the shared intimacy. The author is at one end of the experience of writing and the reader is at the other, and the book is the contract between you.

“Woolf has been an almost tangible presence, and the physical proximity of Gwen’s earlier sighting of her seems to transcend Woolf’s death and bring comfort, maintaining the ethereal connection that is enhanced by her identification with the novels. Gwen feels a bond with Woolf, a sense that in spite of obvious differences, they shared some common sensibilities, perhaps were kindred spirits. Woolf anchors Gwen in the reality of her life while at the same time enabling her to escape it.

“The Lost Garden is so infused with Woolf, deliberately invoking both the pathos of her disappearance and death and the magnitude of her impact on one reader.”

Some of the monographs in the Bloomsbury Heritage Series from Cecil Woolf Publishers.

Read Full Post »

Older Posts »