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Posts Tagged ‘Virginia Woolf’

One hundred years ago today, on Dec. 28, 1925, Virginia Woolf headed to London to join her husband Leonard after spending Christmas at Charleston.

“Monk’s House Welcome Home” by Amanda White

The Woolfs were at Charleston to avoid the inconvenience of alterations being made at Monk’s House, and they celebrated the Christmas holiday with Vanessa Bell and her children.

While there, they “spent a fascinating evening reading VW’s diary recalling early days at 46 Gordon Square” (Diary 3, pg. 53).

The Woolfs: where they were and what they did on Dec. 28

Except for 1925 and 1926, the Woolfs spent their Christmas holiday at Monk’s House from 1925 through 1940. As noted in Virginia’s diaries, here is where they were and what they did on Dec. 28 of those years.

1925: 52 Tavistock Square, London

1926: The Woolfs return to 52 Tavistock Square, London after spending Christmas with Ka and Will Arnold Forster at Eagle’s Nest, Zennor in Cornwall (D3, 119).

1927: Monk’s House

1928: No mention

1929: Monk’s House, where the Keynes’ arrive in their Rolls Royce to pay a visit and stay overnight, wrecking Virginia’s “perfect fortnight of silence” (D3, 276).

1930: Monk’s House, where Virginia suffers from influenza and is in bed “with the usual temperature, & cant use my wits or, as is visible, form my letters” (D3, 340).

1931: Monk’s House, where Virginia notes that their “3 black swans came” to visit (D4, 57).

1932: Monk’s House, where Virginia is working on Flush (D4, 134).

1933: Monk’s House, where Virginia’s writing lodge is ready for her use (D4, 266).

1934: No mention

Virginia Woolf’s Writing Lodge at Monk’s House in Sussex

1935: Monk’s House, where Virginia begins a new book for her diary, after finishing the “last revision of the last pages of The Years” and wonders if she will “ever write a long book again–a long novel that has to be held in the brain, at full stretch–for close on 3 years?” (D4, 360).

1936: Monk’s House, where Virginia works on the proofs — “the galleys” — of The Years (D5, 44).

1937: Monk’s House, where Leonard took to his bed with a temperature before heading to London to see his doctor (D5, 122).

1938: Monk’s House, where she is writing Pointz Hall and keeps track of the reception of Three Guineas (D5, 193).

1939: Monk’s House, with snow and a hard frost on the 28th, allowing Virginia to skate on Dec. 31 (D5, 252).

1940: Monk’s House, where on the last Dec. 28 of her life, Virginia “rode across the downs to the Cliffs. A roll of barbed wire is hooped on the edge. I rubbed my mind brisk along the Newhaven road. Shabby old maids buying groceries, in that desert road with the villas; in the wet. And Newhaven gashed. But tire the body & the mind sleeps” (D5, 347).

More on the Woolfs and Christmas

Read on for more details about Virginia Woolf and Christmas and the Virginia Woolf word portrait by Akron, Ohio, artist John Sokol, which is pictured below.

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In the 18 years that Blogging Woolf has been in existence, few things Woolfian have excited me more than writing a chapter about this blog for The Edinburgh Companion to Virginia Woolf and Transnational Perspectives.

It was three years ago that Elisa Bolchi emailed me to ask if I would contribute a chapter to the project originally dubbed “Worldwide Woolf.” I was surprised. I was honored. I was ecstatic. And of course I quickly emailed a “Yes.”

Now this follow-up to The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (2021), edited by Jeanne Dubino, Paulina Pajak and Catherine W. Hollis, is out. So I am here to tell you more about this volume and its wonderful editing by Bolchi, Maria Rita Drumond Viana, Alice Davis Keane, Monica Latham, Sayaka Okumura, and Mine Özyurt Kılıç.

About the book

Besides a general introduction, Virginia Woolf and Transnational Perspectives kicks off with a special foreward — the republishing of Brenda Silver’s essay “World Wide Woolf,” in print for the first time.

The volume’s 31 chapters are divided into three sections that analyze the cultural mediation that has shaped how readers and viewers worldwide encounter Woolf’s images and works today.

The three sections: 

  1. Producing Woolf: Editing, Translating, Publishing
  2. Thinking through Woolf: Legacy and Contemporary Influence
  3. New Woolf, New Critical Perspectives

Research areas covered: rewriting, translation, dance, photography, fashion, contemporary art, digital humanities and drama

Areas represented by its writers: five continents including Africa, Asia, Europe, North and South America and 14 regions, including the U.S., Brazil, France, Italy, Turkey, Germany, the UK, Spain, Lithuania, Egypt, Israel, Japan, China and the Philippines.

More details

Pages: 488
Illustrations: 33 black and white

How to buy it

It is available at Edinburgh University Press. At $195 for a hardback or digital copy, the volume is pricey — as are most academic publications — so urge your institution’s library to purchase a copy. However, EUP offers a launch discount of 30 percent with the code NEW30 at checkout. I cannot guarantee the code is still viable, but it is worth a try.

About my chapter

My chapter, “Woolf on the World Wide Web: Creating a Community of Common and Scholarly Readers through Blogging Woolf,” is Chapter 31, the last in the volume. In it, I build on Silver’s insights as I explore the history of the blog, including its editorial content and its readership.

I also discuss its ability to foster collaboration among Woolf scholars and readers, as well as online and personal relationships.

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I have written about Virginia Woolf and fountain pens and her ink preferences before. But today I learned of a new discovery that links Woolf even more strongly to the everyday work of the Hogarth Press, thanks to her use of purple ink.

First page of The Hours notebook 2 (purple ink). Courtesy of SP Books

Nicola Wilson of the University of Reading and the Modernist Archives Publishing Project, a digital project that debuted at the 2017 Woolf Conference and focuses on the Hogarth Press, posted this note to the VWoolf Listserv:

We have recently found evidence of Woolf’s purple pen in the Hogarth Press archives up to Feb 1940 – on the stock cards! Taking account of the figures? This is very exciting as it gives a real indication of Woolf’s presence at the Press and corroborates the kind of information on figures she tracks in the diaries.

Purple ink and the Hogarth Press

Esther Folkersma made the discovery while working with Danni Corfield to clean, sort, and organize the Hogarth Press stock cards as part of her research internship with MAPP.  The Hogarth Press stock cards indicate where the stock of a specific book was being held, when the entity received the stock and how many copies they received, how many copies were issued, the number of copies printed at what date, the number of bound copies, and the balance in sheets.

“As more and more purple appeared under our sponges, brushes, and scalpels, and as the colours became more pronounced, Woolf’s presence in these cards grew,” Folkersma wrote in a post on the MAPP blog.

“The scale of Woolf’s handwriting in these stock cards surprised me, as her presence in the press, at least in a material sense, is often difficult to find, even though the significance of her role in the press has always been undeniable, especially as seen through her own diary entries.”

Folkersma explains that “the abundance of Virginia Woolf’s purple ink readily found on a majority of the Stock Value Cards illustrates her involvement in the press to an extent beyond what I had even gathered from her diaries. These very utilitarian cards show how involved Woolf was in the more administrative operations behind the scenes.”

Purple ink and The Hours (Mrs. Dalloway)

According to Mark Hussey, Bloomsbury scholar and author, “most of The Hours (‘Mrs Dalloway‘) holograph is in Woolf’s favored purple ink, with some in black and a little in blue. Her corrections on the American proof are also in purple ink.”

In 2019, SP Books published a gorgeous edition of the handwritten manuscript of what would become Woolf’s famous 1925 novel, allowing anyone who could obtain a copy to see that many of the pages were written in purple ink. I did and wrote a post about it.

Purple ink a chapter, a letter, and a diary entry

Folkersma also recommends reading Ted Bishop’s chapter “Getting a Hold on Haddock: Virginia Woolf?s Inks” from Virginia Woolf and the World of Books (2018), the selected papers from the 2017 conference.

And she mentions two Woolf quotes — one from a letter and one from a diary

This ink is Waterman?s fountain pen ink. Cheap, violet, indelible. (Which sounds as if I were paid to write their advertisements). – from a 1923 letter to Dorothy Brett

The degradation of steel pens is such that after doing my best to clip & file one into shape, I have to take to a Waterman, profoundly though I distrust them, & disbelieve in the capacity to convey the nobler & profounder thoughts.” – from a 1918 Diary entry

Roundtable participants at the 2017 Annual International Conference on Virginia Woolf sit below a screen showing a digitized ledger sheet from the Hogarth Press. Note the purple ink.

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Knowing I am always on the lookout for bits about Virginia Woolf, a friend sent me links to two articles. Today, I am sharing them with you, along with an online resource about Woolf’s reading.

Two articles about Woolf

  1. Title: “A Selection of Virginia Woolf’s Most Savage Insults”
    Author: Emily Temple
    Source: Pocket, although the post was originally published on Literary Hub on Oct. 12, 2017.
    Synopsis: The article covers moments that remind us how certain people really should have been afraid of Virginia Woolf, because she was full of epic—and sometimes kind of horrible and classist—insults.
    Read it here.
  2. Title: “Virginia Woolf on Why We Read and What Great Works of Art Have in Common”
    Author: Maria Popova
    Source: Pocket, although the piece was originally published on Jan. 23, 2020 on The Marginalian.
    Synopsis: This piece discusses the thoughts of Woolf’ and other authors on the value of reading over time.
    Read it here.

More on Woolf’s reading

Last summer, a new digital resource was made available for readers and scholars interested in Woolf. WoolfNotes.com, a project that digitizes her reading and research notes, is now live on the King’s College, London, website.

This major digital humanities project brings into the public domain Woolf’s last remaining substantial unpublished work.

Get the details.

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Are you a member of the Virginia Woolf Society of Great Britain? If so, join an online reading of “Bloomsbury in Love.” If not, consider joining so you can participate in this free member-only online event in celebration of Valentine’s Day.

Who: The Virginia Woolf Society of Great Britain
What:  “Bloomsbury in Love,” an evening of readings by members from works by Virginia Woolf and her friends.
When: Wednesday 19 February 2025, 5:30 p.m. GMT or 12:30 p.m. EST
How: Via Zoom. If you are a society member you should have received the Zoom login details via email. If not, you can join here.

Want to read your favorite passage?

The society is looking for people who would like to read out a favorite passage on the topic of love (in its many forms) from a Bloomsbury novel, diary, letter, essay, or other piece of writing. All you need to do is introduce the piece, with a brief word about its context, and then read it out to other members. Readings should be four or five minutes long, including your introduction.

If you would like to do a reading, please email: onlinevwsgb@gmail.com by Wednesday 12 February, with details of what you would like to read. If it is a diary entry or letter, please include the date; if a section from a longer piece of writing, please include the first and last lines.

 

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