Virginia Woolf Society Turkey is hosting another free online Woolf seminar, and this one features a talk by Assoc. Prof. F. Zeynep Bilge of Mimar Sinan Fine Arts University on “Woolfian Soundscapes: Noises, Voices, and Music in Virginia Woolf’s Novels.”
What: In this Woolf seminar, Bilge will discuss the structural relationship between Woolf’s writing and musical forms. Who: Bilge’s scholarly pursuits span the domains of literature and music, adaptation studies, and narratology. She pursued her early studies in voice at Istanbul University School of Music (1991-1994) and later obtained her B.A. (1999) and M.A. degrees (2001) in English Language and Literature from Istanbul University. In 2008, she earned her Ph.D with a dissertation focusing on the communicative function of songs in Shakespeare’s tragedies. As a visiting scholar at Cardiff University in 2012, she conducted research on the opera adaptations of Shakespeare’s The Tempest. Currently, she is engrossed in the composition of a scholarly monograph centered on opera adaptations of Shakespeare’s plays.
When: Friday, May 24, 7-9 p.m. Turkey time and 12 -2 p.m. EST. Cost: Free Registration:Online
Today is April 8, 2024, a much-hyped eclipse day where I live in Ohio. To view it, all I have to do is step outside my door and put on the cardboard glasses I picked up for free at my local library.
Virginia Woolf’s total solar eclipse was June 29, 1927, and she traveled more than 300 miles to experience something that had not been visible in England for more than 200 years, pulling out her “smoked glasses” to view it (Diary 3, 143).
Carrying luggage and a china box filled with sandwiches, Virginia was one of a party that included Leonard Woolf, Vita Sackville-West, Harold Nicolson, Eddie Sackville-West, Quentin Bell, Saxon Sydney-Turner and Ray (Rachel) Strachey.
By train to North Yorkshire
They boarded a special overnight train at London’s King’s Cross station that departed for Richmond in North Yorkshire at 10 p.m. on June 28. Richmond was one of the locations within the belt of totality, which would initially follow a path across North Wales and the north of England. London, on the other hand, was
Upon arrival at 3:30 a.m. the next day, they boarded an omnibus, becoming part of “a train of 3 vast cars, one stopping to let the others go on” while noticing “many motor cars . . . [that] suddenly increased as we crept up to the top of Bardon Fell” (142).
There, they noticed “people camping beside their cars,” and they joined those who had already staked out their viewing positions. Virginia noticed that “Leonard kept looking at his watch” and that they were surrounded by “[f]our great red setters” and “sheep feeding” (143).
Meanwhile, Virginia worried that due to the unpredictable weather, they would not be able to view the eclipsed sun during its 24 seconds of totality. “The moments were passing. We thought we were cheated; . . . The 24 seconds were passing” and still no blackout of the sun (143).
The above observations are included in Virginia’s two-and-a-half-page diary entry about her experience of the 24-second eclipse on June 30, 1927, which began with the sentence,
“Now I must sketch out the Eclipse” (Diary 3, 142).
The portion that describes the eclipse itself is written in prose but has the kind of poetic language and reflective tone that marks Virginia’s work. It links the exterior event with the powerful interior effect it had upon her. Her description follows:
At the back of us were great blue spaces in the cloud. But now the colour was going out. The clouds were turning pale; a reddish black colour. Down in the valley it was an extraordinary scrumble of red & black; there was the one light burning; all was cloud down there, & very beautiful, so delicately tinted. The 24 seconds were passing. Then one looked back again at the blue: & rapidly, very very quickly, all the colours faded; it became darker & darker as at the beginning of a violent storm; the light sank & sank; we kept saying this is the shadow; & we thought now it is over — this is the shadow when suddenly the light went out. We had fallen. It was extinct. There was no colour. The earth was dead. That was the astonishing moment: & the next when as if a ball had rebounded, the cloud took colour on itself again, only a spooky aetherial colour & so the light came back. I had very strongly the feeling as the light went out of some vast obeisance; something kneeling down, & low & suddenly raised up, when the colours came. They came back astonishingly lightly & quickly & beautifully in the valley & over the hills — at first with a miraculous glittering & aetheriality, later normally almost, but with a great sense of relief. The colour for some moments was of the most lovely kind — fresh, various — here blue, & there brown: all new colours, as if washed over & repainted. It was like recovery. We had been much worse than we had expected. We had seen the world dead. That was within the power of nature…. We were bitterly cold. I should say that the cold had increased as the light went down. One felt very livid.Then — it was all over till 1999. What remained was a sense of the comfort which we get used to, of plenty of light & colour. This for some time seemed a definitely welcome thing . . . How can I express the darkness? It was a sudden plunge, when one did not expect it: being at the mercy of the sky: our own nobility: the druids; Stonehenge; & the racing red dogs; all that was in one’s mind (143-4).
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More on Woolf, astronomy, eclipse
It should not be a surprise that Virginia would travel overnight to view a total solar eclipse. She had a lifelong passion for telescopes and astronomy. Her diary and writing journals record her observations of the stars and planets.
After all, an eclipse is a special event. Only one or two eclipses per century are visible from anywhere in the UK. The last solar eclipse in the UK was in 1999. The next one will occur in August 2026.
It includes photographs of the Stephen family, Talland House, St. Ives and more. It also includes a brief interview with Leonard Woolf, along with interviews with others who knew Virginia.
The second, “The Mysterious Gift to Virginia Woolf,” takes a whimsical approach.
It introduces an imaginative new play by the same name that features a mysterious painting by Virginia’s sister, Vanessa Bell that is titled “Mrs. Dalloway’s Party.” Reserve more than an hour for this one.
More about the painting
Exhibited in 1922, the painting disappeared until British art dealer Anthony d’Offay offered it in 1983 from the estate of Virginia Woolf.
For more background on the painting, listen to a 2023 27-minute podcast “Mrs. Dalloway’s Party,” that features Dr. Karina Jakubowicz. In it, she speaks with the painting’s owner, Howard Ginsberg. She also interviews the bestselling author of Bloomsbury Pie: The Making of the Bloomsbury Room, Regina Marler, as they discuss paintings and parties in 1920s Bloomsbury.
Amar Roy on “Finding Mrs. Brown: Memory, Emotion and Narratives in Virginia Woolf’s Approach to Art.”
Amrita Chakraborti on “Anti-Work Woolf: Virginia Woolf and Critiques of Waged Labour”
Matthew Biberman
Meghna Dutta, and
Tatyana Kasima on “Windows as Heterotopic Thresholds in Virginia Woolf’s Short Stories Collection ‘A Haunted House'”
How to attend
Attendance is free and registration is available at this link. Just scroll down towards the bottom of the page and register as a “Non-presenting, Zoom attendee.”
Marielle O’Neill and Elte Rauch. Photo copyright by Marielle O’Neill.
Marielle O’Neill, executive council member of the Virginia Woolf Society of Great Britain, joined publisher HetMoet for the launch of its Dutch translations of Am I a Snob? by Virginia Woolf and The Wise Virgins by Leonard Woolf.
About the launch
Hosted by HetMoet, publisher Elte Rauch and bookstagram influencer Corina Maduro, the Jan. 26 launch event included a panel discussion with translators Jetty Huisman, Thomas Heij and Pauline Slot.
Featured speakers included:
Woolf scholar Marielle O’Neill, who is undertaking a PhD. on Leonard and Virginia Woolf’s political activism at Leeds Trinity University,
Rindhert Kromhout, who wrote a trilogy of young adult books about the Bloomsbury Group from the perspectives of Quentin and Angelica Bell, and
actor Milou van Duijnhoven, who recently starred in an Amsterdam-production of Orlando.
Elte Rauch mixes a Stinger at the Amsterdam book launch. Photo copyright by Marielle O’Neill.
The event included 1920s jazz music, along with shakers full of Vita Sackville-West and Violet Trefusis’ favorite cocktail, the Stinger, a concoction of brandy and creme de menthe.
“It was wonderful to see Virginia Woolf being read, discussed and celebrated 142 years after her birth. And it was especially refreshing to see a spotlight being shone on Leonard Woolf; an influential and important political thinker and — with Virginia — a pioneering publisher,” O’Neill said.
Moments of Being was first published in Dutch 40 years ago, and the same translator, Leonoor Broeder, has done this modern translation of the work, retitled as Am I a Snob? The current translation of The Wise Virgins is the first-ever in Dutch.
Louisa Albani designed the book covers. Ilse van Oosten edited the volumes and wrote the foreword for Am I a Snob.
HetMoet is a Dutch indie publisher run by Rauch, who recently set up HetMoet’s UK imprint, The New Menard Press, with Anthony Rudolf, who wrote the foreword for The Wise Virgins.
Leonoor Broeder’s translation is excellent. [This Dutch edition deviates] from the original by arranging the texts chronologically, but that works out fortunately. The separate parts thus form a coherent whole that reads like the autobiography that Woolf was unable to complete (while his husband Leonard could not stop and published a six-part autobiography). – Koen Schouwenburg, De Groene Amsterdammer
Rindhert Kromhout. Photo copyright by Marielle O’Neill.
Jetty Huisman, Thomas Heij and Pauline Slot. Photo copyright by Marielle O’Neill.
