[Vwoolf] [External] TLS review of biography of Arnold Bennett, and Virginia Woolf

Tue May 17 10:20:28 EDT 2022

Hi All, Here's just the text of Drabble's TLS review, for ease of reading.
-Emily

A writer with class
A new biography sets up the clash between Arnold Bennett and Virginia Woolf

By Margaret Drabble
May 13, 2022

In this review
ARNOLD BENNETT
Lost icon
224pp. Unicorn. £25.
Patrick Donovan

The subtitle of Patrick Donovan’s Life of Arnold Bennett, Lost icon, bears
witness to his approach to his subject: he is intent on reminding us that
Bennett, once immensely wealthy and internationally celebrated, is now
almost forgotten. Bennett was the author of dozens of volumes embracing a
vast range of genres, from what we would now call literary fiction to
fantasies, lighthearted pot-boilers, journals, travel books, collections of
short stories and self-help books such as Literary Taste; How to form it
and How to Live on 24 Hours a Day. He wrote successful plays and produced
many millions of words of highly paid and influential journalism, in
outlets ranging from Tit-Bits to the New Age, from the Evening Standard to
the New York Times. Among his close friends he numbered characters as
diverse as H. G. Wells (in many ways a kindred spirit, in terms of social
background and aspiration), Max Beaverbrook, Aldous Huxley and Maurice
Ravel. His was a household name throughout the country, and he was a
prominent and instantly recognizable figure on the London social scene,
appearing regularly in cartoons and gossip columns. He owned a yacht and at
one time a grand Queen Anne country house called Comarques in Essex, and he
employed a household of domestic staff. “The Man from the North” (the title
of his first novel, 1898) was indisputably one of the most successful and
admired writers of the age. When he lay dying of typhoid at the age of
sixty-three in Chiltern Court on Baker Street in 1931, straw was strewn
(somewhat ineffectually) on the cobbled streets to muffle the sound of
traffic. This was Fame.

Donovan is right to claim that Bennett no longer commands a large
readership, though he still has his admirers, who include A. N. Wilson,
Tristram Hunt, Roy Hattersley and, notably, John Carey. Carey’s The
Intellectuals and the Masses: Pride and prejudice among the literary
intelligentsia, 1880-1939 (1992) pits Bennett against Bloomsbury, and
praises Bennett’s attempts to narrow “the abyss” between literature and
mass culture, an abyss that he provocatively claims modernism was
deliberately engaged in widening. There is also a thriving, very active and
well-informed Arnold Bennett Society, the membership of which keeps a close
eye on his reputation, both local and worldwide, and continues to add new
bibliographical and biographical details to his established record.

But perhaps the most significant recent recruit to Bennett’s cause is
Sathnam Sanghera, whose novel Marriage Material (2013) draws explicit
inspiration from Bennett’s The Old Wives’ Tale (1908). It tells the story
of two Sikh sisters from the Punjabi immigrant community in the West
Midlands, placing, as Sanghera says, “the characters in an Asian corner
shop instead of a Victorian draper’s shop”. Sanghera has written an
interesting and personal introduction to the 2014 Vintage edition of The
Old Wives’ Tale – generally regarded as Bennett’s masterpiece – which
concludes with the thought that we should not feel “too sorry” for Bennett
in his posthumous neglect, for he may have been aware as he lay on his
deathbed that “he had done something rare and important: that he had,
through his art, touched upon the eternal”.

Donovan’s Life of Arnold Bennett, the most recent significant addition to
the Bennett bibliography, is advertised as “the first full length biography
… since 1974”, and one of the most arresting revelations comes early in the
volume: we learn that when Bennett died, “the patient had no teeth, save
two in his upper jaw”. As Donovan points out, Bennett was himself very
interested in deathbed scenes, in descriptions of Cheyne-Stokes breathing
and blood poisoning and death rattles, so he would not have been offended
by this echo of the studied realism of his literary heroes, Balzac and
Zola. Most of the other discoveries come much later on, in the last
chapters, for the biographer, unlike his predecessors, had access to
unpublished correspondence and diaries in the Berg Collection in the New
York Public Library. These shed new light on Bennett’s relationship with
his common-law wife, the actress Dorothy Cheston, the mother of his
daughter, Virginia, who was only four when her father died. Donovan makes
some efforts to defend and uphold the reputation of his legal wife, the
French seamstress Marguerite Soulié, who refused to divorce him; he had
made it plain that he did not wish to have a child with her, and Dorothy’s
child was not planned, although he seems to have been delighted with her
when she appeared.

Bennett’s relationship with Marguerite was often strained and at times
tempestuous, and he treated her, domestically, with a heavy hand. He was
particularly obsessive about any unauthorized rearrangements of the
household furniture, a trait of which he was aware and which he satirizes
in his fiction – there are some very funny scenes in the Clayhanger trilogy
where Edwin berates his wife, Hilda, for her independent attempts at
reorganization. I am fond of the story that on one occasion Bennett bought
a painting – a Modigliani, perhaps? – and hid it under the bed for a time,
fearing Marguerite would accuse him of extravagance and banking on the
excuse that when Marguerite discovered it or he decided to hang it, he
would be able to say, airily, “Oh, that? That’s not new, I’ve had it a long
time”. Neither Donovan nor I cite this story, but I don’t think I invented
it.

(Bennett had a good eye for contemporary art, and in the wake of Roger
Fry’s 1910 post-impressionist exhibition at the Grafton Gallery he took his
role in educating a wider public very seriously. Donovan quotes Fry’s 1916
letter to Bennett, asking his advice on running his galleries, in which he
says: “You know the British public so much better than me”. One of
Bennett’s hobbies was painting conventional watercolours, which are more
than just passable.)

After their separation, Marguerite made it very plain that she remained the
official wife, and continued to attend the first nights of Bennett’s plays,
always uninvited. There is no doubt that after his death she remained
possessive of his memory. Both women wrote self-justifying and patently
unreliable accounts of their years with him. Marguerite’s memoir was
published in 1925, some years before his death in 1931, and Dorothy’s in
1935. It is left to the biographer to adjudicate between their versions.

In 1974, the year my own book appeared, Dorothy was still alive, a lonely
and somewhat embittered old woman. I had many conversations with her, and
did not feel entitled to give a full account of my assessment of her
testimony, though I well remember the urgency with which she went over his
last days, again and again, and her defensive attitude towards his family.
She understandably wished to absolve herself of any blame for the series of
events that led to his contracting typhoid in Paris, and felt, probably
rightly, that the Bennett clan and Marguerite were bad-mouthing her. (One
of the Huxleys told me there was a rumour that Dorothy had poisoned Arnold
with a pork chop.) She insisted that his love of luxury hotels and fine
shirts was not due to extravagance or snobbery, but was founded in his
acute physical sensitivity. She was pleased and relieved when I told her,
truthfully, that I had very much enjoyed his last, very long novel,
Imperial Palace, inspired by his love of the Savoy, which had created the
famous Arnold Bennett omelette in his honour. I sensed that someone had
said, or some reviewer had hinted, that it was evidence of his waning
powers, and had perhaps insinuated that Dorothy was somehow implicated in
this decline.

Sanghera claims, no doubt correctly, that today the smoked haddock omelette
is all that some people know of Arnold Bennett.

Donovan’s account of Bennett does not delve deeply into the novels, or into
the influence of his social background. Five Towns Methodism, Primitive or
otherwise, does not make much of an appearance, though he does discuss
Bennett’s allegedly plagiaristic dependence in Clayhanger (1910) of Charles
Shaw’s memoir When I Was a Child (1903). But he does address with relish
and with some insight Bennett’s very public literary spats with Virginia
Woolf, and his personal relationship (or lack of relationship) with her. He
is keen to set up a scene of confrontation between the reigning and the
rising star. Both Woolf and Bennett were powerful literary journalists as
well as novelists, and both employed, in Donovan’s well chosen word,
“hyperbole”. They enjoyed a clash, they liked to be provocative, and they
went to extremes to defend their positions. Donovan convincingly argues
that in 1924, when Woolf’s essay (originally a lecture) “Mr Bennett and Mrs
Brown” appeared, Bennett still had very much the upper hand, in terms of
influence and sales and readership, and indeed it did take many years for
Woolf’s reputation to eclipse Bennett’s, as it now so conspicuously has
done. The balance of power and reputation has changed utterly, thanks to
the rediscovery and reassessment of Bloomsbury, the swelling tide of
modernism and the growing dominance of feminist criticism: it is hard now
to believe that, in the late 1950s, F. R. Leavis could refer in a lecture,
with his accomplished offhand sneer, to the failures of “Mrs Woolf”.
(Leavis didn’t think much of Bennett either, but he paid him slightly more
respect.)

Woolf’s seminal essay accuses Bennett and the realist school of paying more
attention to external items such as bricks and mortar and items of clothing
than to the fluctuating inner movements of the soul, and to attempts to
capture those movements in prose. It has always struck me as unfortunate
that in choosing the character of “Mrs Brown” as an illustration, she
chooses the type and class of person that Bennett understood so much better
than she did. Bennett was very good on servants, and she was hopeless. Her
remarks on the Georgian cook, as compared with the “formidable, silent,
obscure, inscrutable” Victorian cook, are embarrassing. The modern cook,
she says, is “a creature of sunshine and fresh air; in and out of the
drawing-room, now to borrow the Daily Herald, now to ask advice about a
hat”. Really?

The question of class is at the heart of the opposition of Woolf and
Bennett, and it has little to do with feminism, or indeed modernism, but in
the fullness of time feminism has trumped class, and Woolf,
retrospectively, has triumphed. Donovan throughout his volume stresses the
class issue and deplores the “snobbish contempt” with which Bloomsbury
treated Bennett from his early days. He argues, correctly, that Bennett was
not a social climber, had no interest in royalty or the aristocracy, and
despised titles – he declined a knighthood, thus causing embarrassment to
some of his fellow writers. It is true that he was intrigued by Lady Diana
Cooper, whose reputation was thought to have coloured the portrait of
Queenie in his wartime novel The Pretty Lady (1918), but he was interested
in her as a social type, and when he got to know her he liked her for
herself. She in turn liked him, although she did tell me once over lunch
that he spoke “Cockney”. Cockney seems to have been the generic term to
describe all non-U speech, regardless of geography.

The closing chapters of Donovan’s biography, drawing on the Berg Collection
and the Beaverbrook papers, shed new light on the difficulties of his
relationship with Dorothy Cheston, who emerges as wayward, opinionated and
not good with money – her entrepreneurial attempts in the theatre were not
successful, although he was always prepared to back them, just as he had
always backed Marguerite’s aspirations to give public poetry recitals,
recitals of which Bloomsbury made much fun. Dorothy also appears to have
quarrelled with the servants, maybe even violently. Bennett himself was
always scrupulously polite and generous to his staff, who were as loyal to
him as he was to them. His settlement on Marguerite had also been generous,
and Dorothy felt that she herself was not as well treated as she should
have been, and was kept short of ready money. Certainly when he died there
was not as much left as she might have expected from one who had been such
a spectacularly well paid and prolific author – there was a respectable,
but not a vast estate. To me, she repeatedly said that this was the fault
of America and the Depression and the Wall Street Crash, and that some of
his reported last words, “Everything is going wrong, my girl”, referred not
to his health and impending death, nor to his relationship with her, but to
his finances. Donovan notes that “by far the greatest part of his estate
was made up of manuscripts and other ‘illiquid’ assets which … took a
considerable time to sell”.

In later years I came to know their daughter, Virginia, who had had a
difficult childhood with Dorothy, who took her to America with her as she
attempted, unsuccessfully, to pursue a theatrical career. Virginia later
married happily and settled in Paris. She had few memories of her father to
share, but she was good and interesting company, and she and her family
remained very proud of Bennett’s work and reputation. She must have been
pleased to know that when Dorothy cabled to Arnold on his yacht to tell him
that she was unexpectedly pregnant, he cabled back to her: “Very sorry.
Very glad. Shall catch boat Hook of Holland, be with you tomorrow”. Alas,
we have only Dorothy’s word for this, as I have not seen the cable, and the
source, Dorothy’s A Portrait Done at Home, cannot wholly be trusted. (If it
was made up, that’s one up to Dorothy.) Maybe the cable reposes in the Berg
Collection? I knew of the existence of the Berg Collection when I was doing
my research in the 1960s and early 1970s, but I had three small children
and no money, so there was no possibility of my getting to New York to see
it, even if I could have gained access. But it would be good if the cable
story were true.

Margaret Drabble is currently writing a memoir, and six of her novels are
being reissued by Canongate in June.

On Mon, May 16, 2022 at 7:03 PM Leslie Hankins via Vwoolf <
vwoolf at lists.osu.edu> wrote:

> if anyone can access this article could you send it to me? It is relevant
> to my conference offering!! Leslie On Mon, May 16, 2022 at 2:56 PM Gretchen
> Gerzina via Vwoolf <vwoolf at lists.osu.edu> wrote:
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> if anyone can access this article could you send it to me? It is relevant
> to my conference offering!! Leslie
>
> On Mon, May 16, 2022 at 2:56 PM Gretchen Gerzina via Vwoolf <
> vwoolf at lists.osu.edu> wrote:
>
>> !-------------------------------------------------------------------|
>> This Message Is From an External Sender
>> This message came from outside your organization.
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>>
>> It is behind a paywall, but perhaps some of you have access to the TLS:
>>
>> A writer with class
>> A new biography sets up the clash between Arnold Bennett and Virginia
>> Woolf
>> By Margaret Drabble
>>
>>
>> https://urldefense.com/v3/__https://www.the-tls.co.uk/articles/arnold-bennett-lost-icon-patrick-donovan-book-review-margaret-drabble/?utm_source=Sailthru&utm_medium=email&utm_campaign=TLS*202022*2005*2013&utm_term=TLS_Audience__;JSUl!!KGKeukY!xSJ8wxZjDfV1KvwB59TXojSJRWUMWGlyoH0qu0LsFD4RKyxuMPh3zfOtZLvwd7nNrcYT1ao54ayA6W4$
>>
>> --Gretchen Gerzina
>>
>>
>> On 5/16/22, 12:25 PM, "vwoolf-bounces+ozma=sover.net at lists.osu.edu on
>> behalf of vwoolf-request at lists.osu.edu" <vwoolf-bounces+ozma=
>> sover.net at lists.osu.edu on behalf of vwoolf-request at lists.osu.edu> wrote:
>>
>> Send Vwoolf mailing list submissions to
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>> Today's Topics:
>>
>> 1. NYTimes: My College Students Are Not OK?are students of
>> Virginia Woolf different? (Kllevenback)
>> 2. Re: Giles (ex names and nations) (Mark Hussey)
>> 3. Re: Giles (ex names and nations) (Shilo McGiff)
>>
>>
>> ----------------------------------------------------------------------
>>
>> Message: 1
>> Date: Mon, 16 May 2022 04:01:03 -0400
>> From: Kllevenback <kllevenback at att.net>
>> To: "vwoolf at lists.osu.edu" <vwoolf at lists.osu.edu>
>> Subject: [Vwoolf] NYTimes: My College Students Are Not OK?are students
>> of Virginia Woolf different?
>> Message-ID: <68A24148-FCA1-477E-8D03-060E4066C430 at att.net>
>> Content-Type: text/plain; charset="utf-8"
>>
>> Just wondering?.
>> Karen Levenback
>>
>> My College Students Are Not OK
>>
>> https://urldefense.com/v3/__https://www.nytimes.com/2022/05/13/opinion/college-university-remote-pandemic.html?referringSource=articleShare__;!!KGKeukY!2pFnD0YRC_FeLImdN3-bwfiGpb7lyf7a1cqvkdetkrib13cu0koL9FApgohQM51sxSrM3JdjffQHrOG8NN_12gA$
>>
>>
>> Sent from my iPad
>>
>>
>> ------------------------------
>>
>> Message: 2
>> Date: Mon, 16 May 2022 12:58:39 +0000 (UTC)
>> From: Mark Hussey <mhussey at verizon.net>
>> To: "Stuart N. Clarke" <stuart.n.clarke at btinternet.com>, Vwoolf
>> Listerve <vwoolf at lists.osu.edu>
>> Subject: Re: [Vwoolf] Giles (ex names and nations)
>> Message-ID: <245827373.3798240.1652705919994 at mail.yahoo.com>
>> Content-Type: text/plain; charset="utf-8"
>>
>> Sorry if I?ve overlooked a post, but? Giles Lytton Strachey?
>> On Sunday, May 15, 2022, 12:12:37 PM EDT, Stuart N. Clarke via Vwoolf <
>> vwoolf at lists.osu.edu> wrote:
>>
>> Giles is not very common in Woolf. It was a popular name in the medieval
>> period (St Giles was the patron saint of ?cripples?), and appropriately
>> there?s a Giles Martyn in ?The Journal of Mistress Joan Martyn?. Giles
>> sounds a posh name to me,Giles is not very common in Woolf.? It was a
>> popular name in the medieval period (St Giles was the patron saint of
>> ?cripples?), and appropriately there?s a Giles Martyn in ?The Journal of
>> Mistress Joan Martyn?.? Giles sounds a posh name to me, and indeed a
>> distant cousin of Woolf?s was Sir Gyles Isham, Bt (see letter no. 2690),
>> who nevertheless was an ACTOR:
>> https://urldefense.com/v3/__https://en.wikipedia.org/wiki/Gyles_Isham__;!!KGKeukY!zyj8oUENhg2KrmHjwUUVOgHMcQeV-iHt3a5l2lWfKJ-Smp3d1-5FEjwTcsZw3RfHgI-bigtOP-T0XX09pqVR9A$
>> ?Stuart?From: Jeremy Hawthorn via Vwoolf Sent: S
>> unday, May 15, 2022 10:00 AMTo: VWOOLF at lists.acs.ohio-state.edu Subject:
>> [Vwoolf] names and nations?Stuart?s exasperation reminds me of this passage
>> from Joseph Heller?s Catch 22 ? it deals with surnames rather than given
>> names, but the emotions inspired are similar. Colonel Cathcart has realized
>> how often the name Yossarian
>> Stuart?s exasperation reminds me of this passage from Joseph Heller?s
>> Catch 22 ? it deals with surnames rather than given names, but the emotions
>> inspired are similar. Colonel Cathcart has realized how often the name
>> Yossarian is associated with events that dealt him metaphorical black eyes.
>>
>> ?
>>
>> Yossarian - the very sight of the name made him shudder. There were so
>> many esses in it. It just had to be subversive. It was like the word
>> subversive itself. It was like seditious and insidious too, and like
>> socialist, suspicious, fascist and Communist. It was an odious, alien
>> distasteful name, that just did not inspire confidence. It was not at all
>> like such clean, crisp, honest American names as Cathcart, Peckem and
>> Dreedle.
>>
>> ?
>>
>> (Why does Heller give ?Communist? a capital letter?)
>>
>> ?
>>
>> One Woolf name I have often wondered about is Giles, in Between the Acts.
>> What associations does that name have for readers - or did it have for
>> Woolf?
>>
>> ?
>>
>> Jeremy H
>>
>> ?
>>
>> ?
>>
>> Jeremy Hawthorn
>>
>> Professor Emeritus
>>
>> NTNU
>>
>> 7491 Trondheim
>>
>> Norway
>>
>> ?
>>
>>
>> _______________________________________________
>> Vwoolf mailing list
>> Vwoolf at lists.osu.edu
>> https://lists.osu.edu/mailman/listinfo/vwoolf
>> _______________________________________________
>> Vwoolf mailing list
>> Vwoolf at lists.osu.edu
>> https://lists.osu.edu/mailman/listinfo/vwoolf
>>
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>> >
>>
>> ------------------------------
>>
>> Message: 3
>> Date: Mon, 16 May 2022 12:24:43 -0400
>> From: Shilo McGiff <srm10 at cornell.edu>
>> To: Mark Hussey <mhussey at verizon.net>
>> Cc: Vwoolf Listerve <vwoolf at lists.osu.edu>
>> Subject: Re: [Vwoolf] Giles (ex names and nations)
>> Message-ID:
>> <CAGSf4FOJtZ-Cs4nPSxD2YxxUTeSwGzUimj6fWZOoW=fh1W7YcA at mail.gmail.com>
>> Content-Type: text/plain; charset="utf-8"
>>
>> What of "Gilles" as a stock figure in French farce?
>> In any event, "little goat" gives this (somewhat) modern student of
>> pastoral...a frisson.
>>
>> Happy Monday, All.
>>
>> SRM
>>
>>
>> On Mon, May 16, 2022 at 8:58 AM Mark Hussey via Vwoolf <
>> vwoolf at lists.osu.edu>
>> wrote:
>>
>> > Sorry if I?ve overlooked a post, but? Giles Lytton Strachey
>> >
>> > On Sunday, May 15, 2022, 12:12:37 PM EDT, Stuart N. Clarke via Vwoolf <
>> > vwoolf at lists.osu.edu> wrote:
>> >
>> >
>> > Giles is not very common in Woolf. It was a popular name in the medieval
>> > period (St Giles was the patron saint of ?cripples?), and appropriately
>> > there?s a Giles Martyn in ?The Journal of Mistress Joan Martyn?. Giles
>> > sounds a posh name to me,
>> > Giles is not very common in Woolf. It was a popular name in the medieval
>> > period (St Giles was the patron saint of ?cripples?), and appropriately
>> > there?s a Giles Martyn in ?The Journal of Mistress Joan Martyn?. Giles
>> > sounds a posh name to me, and indeed a distant cousin of Woolf?s was Sir
>> > Gyles Isham, Bt (see letter no. 2690), who nevertheless was an ACTOR:
>> >
>> https://urldefense.com/v3/__https://en.wikipedia.org/wiki/Gyles_Isham__;!!KGKeukY!29ygSF2vrKsupppdaJi-BU5qwU7p5Zhyuxk0HY_PMXgViAklx7HpMUPdpNk_sxg4pBsxfryCzPajhyQOn8hW$
>> > <
>> https://urldefense.com/v3/__https://en.wikipedia.org/wiki/Gyles_Isham__;!!KGKeukY!2q9eNjnnq9Wq29f7uwXV7BpR0hHa9Ugyp4UbHmVmdFQzy7d6URIJK4QyBXyFumNoYXC_euI-5Yz0Xa3lIWidolLyIkB1JViURagalBTYIQ$
>> >
>> >
>> > Stuart
>> >
>> > *From:* Jeremy Hawthorn via Vwoolf
>> > *Sent:* Sunday, May 15, 2022 10:00 AM
>> > *To:* VWOOLF at lists.acs.ohio-state.edu
>> > *Subject:* [Vwoolf] names and nations
>> >
>> > Stuart?s exasperation reminds me of this passage from Joseph Heller?s
>> > Catch 22 ? it deals with surnames rather than given names, but the
>> emotions
>> > inspired are similar. Colonel Cathcart has realized how often the name
>> > Yossarian
>> >
>> > Stuart?s exasperation reminds me of this passage from Joseph Heller?s
>> *Catch
>> > 22* ? it deals with surnames rather than given names, but the emotions
>> > inspired are similar. Colonel Cathcart has realized how often the name
>> > Yossarian is associated with events that dealt him metaphorical black
>> eyes.
>> >
>> >
>> >
>> > *Yossarian* - the very sight of the name made him shudder. There were so
>> > many esses in it. It just had to be subversive. It was like the word
>> > *subversive* itself. It was like *seditious* and *insidious* too, and
>> > like *socialist*, *suspicious*, *fascist* and *Communist*. It was an
>> > odious, alien distasteful name, that just did not inspire confidence. It
>> > was not at all like such clean, crisp, honest American names as
>> Cathcart,
>> > Peckem and Dreedle.
>> >
>> >
>> >
>> > (Why does Heller give ?Communist? a capital letter?)
>> >
>> >
>> >
>> > One Woolf name I have often wondered about is Giles, in *Between the
>> Acts*.
>> > What associations does that name have for readers - or did it have for
>> > Woolf?
>> >
>> >
>> >
>> > Jeremy H
>> >
>> >
>> >
>> >
>> >
>> > Jeremy Hawthorn
>> >
>> > Professor Emeritus
>> >
>> > NTNU
>> >
>> > 7491 Trondheim
>> >
>> > Norway
>> >
>> >
>> >
>> > ------------------------------
>> > _______________________________________________
>> > Vwoolf mailing list
>> > Vwoolf at lists.osu.edu
>> > https://lists.osu.edu/mailman/listinfo/vwoolf
>> > _______________________________________________
>> > Vwoolf mailing list
>> > Vwoolf at lists.osu.edu
>> > https://lists.osu.edu/mailman/listinfo/vwoolf
>> > _______________________________________________
>> > Vwoolf mailing list
>> > Vwoolf at lists.osu.edu
>> > https://lists.osu.edu/mailman/listinfo/vwoolf
>> >
>>
>>
>> --
>> Shilo R. McGiff, PhD
>> The Woolf Salon Project
>> Ithaca, NY 14850
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>> Vwoolf at lists.osu.edu
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>>
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>> ***************************************
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>
>
> --
> Leslie Kathleen Hankins
> Professor, Chair
> Department of English & Creative Writing
>
> *"No doubt we should be, on the whole, much worse off than we are without
> our astonishing gift for illusion."*
>                    Virginia Woolf,* Jacob's Room*
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-- 
Dr. Emily Kopley
Author of *Virginia Woolf and Poetry
<https://urldefense.com/v3/__https://global.oup.com/academic/product/virginia-woolf-and-poetry-9780198850861?cc=us&lang=en&__;!!KGKeukY!zN62qnsOB5EqItSCTeXBqXg_Nn1ud3dBqMJ3k2E23JGIf6picGsPz_Oj6k8sziE2f2PgMjzKmWq9Q806oapYbilTUg$ >*
(Oxford University Press, 2021)
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