From neverowv1 at southernct.edu Wed Aug 2 13:06:46 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Wed, 2 Aug 2023 17:06:46 +0000 Subject: [Vwoolf] Charleston's "Bring No Clothes"--and a promo for the Montague on the GardensHotel Message-ID: Greetings, https://urldefense.com/v3/__https://www.wallpaper.com/fashion-beauty/bloomsbury-group-exihibitionw__;!!KGKeukY!2lzq-bqcmPa90vRxvisjM69SOrep46NI24ZzZ8uzudM37mPqxTwzeK7b5BDuYM6EsNkgiFbUHsDd-vRY4-Ch_-kWBz79$ [https://urldefense.com/v3/__https://cdn.mos.cms.futurecdn.net/B7MCdfhXQLmig5ZZ5nqCwg-1200-80.jpeg__;!!KGKeukY!2lzq-bqcmPa90vRxvisjM69SOrep46NI24ZzZ8uzudM37mPqxTwzeK7b5BDuYM6EsNkgiFbUHsDd-vRY4-Ch_x194t24$ ] Exhibition to explore the Bloomsbury Group through fashion Supported by Dior, Charleston?s ?Bring No Clothes? explores the Bloomsbury Group?s use of ? and influence on ? fashion, featuring works by Dior, Fendi, Comme des Gar?ons and more, alongside original clothing and ephemera https://urldefense.com/v3/__http://www.wallpaper.com__;!!KGKeukY!2lzq-bqcmPa90vRxvisjM69SOrep46NI24ZzZ8uzudM37mPqxTwzeK7b5BDuYM6EsNkgiFbUHsDd-vRY4-Ch_28YNIJA$ and...AI on Google Alerts searches for Bloomsbury, and The Montague on the Gardens is in Bloomsbury... https://urldefense.com/v3/__https://www.upscalelivingmag.com/features/the-montague-on-the-gardens/__;!!KGKeukY!2lzq-bqcmPa90vRxvisjM69SOrep46NI24ZzZ8uzudM37mPqxTwzeK7b5BDuYM6EsNkgiFbUHsDd-vRY4-Ch_zql3UpS$ [https://urldefense.com/v3/__https://www.upscalelivingmag.com/wp-content/uploads/2023/07/Montague-on-the-Gardens.jpg__;!!KGKeukY!2lzq-bqcmPa90vRxvisjM69SOrep46NI24ZzZ8uzudM37mPqxTwzeK7b5BDuYM6EsNkgiFbUHsDd-vRY4-Ch_3PvtdUB$ ] The Montague on the Gardens The Montague Hotel leads you through rooms of different scenes and styles with old-world charm and antiques https://urldefense.com/v3/__http://www.upscalelivingmag.com__;!!KGKeukY!2lzq-bqcmPa90vRxvisjM69SOrep46NI24ZzZ8uzudM37mPqxTwzeK7b5BDuYM6EsNkgiFbUHsDd-vRY4-Ch_-8fidEG$ Both of the links lead to very visually interesting arrays of photographs. Vara Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Wed Aug 2 22:24:04 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Thu, 3 Aug 2023 02:24:04 +0000 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--now online Message-ID: Dear Woolfians, Issue 100 of the Virginia Woolf Miscellany (Spring/Summer 2023) is now in its final stages of production (note: the current online version is a next-to-final draft, so it's best not to download it for your files at this point?the final version will be uploaded soon). The current version of the issue can be accessed at: https://urldefense.com/v3/__https://virginiawoolfmiscellany.wordpress.com/virginia-woolf-miscellany-issue-100-spring-summer-2023/__;!!KGKeukY!3FLS_vHXXHcaha0JEGlXPDhSpXXsIp0-o0sjWmPh-DRc6ZVkxlE8dlEsYGGH71qwKMfwUC92ZjMuLlDkjLtzkoEm78oH$ (this link is also available below). If you are a current member of the International Virginia Woolf Society, you have the option of receiving a print copy of the Miscellany (as a member, you can also opt out from receiving a print copy). If you wish to renew your membership, join the IVWS, or donate to the IVWS, go to https://urldefense.com/v3/__https://v-woolf-society.com/membership/__;!!KGKeukY!3FLS_vHXXHcaha0JEGlXPDhSpXXsIp0-o0sjWmPh-DRc6ZVkxlE8dlEsYGGH71qwKMfwUC92ZjMuLlDkjLtzkjOp8lA_$ . (Note: The Miscellany was founded as independent journal, but it is affiliated with the IVWS.) If you are registered in the VWoolf listserve and are also a member of the IVWS, then you will receive two versions of this email due to cross-posting (apologies for the duplication!). Below is part of the overview I have provided on the WordPress webpage and describes the various features of this particular issue. Special Topic: The Evolution of the Virginia Woolf Miscellany This issue of the Miscellany is dedicated to the special topic "The Evolution of the Virginia Woolf Miscellany." To access the webpage, click here: https://urldefense.com/v3/__https://virginiawoolfmiscellany.wordpress.com/virginia-woolf-miscellany-issue-100-spring-summer-2023/__;!!KGKeukY!3FLS_vHXXHcaha0JEGlXPDhSpXXsIp0-o0sjWmPh-DRc6ZVkxlE8dlEsYGGH71qwKMfwUC92ZjMuLlDkjLtzkoEm78oH$ . To view the Table of Contents, go to page 25. The editors of this special theme, which focuses on the origins and history of the Miscellany, are J. J. Wilson (the founding editor of the Miscellany), Vara Neverow (the current editor), and Alec Pollak (the guest editor). ?To the Readers? section (pages 1-5) offers each editor?s introductory statement. The contributors to this special topic, in the order of their work, are Morris Beja, Diane F. Gillespie, Peter Stansky, Sandra Inskeep-Fox, Katherine C. Hill-Miller, Maggie Humm, Beth Rigel Daugherty, Karen Levenback, Rebecca McNeer, Emily Kopley, Joel Hawkes, JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, Arpi Sarafian, AnneMarie Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and Robert McDowell (see pages 26-44). These contributions provide a rich and varied range of perspectives including historical details, insights about the benefits provided by the Miscellany, many different personal recollections and reflections, several engaging teaching techniques, and a poem. Remembering Suzanne Bellamy The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), an artist and sculptor and feminist whose invaluable work has inspired the Woolfian community (pages 11-22). Calls for Papers The Call for Papers for the 33rd Annual Conference on Virginia Woolf: Woolf, Modernity, Technology, which will be hosted by J. Ashley Foster and held at California State University--Fresno, can be accessed on page 6. Calls for papers for future issues of the Miscellany can be viewed on pages 23 and 24: --Issue 102, Spring 2024: Special Topic on Twenty-First-Century Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and Patriarchy; --Issue 103, Fall 2024: Special Topic on Virginia Woolf and George Eliot; --Issue 104, Spring 2025: Special Topic on Virginia Woolf and D. H, Lawrence; --Issue 105, Fall 2025: Special Topic on Virginia Woolf and Failure. The 2023 Angelica Garnett Undergraduate Essay Prize The essays submitted by Eleanor Clark, the winner of the 2023 Angelica Garnett Undergraduate Essay Prize, and the runners-up for the prize, Saskia May and Jasmine Woodcock, are included in this issue (see pages 44-50). "Truly Miscellaneous" Contributions The "Truly Miscellaneous" section of this issue features C?cile Wajsbrot's "Outside," Rhonda Mayne's "Mrs. Papworth: The Working-Class Woman in Virginia Woolf's Novel Jacob's Room," Ane Thun Knutsen's "Virginia Woolf and the Letterpress," Rasha Alijararwa's "The Power of Silence: Understanding Women's Resistance in Woolf's To the Lighthouse," and Megan Pollard's "A Deliberate Failure: Politics, Form, and Woolf Between the Wars" (pages 50-63). Truly miscellaneous submissions (ones that do not focus on the special topic) should be sent to me directly. Book Reviews The book reviewers for this issue are Charles Andrews, Lisa Tyler, Sayaka Okumura, Ria Banerjee, Mark Hussey, and Linda Camarasana (see pages 63-70). Contact the book review editor, Karen Levenback (kllevenback at att.com), if you want to propose a particular book for review. The Society Column The Society Column, written by Benjamin Hagen--the President of the International Virginia Woolf Society--starts on page 72 and continues onto page 71. Also on page 71 is the list of the IVWS officers, the members-at-large, and the archival liaison. If you are interested in submitting "truly miscellaneous" work for consideration, you should contact me. The contributions can include scholarly work, reviews of relevant exhibitions, films, and performances, short poetry, photographs, and other forms of artwork. Please tell me if have any questions. All best, Vara Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) -------------- next part -------------- An HTML attachment was scrubbed... URL: From srm10 at cornell.edu Thu Aug 3 09:54:57 2023 From: srm10 at cornell.edu (Shilo McGiff) Date: Thu, 3 Aug 2023 09:54:57 -0400 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--now online In-Reply-To: References: Message-ID: Congratulations, Vara, JJ (and all)--- 100! What an accomplishment. The issue is poignant and beautiful. I've already been distracted by dipping into it twice this morning and I can't wait to read the rest of it as the days go by. Shilo On Wed, Aug 2, 2023 at 10:24?PM Neverow, Vara S. via Vwoolf < vwoolf at lists.osu.edu> wrote: > Dear Woolfians, Issue 100 of the Virginia Woolf Miscellany (Spring/Summer > 2023) is now in its final stages of production (note: the current online > version is a next-to-final draft, so it's best not to download it for your > files at this point?the > Dear Woolfians, > > Issue 100 of the *Virginia Woolf Miscellany* (Spring/Summer 2023) is now > in its final stages of production (note: the current online version is a > next-to-final draft, so it's best not to download it for your files at this > point?the final version will be uploaded soon). The current version of the > issue can be accessed at: > > https://urldefense.com/v3/__https://virginiawoolfmiscellany.wordpress.com/virginia-woolf-miscellany-issue-100-spring-summer-2023/__;!!KGKeukY!08gbqd1o2_MegoemvN8KEK_xVxtlsglJSiZAF70ApLFfWTU6k0IiCSqZIieOhuI4ubvyCtfKf2Hl_44niPl1$ > (this > link is also available below). > > If you are a current member of the International Virginia Woolf Society, > you have the option of receiving a print copy of the *Miscellany* (as a > member, you can also opt out from receiving a print copy). If you wish to > renew your membership, join the IVWS, or donate to the IVWS, go to > https://urldefense.com/v3/__https://v-woolf-society.com/membership/__;!!KGKeukY!08gbqd1o2_MegoemvN8KEK_xVxtlsglJSiZAF70ApLFfWTU6k0IiCSqZIieOhuI4ubvyCtfKf2Hl_2dDKp0k$ > . > (Note: The *Miscellany *was founded as independent journal, but it is > affiliated with the IVWS.) If you are registered in the VWoolf listserve > and are also a member of the IVWS, then you will receive two versions of > this email due to cross-posting (apologies for the duplication!). > > Below is part of the overview I have provided on the WordPress webpage and > describes the various features of this particular issue. > > *Special Topic: The Evolution of the **Virginia Woolf Miscellany* > > This issue of the *Miscellany* is dedicated to the special topic "The > Evolution of the *Virginia Woolf Miscellany*." To access the webpage, > click here: > https://urldefense.com/v3/__https://virginiawoolfmiscellany.wordpress.com/virginia-woolf-miscellany-issue-100-spring-summer-2023/__;!!KGKeukY!08gbqd1o2_MegoemvN8KEK_xVxtlsglJSiZAF70ApLFfWTU6k0IiCSqZIieOhuI4ubvyCtfKf2Hl_44niPl1$ > . > To view the Table of Contents, go to page 25. > > The editors of this special theme, which focuses on the origins and > history of the *Miscellany,* are J. J. Wilson (the founding editor of the > *Miscellany*), Vara Neverow (the current editor), and Alec Pollak (the > guest editor). ?To the Readers? section (pages 1-5) offers each editor?s > introductory statement. The contributors to this special topic, in the > order of their work, are Morris Beja, Diane F. Gillespie, Peter Stansky, > Sandra Inskeep-Fox, Katherine C. Hill-Miller, Maggie Humm, Beth Rigel > Daugherty, Karen Levenback, Rebecca McNeer, Emily Kopley, Joel Hawkes, > JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, Arpi Sarafian, > AnneMarie Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and > Robert McDowell (see pages 26-44). These contributions provide a rich and > varied range of perspectives including historical details, insights about > the benefits provided by the *Miscellany,* many different personal > recollections and reflections, several engaging teaching techniques, and a > poem. > > *Remembering Suzanne Bellamy* > > The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), > an artist and sculptor and feminist whose invaluable work has inspired the > Woolfian community (pages 11-22). > > > *Calls for Papers* > > The Call for Papers for the 33rd Annual Conference on Virginia Woolf: *Woolf, > Modernity, Technology*, which will be hosted by J. Ashley Foster and held > at California State University--Fresno, can be accessed on page 6. > > > Calls for papers for future issues of the *Miscellany* can be viewed on > pages 23 and 24: > > --*Issue 102, Spring 2024*: Special Topic on Twenty-First-Century > Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and > Patriarchy; > > --*Issue 103, Fall 2024*: Special Topic on Virginia Woolf and George > Eliot; > > --*Issue 104, Spring 2025*: Special Topic on Virginia Woolf and D. H, > Lawrence; > > --*Issue 105, Fall 2025*: Special Topic on Virginia Woolf and Failure. > > > *The 2023 Angelica Garnett Undergraduate Essay Prize* > > The essays submitted by Eleanor Clark, the winner of the 2023 Angelica > Garnett Undergraduate Essay Prize, and the runners-up for the prize, Saskia > May and Jasmine Woodcock, are included in this issue (see pages 44-50). > > > *"Truly Miscellaneous" Contributions* > > The "Truly Miscellaneous" section of this issue features C?cile Wajsbrot's > "Outside," Rhonda Mayne's "Mrs. Papworth: The Working-Class Woman in > Virginia Woolf's Novel *Jacob's Room*," Ane Thun Knutsen's "Virginia > Woolf and the Letterpress," Rasha Alijararwa's "The Power of Silence: > Understanding Women's Resistance in Woolf's *To the Lighthouse*," and > Megan Pollard's "A Deliberate Failure: Politics, Form, and Woolf Between > the Wars" (pages 50-63). Truly miscellaneous submissions (ones that do not > focus on the special topic) should be sent to me directly. > > > *Book Reviews* > > The book reviewers for this issue are Charles Andrews, Lisa Tyler, Sayaka > Okumura, Ria Banerjee, Mark Hussey, and Linda Camarasana (see pages 63-70). > Contact the book review editor, Karen Levenback (kllevenback at att.com), if > you want to propose a particular book for review. > > > *The **Society Column* > > The *Society Column*, written by Benjamin Hagen--the President of the > International Virginia Woolf Society--starts on page 72 and continues onto > page 71. Also on page 71 is the list of the IVWS officers, the > members-at-large, and the archival liaison. > > > If you are interested in submitting "truly miscellaneous" work for > consideration, you should contact me. The contributions can include > scholarly work, reviews of relevant exhibitions, films, and performances, > short poetry, photographs, and other forms of artwork. > > > Please tell me if have any questions. > > > All best, > > > Vara > > Vara Neverow > (she/her/hers) > Professor, English Department > Editor, *Virginia Woolf Miscellany* > Southern Connecticut State University > New Haven, CT 06515 > 203-392-6717 > neverowv1 at southernct.edu > > *I acknowledge that Southern Connecticut State **University was built on > traditional territory** of the indigenous peoples and nations of the > Paugussett and Quinnipiac peoples. * > > > *Recent Publications:* > > Lead editor, *Virginia Woolf: Critical and Primary Sources* (Bloomsbury, > 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume > One, 1975-1984, *Virginia Woolf: Critical and Primary Sources* (Bloomsbury, > 2020); Co-editor, *The Edinburgh Companion to Virginia Woolf and > Contemporary Global Literature* (Edinburgh, 2020; with Jeanne Dubino, > Paulina Paj?k, Catherine Hollis, and Celiese Lypka) > > _______________________________________________ > Vwoolf mailing list > Vwoolf at lists.osu.edu > https://lists.osu.edu/mailman/listinfo/vwoolf > -- Shilo R. McGiff, PhD Virginia Woolf & Ecologies II The Woolf Salon Project Ithaca, NY 14850 -------------- next part -------------- An HTML attachment was scrubbed... URL: From Benjamin.Hagen at usd.edu Thu Aug 3 10:05:31 2023 From: Benjamin.Hagen at usd.edu (Hagen, Benjamin D) Date: Thu, 3 Aug 2023 14:05:31 +0000 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--now online In-Reply-To: References: Message-ID: Just adding a ?hear, hear!? to Shilo?s words. Congratulations, Vara and all, on shepherding this foundational publication to issue 100?and beyond. And what an issue! Looking forward to reading it in full over the weekend. ? Ben From: Vwoolf on behalf of Shilo McGiff via Vwoolf Date: Thursday, August 3, 2023 at 8:56 AM To: Neverow, Vara S. Cc: vwoolf listerve Subject: Re: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--now online Congratulations, Vara, JJ (and all)--- 100! What an accomplishment. The issue is poignant and beautiful. I've already been distracted by dipping into it twice this morning and I can't wait to read the rest of it as the days go by.?Shilo Congratulations, Vara, JJ (and all)--- 100! What an accomplishment. The issue is poignant and beautiful. I've already been distracted by dipping into it twice this morning and I can't wait to read the rest of it as the days go by. Shilo On Wed, Aug 2, 2023 at 10:24?PM Neverow, Vara S. via Vwoolf > wrote: Dear Woolfians, Issue 100 of the Virginia Woolf Miscellany (Spring/Summer 2023) is now in its final stages of production (note: the current online version is a next-to-final draft, so it's best not to download it for your files at this point?the Dear Woolfians, Issue 100 of the Virginia Woolf Miscellany (Spring/Summer 2023) is now in its final stages of production (note: the current online version is a next-to-final draft, so it's best not to download it for your files at this point?the final version will be uploaded soon). The current version of the issue can be accessed at: https://urldefense.com/v3/__https://virginiawoolfmiscellany.wordpress.com/virginia-woolf-miscellany-issue-100-spring-summer-2023/__;!!KGKeukY!1Orh8pUWxf-eTha6NjzyJj9GTqrP1FxoPOfw5IprZwjjKDug-cVoK__fItpZbCwGO1vx80dotctWJgPMV4O6Oy2yKpyJ_g$ (this link is also available below). If you are a current member of the International Virginia Woolf Society, you have the option of receiving a print copy of the Miscellany (as a member, you can also opt out from receiving a print copy). If you wish to renew your membership, join the IVWS, or donate to the IVWS, go to https://urldefense.com/v3/__https://v-woolf-society.com/membership/__;!!KGKeukY!1Orh8pUWxf-eTha6NjzyJj9GTqrP1FxoPOfw5IprZwjjKDug-cVoK__fItpZbCwGO1vx80dotctWJgPMV4O6Oy0D7eoJwA$ . (Note: The Miscellany was founded as independent journal, but it is affiliated with the IVWS.) If you are registered in the VWoolf listserve and are also a member of the IVWS, then you will receive two versions of this email due to cross-posting (apologies for the duplication!). Below is part of the overview I have provided on the WordPress webpage and describes the various features of this particular issue. Special Topic: The Evolution of the Virginia Woolf Miscellany This issue of the Miscellany is dedicated to the special topic "The Evolution of the Virginia Woolf Miscellany." To access the webpage, click here: https://urldefense.com/v3/__https://virginiawoolfmiscellany.wordpress.com/virginia-woolf-miscellany-issue-100-spring-summer-2023/__;!!KGKeukY!1Orh8pUWxf-eTha6NjzyJj9GTqrP1FxoPOfw5IprZwjjKDug-cVoK__fItpZbCwGO1vx80dotctWJgPMV4O6Oy2yKpyJ_g$ . To view the Table of Contents, go to page 25. The editors of this special theme, which focuses on the origins and history of the Miscellany, are J. J. Wilson (the founding editor of the Miscellany), Vara Neverow (the current editor), and Alec Pollak (the guest editor). ?To the Readers? section (pages 1-5) offers each editor?s introductory statement. The contributors to this special topic, in the order of their work, are Morris Beja, Diane F. Gillespie, Peter Stansky, Sandra Inskeep-Fox, Katherine C. Hill-Miller, Maggie Humm, Beth Rigel Daugherty, Karen Levenback, Rebecca McNeer, Emily Kopley, Joel Hawkes, JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, Arpi Sarafian, AnneMarie Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and Robert McDowell (see pages 26-44). These contributions provide a rich and varied range of perspectives including historical details, insights about the benefits provided by the Miscellany, many different personal recollections and reflections, several engaging teaching techniques, and a poem. Remembering Suzanne Bellamy The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), an artist and sculptor and feminist whose invaluable work has inspired the Woolfian community (pages 11-22). Calls for Papers The Call for Papers for the 33rd Annual Conference on Virginia Woolf: Woolf, Modernity, Technology, which will be hosted by J. Ashley Foster and held at California State University--Fresno, can be accessed on page 6. Calls for papers for future issues of the Miscellany can be viewed on pages 23 and 24: --Issue 102, Spring 2024: Special Topic on Twenty-First-Century Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and Patriarchy; --Issue 103, Fall 2024: Special Topic on Virginia Woolf and George Eliot; --Issue 104, Spring 2025: Special Topic on Virginia Woolf and D. H, Lawrence; --Issue 105, Fall 2025: Special Topic on Virginia Woolf and Failure. The 2023 Angelica Garnett Undergraduate Essay Prize The essays submitted by Eleanor Clark, the winner of the 2023 Angelica Garnett Undergraduate Essay Prize, and the runners-up for the prize, Saskia May and Jasmine Woodcock, are included in this issue (see pages 44-50). "Truly Miscellaneous" Contributions The "Truly Miscellaneous" section of this issue features C?cile Wajsbrot's "Outside," Rhonda Mayne's "Mrs. Papworth: The Working-Class Woman in Virginia Woolf's Novel Jacob's Room," Ane Thun Knutsen's "Virginia Woolf and the Letterpress," Rasha Alijararwa's "The Power of Silence: Understanding Women's Resistance in Woolf's To the Lighthouse," and Megan Pollard's "A Deliberate Failure: Politics, Form, and Woolf Between the Wars" (pages 50-63). Truly miscellaneous submissions (ones that do not focus on the special topic) should be sent to me directly. Book Reviews The book reviewers for this issue are Charles Andrews, Lisa Tyler, Sayaka Okumura, Ria Banerjee, Mark Hussey, and Linda Camarasana (see pages 63-70). Contact the book review editor, Karen Levenback (kllevenback at att.com), if you want to propose a particular book for review. The Society Column The Society Column, written by Benjamin Hagen--the President of the International Virginia Woolf Society--starts on page 72 and continues onto page 71. Also on page 71 is the list of the IVWS officers, the members-at-large, and the archival liaison. If you are interested in submitting "truly miscellaneous" work for consideration, you should contact me. The contributions can include scholarly work, reviews of relevant exhibitions, films, and performances, short poetry, photographs, and other forms of artwork. Please tell me if have any questions. All best, Vara Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -- Shilo R. McGiff, PhD Virginia Woolf & Ecologies II The Woolf Salon Project Ithaca, NY 14850 -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Thu Aug 3 10:09:26 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Thu, 3 Aug 2023 14:09:26 +0000 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--now online In-Reply-To: References: Message-ID: Thank you, Ben, and thank you, Shilo! Much appreciated. My own special thanks to J. J. Wilson! and to Alec Pollak! And I should tuck in a reminder that all VWoolf listserve folx who are also IVWS members will also be getting a "cross-posted" email shortly. Vara Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) ________________________________ From: Hagen, Benjamin D Sent: Thursday, August 3, 2023 10:05 AM To: Shilo McGiff ; Neverow, Vara S. Cc: vwoolf listerve Subject: Re: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--now online Just adding a ?hear, hear!? to Shilo?s words. Congratulations, Vara and all, on shepherding this foundational publication to issue 100?and beyond. And what an issue! Looking forward to reading it in full over the weekend. ? Ben From: Vwoolf on behalf of Shilo McGiff via Vwoolf Date: Thursday, August 3, 2023 at 8:56 AM To: Neverow, Vara S. Cc: vwoolf listerve Subject: Re: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--now online Congratulations, Vara, JJ (and all)--- 100! What an accomplishment. The issue is poignant and beautiful. I've already been distracted by dipping into it twice this morning and I can't wait to read the rest of it as the days go by.?Shilo Congratulations, Vara, JJ (and all)--- 100! What an accomplishment. The issue is poignant and beautiful. I've already been distracted by dipping into it twice this morning and I can't wait to read the rest of it as the days go by. Shilo On Wed, Aug 2, 2023 at 10:24?PM Neverow, Vara S. via Vwoolf > wrote: Dear Woolfians, Issue 100 of the Virginia Woolf Miscellany (Spring/Summer 2023) is now in its final stages of production (note: the current online version is a next-to-final draft, so it's best not to download it for your files at this point?the Dear Woolfians, Issue 100 of the Virginia Woolf Miscellany (Spring/Summer 2023) is now in its final stages of production (note: the current online version is a next-to-final draft, so it's best not to download it for your files at this point?the final version will be uploaded soon). The current version of the issue can be accessed at: https://urldefense.com/v3/__https://virginiawoolfmiscellany.wordpress.com/virginia-woolf-miscellany-issue-100-spring-summer-2023/__;!!KGKeukY!wDxeYKEOb9DZwT5bzOXp2m-gFC7yR5kdSsg_ouvOW3d7HdenDJvQ1lTPvrUAn7FdLGZ4ShYwrAnrAWB9HxtMX-BuezOn$ (this link is also available below). If you are a current member of the International Virginia Woolf Society, you have the option of receiving a print copy of the Miscellany (as a member, you can also opt out from receiving a print copy). If you wish to renew your membership, join the IVWS, or donate to the IVWS, go to https://urldefense.com/v3/__https://v-woolf-society.com/membership/__;!!KGKeukY!wDxeYKEOb9DZwT5bzOXp2m-gFC7yR5kdSsg_ouvOW3d7HdenDJvQ1lTPvrUAn7FdLGZ4ShYwrAnrAWB9HxtMX72wN6t0$ . (Note: The Miscellany was founded as independent journal, but it is affiliated with the IVWS.) If you are registered in the VWoolf listserve and are also a member of the IVWS, then you will receive two versions of this email due to cross-posting (apologies for the duplication!). Below is part of the overview I have provided on the WordPress webpage and describes the various features of this particular issue. Special Topic: The Evolution of the Virginia Woolf Miscellany This issue of the Miscellany is dedicated to the special topic "The Evolution of the Virginia Woolf Miscellany." To access the webpage, click here: https://urldefense.com/v3/__https://virginiawoolfmiscellany.wordpress.com/virginia-woolf-miscellany-issue-100-spring-summer-2023/__;!!KGKeukY!wDxeYKEOb9DZwT5bzOXp2m-gFC7yR5kdSsg_ouvOW3d7HdenDJvQ1lTPvrUAn7FdLGZ4ShYwrAnrAWB9HxtMX-BuezOn$ . To view the Table of Contents, go to page 25. The editors of this special theme, which focuses on the origins and history of the Miscellany, are J. J. Wilson (the founding editor of the Miscellany), Vara Neverow (the current editor), and Alec Pollak (the guest editor). ?To the Readers? section (pages 1-5) offers each editor?s introductory statement. The contributors to this special topic, in the order of their work, are Morris Beja, Diane F. Gillespie, Peter Stansky, Sandra Inskeep-Fox, Katherine C. Hill-Miller, Maggie Humm, Beth Rigel Daugherty, Karen Levenback, Rebecca McNeer, Emily Kopley, Joel Hawkes, JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, Arpi Sarafian, AnneMarie Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and Robert McDowell (see pages 26-44). These contributions provide a rich and varied range of perspectives including historical details, insights about the benefits provided by the Miscellany, many different personal recollections and reflections, several engaging teaching techniques, and a poem. Remembering Suzanne Bellamy The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), an artist and sculptor and feminist whose invaluable work has inspired the Woolfian community (pages 11-22). Calls for Papers The Call for Papers for the 33rd Annual Conference on Virginia Woolf: Woolf, Modernity, Technology, which will be hosted by J. Ashley Foster and held at California State University--Fresno, can be accessed on page 6. Calls for papers for future issues of the Miscellany can be viewed on pages 23 and 24: --Issue 102, Spring 2024: Special Topic on Twenty-First-Century Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and Patriarchy; --Issue 103, Fall 2024: Special Topic on Virginia Woolf and George Eliot; --Issue 104, Spring 2025: Special Topic on Virginia Woolf and D. H, Lawrence; --Issue 105, Fall 2025: Special Topic on Virginia Woolf and Failure. The 2023 Angelica Garnett Undergraduate Essay Prize The essays submitted by Eleanor Clark, the winner of the 2023 Angelica Garnett Undergraduate Essay Prize, and the runners-up for the prize, Saskia May and Jasmine Woodcock, are included in this issue (see pages 44-50). "Truly Miscellaneous" Contributions The "Truly Miscellaneous" section of this issue features C?cile Wajsbrot's "Outside," Rhonda Mayne's "Mrs. Papworth: The Working-Class Woman in Virginia Woolf's Novel Jacob's Room," Ane Thun Knutsen's "Virginia Woolf and the Letterpress," Rasha Alijararwa's "The Power of Silence: Understanding Women's Resistance in Woolf's To the Lighthouse," and Megan Pollard's "A Deliberate Failure: Politics, Form, and Woolf Between the Wars" (pages 50-63). Truly miscellaneous submissions (ones that do not focus on the special topic) should be sent to me directly. Book Reviews The book reviewers for this issue are Charles Andrews, Lisa Tyler, Sayaka Okumura, Ria Banerjee, Mark Hussey, and Linda Camarasana (see pages 63-70). Contact the book review editor, Karen Levenback (kllevenback at att.com), if you want to propose a particular book for review. The Society Column The Society Column, written by Benjamin Hagen--the President of the International Virginia Woolf Society--starts on page 72 and continues onto page 71. Also on page 71 is the list of the IVWS officers, the members-at-large, and the archival liaison. If you are interested in submitting "truly miscellaneous" work for consideration, you should contact me. The contributions can include scholarly work, reviews of relevant exhibitions, films, and performances, short poetry, photographs, and other forms of artwork. Please tell me if have any questions. All best, Vara Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -- Shilo R. McGiff, PhD Virginia Woolf & Ecologies II The Woolf Salon Project Ithaca, NY 14850 -------------- next part -------------- An HTML attachment was scrubbed... URL: From stuart.n.clarke at btinternet.com Thu Aug 3 11:17:57 2023 From: stuart.n.clarke at btinternet.com (stuart.n.clarke) Date: Thu, 3 Aug 2023 16:17:57 +0100 (BST) Subject: [Vwoolf] Brief glimpse on film of Duncan Grant in 1934 Message-ID: <78c05606.1d36.189bbfa19fe.Webtop.113@btinternet.com> in the process of drawing a design for an embroidery: https://urldefense.com/v3/__http://www.britishpathe.com/asset/189426/__;!!KGKeukY!2QiNZ5lbYLPaiOd-lDl2S9RDkVp0X3Y2wswxSXdEUII5YD3CgPYLIgpWRqGjawYUt1cBV5ds2438fUn6swu31atlG4uMdaS_1A$ Stuart -------------- next part -------------- An HTML attachment was scrubbed... URL: From ellen.moody at gmail.com Thu Aug 3 11:26:37 2023 From: ellen.moody at gmail.com (Ellen Moody) Date: Thu, 3 Aug 2023 11:26:37 -0400 Subject: [Vwoolf] Brief glimpse on film of Duncan Grant in 1934 In-Reply-To: <78c05606.1d36.189bbfa19fe.Webtop.113@btinternet.com> References: <78c05606.1d36.189bbfa19fe.Webtop.113@btinternet.com> Message-ID: Thank you. The images are lovely and the whole few minutes very interesting. Ellen Moody > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From stuart.n.clarke at btinternet.com Thu Aug 3 11:31:36 2023 From: stuart.n.clarke at btinternet.com (stuart.n.clarke) Date: Thu, 3 Aug 2023 16:31:36 +0100 (BST) Subject: [Vwoolf] Benjamin Haydon Message-ID: <4fe12076.1d74.189bc069a48.Webtop.113@btinternet.com> VW wrote in "Genius" that Haydon's pictures "are vanished" (E4 410 l.37). I pointed out that Tate Britain holds several (E6 633). However, I noticed today that the National Portrait Gallery, following its recent refurbishment, has at least 3 on display, inc. the huge The Anti-Slavery Society Convention, 1840 https://urldefense.com/v3/__http://www.npg.org.uk/collections/search/portrait/mw00028/The-Anti-Slavery-Society-Convention-1840?LinkID=mp02100&search=sas&sText=haydon&role=art&rNo=14__;!!KGKeukY!2gtprVHnN8UzQDS5X0PPaDm-65On5YY5uSRXM8ilN-pvArOdgXzvvCyYHb5Yi8P9RRslvEEjFGHe5v_HEL7Bk-xsZcNkmQan5w$ Stuart -------------- next part -------------- An HTML attachment was scrubbed... URL: From kllevenback at att.net Thu Aug 3 19:26:22 2023 From: kllevenback at att.net (Kllevenback) Date: Thu, 3 Aug 2023 19:26:22 -0400 Subject: [Vwoolf] =?utf-8?q?Fwd=3A_Literary_Canon_cartoon=E2=80=94V=2EWool?= =?utf-8?q?f=E2=80=99s_Orlando_in_second_window?= References: <323DCFA1-4025-412E-B946-5F60D1CC9872@icloud.com> Message-ID: From last Sunday?s NY Times?. Cool, eh? Karen Levenback Sent from my iPad Begin forwarded message: > From: Michael Neufeld > Date: August 3, 2023 at 6:37:37 PM EDT > To: KLLevenback at att.net > Subject: Literary Canon cartoon > > ? > > > > Sent from my iPhone -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: IMG_0401.jpg Type: image/jpeg Size: 210849 bytes Desc: not available URL: From kllevenback at att.net Sat Aug 5 13:47:03 2023 From: kllevenback at att.net (Kllevenback) Date: Sat, 5 Aug 2023 13:47:03 -0400 Subject: [Vwoolf] NYTimes: Ways of Seeing: Virginia Woolf and Julia Margaret Cameron References: Message-ID: !-------------------------------------------------------------------| This Message Is From an External Sender This message came from outside your organization. |-------------------------------------------------------------------! https://urldefense.com/v3/__https://www.nytimes.com/2023/04/25/books/review/affinities-brian-dillon.html?smid=nytcore-ios-share&referringSource=articleShare__;!!KGKeukY!0ZbAq3IswK3YpNI_eDyD2E0HCrSSfgBosL2XcEAMEYp07tFYiT6hYedu1grPM9W6f2njOimoOBND-4gqlwV9pEg$ Ways of Seeing Sent from my iPad From smhall123 at yahoo.co.uk Sun Aug 6 06:41:21 2023 From: smhall123 at yahoo.co.uk (Sarah M. Hall) Date: Sun, 6 Aug 2023 10:41:21 +0000 (UTC) Subject: [Vwoolf] =?utf-8?q?NYTimes=3A_Ways_of_Seeing=3A_Virginia_Woolf_an?= =?utf-8?q?d_Julia_Margaret=09Cameron?= In-Reply-To: References: Message-ID: <916154658.513866.1691318481811@mail.yahoo.com> Thanks, this sounds interesting. Is it possible to copy-and-paste for those of us with no subscription? SarahVWSGB Sent from Yahoo Mail on Android On Sat, Aug 5, 2023 at 6:47 PM, Kllevenback via Vwoolf wrote: https://urldefense.com/v3/__https://www.nytimes.com/2023/04/25/books/review/affinities-brian-dillon.html?smid=nytcore-ios-share&referringSource=articleShare__;!!KGKeukY!0ZbAq3IswK3YpNI_eDyD2E0HCrSSfgBosL2XcEAMEYp07tFYiT6hYedu1grPM9W6f2njOimoOBND-4gqlwV9pEg$ Ways of Seeing Sent from my iPad _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Sun Aug 6 08:31:51 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Sun, 6 Aug 2023 12:31:51 +0000 Subject: [Vwoolf] NYTimes: Ways of Seeing: Virginia Woolf and Julia Margaret Cameron In-Reply-To: <916154658.513866.1691318481811@mail.yahoo.com> References: <916154658.513866.1691318481811@mail.yahoo.com> Message-ID: I've attached it in a "reduced" PDF format. I hope it's readable. (No photos are included.) Vara Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) ________________________________ From: Vwoolf on behalf of Sarah M. Hall via Vwoolf Sent: Sunday, August 6, 2023 6:41 AM To: Kllevenback ; Kllevenback via Vwoolf Subject: Re: [Vwoolf] NYTimes: Ways of Seeing: Virginia Woolf and Julia Margaret Cameron Thanks, this sounds interesting. Is it possible to copy-and-paste for those of us with no subscription? Sarah VWSGB Sent from Yahoo Mail on Android On Sat, Aug 5, 2023 at 6:?47 PM, Kllevenback via Vwoolf wrote: https:?//urldefense.?com/v3/__https:?//www.?nytimes.?com/2023/04/25/books/review/affinities-brian-dillon.?html?smid=nytcore-ios-share&referringSource=articleShare__;!!KGKeukY!0ZbAq3IswK3YpNI_eDyD2E0HCrSSfgBosL2XcEAMEYp07tFYiT6hYedu1grPM9W6f2njOimoOBND-4gqlwV9pEg$ Thanks, this sounds interesting. Is it possible to copy-and-paste for those of us with no subscription? Sarah VWSGB Sent from Yahoo Mail on Android On Sat, Aug 5, 2023 at 6:47 PM, Kllevenback via Vwoolf wrote: https://urldefense.com/v3/__https://www.nytimes.com/2023/04/25/books/review/affinities-brian-dillon.html?smid=nytcore-ios-share&referringSource=articleShare__;!!KGKeukY!0ZbAq3IswK3YpNI_eDyD2E0HCrSSfgBosL2XcEAMEYp07tFYiT6hYedu1grPM9W6f2njOimoOBND-4gqlwV9pEg$ Ways of Seeing Sent from my iPad _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Book Review_ ?Affinities,? by Brian Dillon - The New York Times--reduced.pdf Type: application/pdf Size: 215907 bytes Desc: Book Review_ ?Affinities,? by Brian Dillon - The New York Times--reduced.pdf URL: From smhall123 at yahoo.co.uk Mon Aug 7 09:41:56 2023 From: smhall123 at yahoo.co.uk (Sarah M. Hall) Date: Mon, 7 Aug 2023 13:41:56 +0000 (UTC) Subject: [Vwoolf] =?utf-8?q?NYTimes=3A_Ways_of_Seeing=3A_Virginia_Woolf_an?= =?utf-8?q?d_Julia_Margaret=09Cameron?= In-Reply-To: References: <916154658.513866.1691318481811@mail.yahoo.com> Message-ID: <665328396.1110792.1691415716063@mail.yahoo.com> Thanks, Vara, that solves the problem nicely! Sarah On Sunday, 6 August 2023 at 13:31:56 BST, Neverow, Vara S. wrote: I've attached it in a "reduced"?PDF format. I hope it's readable. (No photos are included.) Vara Vara Neverow(she/her/hers) Professor, English DepartmentEditor,?Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut?State?University was built on traditional territory?of the indigenous peoples and nations of the Paugussett and Quinnipiac?peoples.?? Recent Publications: Lead editor,?Virginia Woolf: Critical and Primary Sources?(Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984,?Virginia Woolf: Critical and Primary Sources?(Bloomsbury, 2020);?Co-editor,?The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature?(Edinburgh, 2020; with Jeanne Dubino, Paulina?Paj?k, Catherine Hollis, and Celiese Lypka) From: Vwoolf on behalf of Sarah M. Hall via Vwoolf Sent: Sunday, August 6, 2023 6:41 AM To: Kllevenback ; Kllevenback via Vwoolf Subject: Re: [Vwoolf] NYTimes: Ways of Seeing: Virginia Woolf and Julia Margaret Cameron?Thanks, this sounds interesting. Is it possible to copy-and-paste for those of us with no subscription? Sarah VWSGB Sent from Yahoo Mail on Android On Sat, Aug 5, 2023 at 6:?47 PM, Kllevenback via Vwoolf wrote: https:?//urldefense.?com/v3/__https:?//www.?nytimes.?com/2023/04/25/books/review/affinities-brian-dillon.?html?smid=nytcore-ios-share&referringSource=articleShare__;!!KGKeukY!0ZbAq3IswK3YpNI_eDyD2E0HCrSSfgBosL2XcEAMEYp07tFYiT6hYedu1grPM9W6f2njOimoOBND-4gqlwV9pEg$Thanks, this sounds interesting. Is it possible to copy-and-paste for those of us with no subscription? SarahVWSGB Sent from Yahoo Mail on Android On Sat, Aug 5, 2023 at 6:47 PM, Kllevenback via Vwoolf wrote:https://urldefense.com/v3/__https://www.nytimes.com/2023/04/25/books/review/affinities-brian-dillon.html?smid=nytcore-ios-share&referringSource=articleShare__;!!KGKeukY!0ZbAq3IswK3YpNI_eDyD2E0HCrSSfgBosL2XcEAMEYp07tFYiT6hYedu1grPM9W6f2njOimoOBND-4gqlwV9pEg$ Ways of Seeing Sent from my iPad _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From Benjamin.Hagen at usd.edu Tue Aug 8 10:57:19 2023 From: Benjamin.Hagen at usd.edu (Hagen, Benjamin D) Date: Tue, 8 Aug 2023 14:57:19 +0000 Subject: [Vwoolf] =?windows-1252?q?Call_for_Participants_=96_IVWS_Septembe?= =?windows-1252?q?r_22nd_Event_Honoring_Louise_DeSalvo?= Message-ID: Dear all, In 2021 and 2022, friends, family, colleagues, and former students of the late Louise DeSalvo gathered on Zoom on or around her birthday (September 27th) to celebrate and commemorate her. The first gathering, which I was honored to participate in in 2021, was organized as a series of readings drawn from DeSalvo?s work. You can watch the recording of the inaugural event here: https://urldefense.com/v3/__https://www.youtube.com/watch?v=ycLVaTHL1zY__;!!KGKeukY!xEXBJ-fPh3E4MpcKpQggqsxitn7nkkPLqrG5NkyzQ-76KbwuPD2mbfE8NIJMNWMN-0VpJrL-F80kPbH8zDgx7Nvgbh_g3A$ . I?ve been in touch with the lead organizer of these events, Edvige Giunta, and have agreed to put together a roundtable of Woolf scholars, which will take place on Friday, September 22nd (official time TBD) and will serve as the third in this series of birthday commemorations. Which leads me to the purpose of this email. For the roundtable, I need speakers who either knew Louise and/or could address some aspect of her work on/connection with Woolf. Contributions wouldn?t have to be formal written presentations per se (I think informal would be best here) but, rather, occasions to reflect on what Louise contributed, perhaps what she taught us, and ways in which her contributions might be kept alive? Maybe an opportunity for folks to share memories? Since many folks who attend knew Louise as a teacher, a nonfiction writer, a friend, and a memoirist, my sense is that Woolfians can offer something unfamiliar to many of them: a full picture of her research on Woolf and her influence among Woolfians, a picture that includes but also encompasses much more than her 1989 biography. If you would be interested in joining the roundtable, please be in touch with me at Benjamin.Hagen at usd.edu ASAP. Thank you! Best, Ben Hagen IVWS President -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Wed Aug 9 19:10:11 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Wed, 9 Aug 2023 23:10:11 +0000 Subject: [Vwoolf] The Hours at 25: The book that changed how we see Virginia Woolf - BBC Culture In-Reply-To: References: Message-ID: Greetings, A BBC article of possible interest. https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!yCeu3khSkz9oe4BVWd8zMqnqNtsoIsnw1CB2Bnhz1OJtscBNALtB5T7fk36LzOBs08tkXl9P9NMzZkBsxlEBf_dvxOaY$ Vara Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. -------------- next part -------------- An HTML attachment was scrubbed... URL: From Benjamin.Hagen at usd.edu Thu Aug 10 13:02:33 2023 From: Benjamin.Hagen at usd.edu (Hagen, Benjamin D) Date: Thu, 10 Aug 2023 17:02:33 +0000 Subject: [Vwoolf] CFP Reminder: Woolf Studies Annual vol. 30 Message-ID: Dear all, A reminder Woolf Studies Annual will celebrate its 30th issue next year! Now seemed like a good time to pop the call for submissions for WSA 30 to the top of your inboxes. While the deadline for consideration remains mid-October, an early submission is preferable, especially if reader reports come back suggesting revisions ahead of publication. Here is the call: Open Call for WSA Volume 30 (2024) Deadline: 15 October 2023 Launched in 1995, Woolf Studies Annual will publish its thirtieth volume in the spring of 2024. The editor invites submissions for this important milestone volume. Of particular interest would be articles that make use of the WSA Index (see vol. 28 and 29) to return to and expand/revise the insights of the scholarship and archival material published in the journal?s first 15 years. Of particular interest might be * Vara Neverow and Merry M. Pawlowski?s preliminary bibliography to the Three Guineas endnotes (vol. 3), * Beth Rigel Daugherty?s transcription of the holograph of ?How Should One Read a Book?? (vol. 4), * Anna Snaith?s transcription of readers? letters to Woolf re: Three Guineas (vol. 6), * Pawlowski?s publication of the Woolf and Vera Douie letters (vol. 8), * Daugherty?s transcription of readers? letters to Woolf (vol. 12), * Georgia Johnston?s transcription of Woolf?s ?The Dreadnought Hoax? (vol. 15), * Leslie Kathleen Hankins?s article on and transcription of the pre-texts to ?Cinema? (vol. 15), * and more. More recently, Joshua Phillips published a new transcription of the 1917 dinner party in the holograph Years (vol. 26), and Danielle Gilman published a new transcription of a manuscript titled ?As to criticism? (vol. 29). The editor encourages scholars to draw on these resources, intended to enrich and support ongoing and future research in Woolf/modernist studies. The rough deadline for volume 30 consideration is 15 October 2023. WSA publishes original articles on Virginia Woolf and her circles as well as new transcriptions of unpublished archival material, short-form comments (a la Notes and Queries), book reviews, and more. Should authors be looking for a home for recent Woolf-related discoveries or have a general inquiry about the journal, please reach out to the editor (woolfstudiesannual at gmail.com). [You can also write to me at my U of South Dakota address.] Articles submitted after 15 October 2023 will still be considered for publication, but they may not make it through the peer-review process in time for the 2024 volume. (They will be considered for Volume 31 in 2025.) Before submitting their work, authors interested in publishing with WSA should familiarize themselves with the journal?s submission guidelines as well as scholarship in past issues. Best, Benjamin D. Hagen, Ph.D. (he/him/his) Associate Professor of English | University of South Dakota Editor | Woolf Studies Annual ? I acknowledge that the University of South Dakota is on indigenous territory. This land is the traditional territory of Dakota, Lakota, Umonhon, Ponca, Otoe, and Ioway nations. -------------- next part -------------- An HTML attachment was scrubbed... URL: From mhussey at verizon.net Thu Aug 10 13:27:26 2023 From: mhussey at verizon.net (mhussey at verizon.net) Date: Thu, 10 Aug 2023 13:27:26 -0400 Subject: [Vwoolf] BBC Culture on The Hours References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> Message-ID: <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> I am seeing refs to this article pop up in various places, and wondered what people think of the headline's accuracy: did The Hours (I guess they really mean Nicole Kidman's portrayal of VW in the film) really "change how we see" VW? Offline responses welcome! https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-c__;!!KGKeukY!w5PVwvRZFQykXOrinAgSOKgcVuep8KtG_uyBIN2_DYpnUfd9xGQ1QtQAvolGGnzW_TN93bZ4PxNdejThy2G7gQ$ hanged-how-we-see-virginia-woolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Thu Aug 10 13:28:57 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Thu, 10 Aug 2023 17:28:57 +0000 Subject: [Vwoolf] BBC Culture on The Hours In-Reply-To: <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> Message-ID: Online ones would be more fun?.!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. ________________________________ From: Vwoolf on behalf of Mark Hussey via Vwoolf Sent: Thursday, August 10, 2023 1:27:26 PM To: vwoolf at lists.osu.edu Subject: [Vwoolf] BBC Culture on The Hours I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how we see? VW? Offline responses welcome! https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!wnLe04BZYSs66PYWRGnfnhOc3ALxWx1QNDqFsep3fdyrBzWE6t6Ml3r8UxOCZSAUrRaE2qp50M-5dL0suhPGK71b0Ccn$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From mhussey at verizon.net Thu Aug 10 13:32:57 2023 From: mhussey at verizon.net (mhussey at verizon.net) Date: Thu, 10 Aug 2023 13:32:57 -0400 Subject: [Vwoolf] BBC Culture on The Hours In-Reply-To: References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> Message-ID: <014601d9cbb0$b4113710$1c33a530$@verizon.net> I welcome both (am writing a book about Mrs Dalloway.) From: Neverow, Vara S. Sent: Thursday, August 10, 2023 1:29 PM To: mhussey at verizon.net; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] BBC Culture on The Hours Online ones would be more fun..!!! Vara Neverow (she/her/hers) Professor, English Department and Women's and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. _____ From: Vwoolf > on behalf of Mark Hussey via Vwoolf > Sent: Thursday, August 10, 2023 1:27:26 PM To: vwoolf at lists.osu.edu > Subject: [Vwoolf] BBC Culture on The Hours I am seeing refs to this article pop up in various places, and wondered what people think of the headline's accuracy: did The Hours (I guess they really mean Nicole Kidman's portrayal of VW in the film) really "change how I am seeing refs to this article pop up in various places, and wondered what people think of the headline's accuracy: did The Hours (I guess they really mean Nicole Kidman's portrayal of VW in the film) really "change how we see" VW? Offline responses welcome! https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-c__;!!KGKeukY!3C9bmjOSuT1ljw-5qV2vP4rveqXDeRbsbJlC44hFfVTaO6k2xzhVvCbvubsL0haZHE0W9b00bhxmijcHIlNeLw$ hanged-how-we-see-virginia-woolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.laurence at gmail.com Thu Aug 10 13:59:57 2023 From: pat.laurence at gmail.com (Pat Laurence) Date: Thu, 10 Aug 2023 13:59:57 -0400 Subject: [Vwoolf] BBC Culture on The Hours In-Reply-To: References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> Message-ID: Following up on the Lillian Crawford review, here's mine of the Cunningham *novel, **The Hours*, that appeared in *English Literature in Translation* (2000) in which I assert--that despite certain breakthroughs--he does not "get the rhythm right." Michael Cunningham, *The Hours (*New York: Farrar, Strauss, Giroux, 1998) Michael Cunningham?s *The Hours* is a novel about reading: a homage to Virginia Woolf. It is one of many books to come out in the past few years in which a writer or critic reflects not only on the process of reading itself but also rambles among the works of a particularly-loved author: Harold Bloom?s *Shakespeare: the Invention of the Human*; Alain de Botton?s *How Proust* *Can Change Your Life*, * Not a Novel*; Stephen Marlowe?s *The Lighthouse at the End of the World *(involving Edgar Allen Poe). Now in Michael Cunningham?s novel, we have a fictional exploration of Virginia Woolf?s *Mrs. Dalloway* that was called *The Hours* among other titles in an earlier stage of the project. The idea is a fascinating one and in Cunningham?s writing the experience of reading turns in upon itself. It is a postmodern critical and fictional turn described by the French literary critic, Gerard Genette: The text is that Moebius strip in which the inner and outer sides, the signifying and the signified sides, the side of writing and the side of reading, ceaselessly turn and cross over, in which writing is constantly read, in which reading is constantly written and transcribed. The critic must also enter the interplay of this strange reversible circuit and thus become, as Proust says, and like every true reader, ?one?s own reader.? 1 We are in a hall of mirrors as we read ourselves reading Cunningham reading Woolf. We ?participate? as readers (and writers!) of this novel in new ways. Why are so many writers and critics preoccupied with writing about the process of reading? Perhaps the images on the computer screen have already darkened our reading sky as we intellectually venture into the Internet rather than ride the well-worn magic carpet. Are we as a culture already nostalgic about the demise of THE BOOK? Browse through any popular periodical, and you will find that the number of articles and images of technology far outnumber discussions or, indeed, images of books. Perhaps then writers and critics turn to the authors they have read and loved to pay tribute or to find inspiration and material. Perhaps they are preserving authors from the threat of being unread as ?story? takes new forms in hypertext, and on the Internet, CD-ROMs, television, and books on tape. Michael Cunningham has written of his own introduction to reading Virginia Woolf. He remembers he ?was in high school, where a very rough, difficult, slightly crazed girl with teased hair and long fingernails, who used to hang around behind the gym and smoke cigarettes, proclaimed her to be a genius.? Admitting that he was not particularly ?bookish,? Cunningham found *Mrs. Dalloway* in the local bookstore ?and the book just nailed me; I?ve thought about it almost constantly ever since? (PW 11/2/98). It?s refreshing to me as a Virginia Woolf scholar to read a male reader reading Woolf: a male reader, a novelist, a male-homosexual reader-writer reading Woolf. In my attendance at the annual Virginia Woolf Society Conference over the past nine years, I have always been struck by the small number of men who attend or deliver papers. Is Virginia Woolf a gendered novelist? Do only women read and like her? I remember mentioning to a Dean in my college that I was writing a book about Virginia Woolf. He looked at me patiently and said, ?yes, my wife reads Virginia Woolf.? Hmmm. But perhaps this is changing, and it is interesting that some of the male readers who may be drawn to Woolf and the sexually-liberated Bloomsberries are homosexual. Cunningham has also written, *Home at the End of the World*, a well-received novel which presents in alternating voices, the stories of two boys from Cleveland (one, gay) and their families, reflecting new formations of gender and desire. It is this exploration of gender and desire as well as Woolf that motivates Cunningham?s Pulitzer prize-winning novel. Through reading Woolf and reinventing (and sometimes parroting) some of her characters and stories, Michael Cunningham writes about new kinds of heterosexual friendship as well as heterosexual and homosexual romance. It is this that belongs to him. But this is also a book about translation: ?It is New York City. It is the end of the twentieth century.? Cunningham translates the story of a 1920?s London society hostess, Mrs. Dalloway, into an American context in 1990. *Mrs. Dalloway* is now Woolf?s hottest novel given Eileen Atkin?s film version starring Vanessa Redgrave last year. In her *Diary*, Woolf announces ?I want to criticize the social system, & to show it at work? (D 2, 243-44) as well as sketch the society ladies she knew, like Sybil Colefax and Lady Ottoline Morrell whose lives were shaped by giving parties. They were women who like Clarissa ?could feel nothing for the Albanians, or was it the Armenians? but she loved her roses (didn?t that help the Armenians?)? (p.182). She worried instead about the flowers, the silver, her dress, and most importantly, the ?art? of the guest list. For Mrs. Dalloway is Woolf?s exploration of the ?party consciousness? just as her other books explore other states of mind. Woolf ?deconstructs? the socialite wife of Parlimentarian, Richard Dalloway. She ?digs tunnels behind her characters? and shows us that Mrs. Dalloway is a woman with a youthful past as Clarissa, a beautiful vivacious young woman in love with both the intense Peter and the scintillating Sally. Clarissa, it should be noted, is one of the few married women in Woolf?s novels with a first name (i.e. Mrs. Ramsay). She is a woman who finds that ?death? happens into the middle of her party. She overhears one of her guests, Dr. William Bradshaw, the psychiatrist, tell the story of the sad, shell-shocked Septimus, returned soldier from World War I, who has jumped to his death from a window that afternoon. And so, both the party and death--?What a lark! What a plunge!? announces Mrs. Dalloway on the first page of the novel--structures the novel. Cunningham also uses this structure of the party and the death in his novel. In fact, the structure, the themes, the characters, the author as character, phrasings, and attempts at Woolf?s writing rhythm could all be said to be derived?if we attend to slippery ?origins.? But deconstructionists have taught us that such pursuits are futile. Let?s observe instead how successful Cunningham is in achieving his own effect intertwined as he is with Woolf. In his novel, he skillfully intertwines three stories all of which happen on a single day, each told from a different woman?s point of view. First, in Cunningham?s novel, there is the story of Woolf herself trying desperately to work on her manuscript of *Mrs. Dalloway* in 1923 as she deals with the distractions of a visit from her sister Vanessa and her husband Leonard?s work on the Hogarth Press, a press they acquired in 1915 as part of Virginia?s therapy. The second tale, takes Woolf?s legendary character, Mrs. Brown, from a 1923 article, ?Mr. Bennett and Mrs. Brown,? in which Woolf queries how she, as a modernist author, is to describe a dowdy woman whom she observes in the corner of a railway car. It is an important essay in which Woolf sets out modernist principles for the development of ?character.? Here she questions the Edwardian authors, John Galsworthy, Arnold Bennett and H. G. Wells, who will describe the legendary Mrs. Brown according to ?realist? modes?where she resides, how much income she earns--what is she like from the ?outside.? Challenging this mode of character development, Woolf will advance the modernist platform, and her interest in interiority. She will be interested in what Mrs. Brown thinks and feels, or as described in another novel, ?what is unsaid.? Since this is a review that is not only about Cunningham reading Woolf but I, as a critic and scholar, reading Woolf and reading Cunningham reading Woolf, you may very well say, ?leave your knowledge of Mrs. Brown out of this review.? But how can I? The traces of Woolf?s Mrs. Brown and Woolf?s larger fictional questions are present in my mind as I read Cunningham. How do we describe and develop ?character? in fiction. I read and observe Cunningham?s transformation of Mrs. Brown from a frumpily dressed 1920?s Englishwoman in the corner of a railway car to a 1990?s American housewife, mother of a young son, Laura Brown. The translation of British themes and times, England in 1921 with shell-shocked soldiers struggling with insanity just after the war, to the America of the 1990?s experiencing an Aids epidemic and the fallout from the women?s liberation movement of the 1960?s. The story of Laura Brown, the depressed housewife, is the best of Cunningham?s three. Here he hits his OWN stride. The plot is simple. Mrs. Brown is an unfulfilled housewife with a young child who adores her (much like James with Mrs. Ramsay in *To the Lighthouse*), pregnant with another child, living in Los Angeles. On this particular morning in 1923, we find her planning a small party, a birthday party, and attempting to make a proper cake. Delightfully (for all literary mothers with such fantasies), she escapes her unsuccessful baking day to go off to a hotel to rent a room (no. 19 where Doris Lessing also places her suicidal housewife) for a few hours to read (can you guess?) *Mrs. Dalloway*. The wickedness of modern brainy moms: an illicit day in June spent in a hotel room reading Woolf. As Mrs. Dalloway says in Woolf?s novel, ?It is very very dangerous to live even one day.? And one of the messages of this novel is that reading can sometimes save one from danger. For in the third story in Cunningham?s novel that artfully intertwines with the second, is about Richard, the young son of Laura Brown. He has watched her every unhappy mood, thought and action with unnatural attention and love, and he grows up to become a writer born of his mother, the reader. He is now dying of Aids. One of his best friends is Clarissa Vaughan, a woman of about fifty, a lesbian who lives in Greenwich Village, with whom he has shared intimacy of a certain sort in youth. He is modelled on Peter in Woolf?s novel but there is a homosexual reversal in the plot. Judith Butler?s challenge to the ?heterosexual matrix? of literature is actualized in Cunningham?s new glance at relationships. The happiness of the traditional marriage plot (Laura Brown and her husband) is reconsidered; homosexual relationships become more central. Clarissa, a lesbian in Cunningham?s novel is planning a party for Richard who has just received a literary prize. But the party never happens for this Richard like Septimus in Woolf?s novel plunges out of a window to his death, unable to deal with his deteriorating physical condition. Is there an implied connection implied between Laura Brown?s depression, thoughts of suicide, and her son?s plunge to his death? In this novel, the party, a metaphor for the continuing celebration of life, does not prevail as it does in Woolf?s novel. The party never happens; death does. And herein lies the difference between Woolf and Cunningham?s vision. His novel is the underside of Woolf?s: he teases out the homosexual subtext that Woolf critics have observed. He plays upon the knowledge of Woolf?s brief physical relationship with Vita SackvilleWest which began in 1925 just when *Mrs. Dalloway* was published. Though Clarissa makes a heterosexual choice in Woolf?s novel, Cunningham?s Clarissa and Richard make another, questioning and creating new forms of romance and relationship, culturally and fictionally. But another reader, not the scholarly reader, but the ?common reader? might say to this reviewer: I?ve never really read Woolf. Or I tried to read *To the* *Lighthouse* in college but nothing ever seems to happen or didn?t Woolf commit suicide or wasn?t she a lesbian or I don?t know who Mrs. Brown is or I?ve only seen the movie. Such a reader might say, ?I like Michael Cunningham?s novel because he helps me to read Woolf.? Woolf is now so burdened with the cult of personality haunting most authors today: her manic-depressive patterns, her notorious suicide, walking in a trance into the River Ouse with her walking stick. Death in the middle of the river of her words. Perhaps for these readers?for this essay is about different readers?Michael Cunningham has done a service. We read a version of Woolf through reading Michael Cunningham. But for those of us who do read and love Woolf, Cunningham can be clever, yes; imaginative, yes; slick, yes: a writer of ambition. Given that he has created three ingenious plots and taken his characters and inspiration from Woolf, what might we now say about his writing style and presentation of mind on the page, Woolf?s great gifts to the twentieth-century novel. Cunningham himself mentions in interviews that he greatly admires her style and has ambitions to achieve it in his own writing, and reviewers, in turn, praise his ?poetic? style comparing it to Woolf?s. Let?s compare parallel scenes to illuminate the differences. Interestingly, as someone who knows Woolf?s novel well, one feels the ghostly presence of Woolf throughout, as if Cunningham has Mrs. Dalloway open before him as he pens his shadow novel. Let?s compare Cunningham?s passage about Clarissa on 8th Street & 5th Avenue in New York with Woolf?s Clarissa crossing Victoria Street in London: She straightens her shoulders as she stands at the corner of Eighth Street and Fifth Avenue, waiting for the light. There she is, thinks Willie Bass, who passes her some mornings just about here. The old beauty, the old hippie, hair still long and defiantly gray, out on her morning rounds in jeans and a man?s cotton shirt, some sort of ethnic slippers (India? Central America?) on her feet. She still has a certain sexiness; a certain bohemian, good-witch sort of charm; and yet this morning she makes a tragic sight, standing so straight in her big shirt and exotic shoes, resisting the pull of gravity, a female mammoth already up to its knees in the tar, taking a rest between efforts, standing bulky and proud, almost nonchalant, pretending to contemplate the tender grasses waiting on the far bank when it is beginning to know for certain the it will remain here, trapped and alone, after dark, when the jackals come out. She waits patiently for the light. (Cunningham, p.13) Woolf?s Clarissa: She stiffened a little on the kerb, waiting for Durtnall?s van to pass. A charming woman, Scrope Purvis thought her (knowing her as one does know people who live next door to one in Westminster); a touch of the bird about her, of the jay, blue-green, light, vivacious, though she was over fifty, and grown very white since her illness. There she perched, never seeing him, waiting to cross, very upright. For having lived in Westminster?how many years now? Over twenty,--one feels even in the midst of the traffic, or waking at night, Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense (but that might be her heart, affected, they said, by influenza) before Big Ben Strikes. There! (Woolf p. 4) Woolf?s sentences here pass through time, minds, and emotion as she collapses the partitions of the mind, boundaries between narrator and characters, speech and thought, indeed, what is outward and what is inward. She weaves in and out of different kinds of consciousness: from third person narration to Scope Purvis?s mind, to the narrator?s brilliant metaphor that merges narrator and character, to Clarissa?s mind. Deftly, she describes Clarissa with ?a touch of the bird about her, of the jay.? She is never physically described; indeed Clarissa like many of Woolf?s characters does not seem to have a body. On the other hand, note the leaden adjectives in Cunningham?s description: his Clarissa ?treads? the ground in ethnic slippers, ?a female mammoth,? with a slick ?good-witch sort of charm.? Mired in literal, cliched adjectives, Cunningham barely touches the flight of Woolf?s mind, sentences and metaphors. And herein lies the difference. Woolf said of her own writing of a morning: ?style is a very simple matter; it is all rhythm. Once you get that, you can?t use the wrong words? ( *Letters* III, p.242). Those who know the pulses of Woolf?s scintillating, dancing sentences and expressions of mind and heart on the page know that Cunningham--despite his accomplishments in this novel--does not get the rhythm right. 1 Gerard Genette, *Figures of Literary Discourse*. Trans. Alan Sheridan. New York: Columbia UP, 1982, p.70. Patricia Laurence, Professor Emerita English Department City College of New York *English Literature in Translation* (2000) On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf < vwoolf at lists.osu.edu> wrote: > Online ones would be more fun?. !!! Vara Neverow (she/her/hers) Professor, > English Department and Women?s and Gender Studies Program Managing Editor, > Virginia Woolf Miscellany Southern Connecticut State University New Haven, > CT 06515 203-392-6717 > Online ones would be more fun?.!!! > > Vara Neverow > (she/her/hers) > Professor, English Department and Women?s and Gender Studies Program > Managing Editor, Virginia Woolf Miscellany > Southern Connecticut State University > New Haven, CT 06515 > 203-392-6717 > neverowv1 at southernct.edu > > I acknowledge that Southern Connecticut State University was built on > traditional territory of the indigenous peoples and nations of the > Paugusett and Quinnepiac peoples. > ------------------------------ > *From:* Vwoolf on behalf of Mark Hussey > via Vwoolf > *Sent:* Thursday, August 10, 2023 1:27:26 PM > *To:* vwoolf at lists.osu.edu > *Subject:* [Vwoolf] BBC Culture on The Hours > > I am seeing refs to this article pop up in various places, and wondered > what people think of the headline?s accuracy: did The Hours (I guess they > really mean Nicole Kidman?s portrayal of VW in the film) really ?change how > > I am seeing refs to this article pop up in various places, and wondered > what people think of the headline?s accuracy: did *The Hours* (I guess > they really mean Nicole Kidman?s portrayal of VW in the film) really > ?change how we see? VW? Offline responses welcome! > > > > > https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!3_4LjtStkE7B5OzmZ2k-c04wMVfQwF0TTrveUW9eWMJp11qiTdbmdgpsMihHrdmCA0xaz3qay1OeO1V8XJzwgZQXDQ$ > > > > _______________________________________________ > Vwoolf mailing list > Vwoolf at lists.osu.edu > https://lists.osu.edu/mailman/listinfo/vwoolf > -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.laurence at gmail.com Thu Aug 10 14:02:24 2023 From: pat.laurence at gmail.com (Pat Laurence) Date: Thu, 10 Aug 2023 14:02:24 -0400 Subject: [Vwoolf] BBC Culture on The Hours In-Reply-To: References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> Message-ID: I meant to add that observations on Woolf conferences are, of course, dated in the review. On Thu, Aug 10, 2023 at 1:59?PM Pat Laurence wrote: > Following up on the Lillian Crawford review, here's mine of the Cunningham *novel, > **The Hours*, that appeared in *English Literature in Translation* (2000) > in which I assert--that despite certain breakthroughs--he does not "get the > rhythm right." > > Michael Cunningham, *The Hours (*New York: Farrar, Strauss, Giroux, 1998) > > > > Michael Cunningham?s *The Hours* is a novel about reading: a homage to > Virginia Woolf. It is one of many books to come out in the past few years > in which a writer or critic reflects not only on the process of reading > itself but also rambles among the works of a particularly-loved author: > Harold Bloom?s *Shakespeare: the Invention of the Human*; Alain de > Botton?s *How Proust* *Can Change Your Life*, * Not a Novel*; Stephen > Marlowe?s *The Lighthouse at the End of the World *(involving Edgar Allen > Poe). Now in Michael Cunningham?s novel, we have a fictional exploration of > Virginia Woolf?s *Mrs. Dalloway* that was called *The Hours* among other > titles in an earlier stage of the project. The idea is a fascinating one > and in Cunningham?s writing the experience of reading turns in upon itself. > It is a postmodern critical and fictional turn described by the French > literary critic, Gerard Genette: > > > > The text is that Moebius strip in which the inner and outer sides, the > signifying and the signified sides, the side of writing and the side of > reading, ceaselessly turn and cross over, in which writing is constantly > read, in which reading is constantly written and transcribed. The critic > must also enter the interplay of this strange reversible circuit and thus > become, as Proust says, and like every true reader, ?one?s own reader.? 1 > > > > We are in a hall of mirrors as we read ourselves reading Cunningham > reading Woolf. We ?participate? as readers (and writers!) of this novel in > new ways. > > > > Why are so many writers and critics preoccupied with writing about the > process of reading? Perhaps the images on the computer screen have already > darkened our reading sky as we intellectually venture into the Internet > rather than ride the well-worn magic carpet. Are we as a culture already > nostalgic about the demise of THE BOOK? Browse through any popular > periodical, and you will find that the number of articles and images of > technology far outnumber discussions or, indeed, images of books. Perhaps > then writers and critics turn to the authors they have read and loved to > pay tribute or to find inspiration and material. Perhaps they are > preserving authors from the threat of being unread as ?story? takes new > forms in hypertext, and on the Internet, CD-ROMs, television, and books on > tape. > > > > Michael Cunningham has written of his own introduction to reading Virginia > Woolf. He remembers he ?was in high school, where a very rough, difficult, > slightly crazed girl with teased hair and long fingernails, who used to > hang around behind the gym and smoke cigarettes, proclaimed her to be a > genius.? Admitting that he was not particularly ?bookish,? Cunningham found *Mrs. > Dalloway* in the local bookstore ?and the book just nailed me; I?ve > thought about it almost constantly ever since? (PW 11/2/98). > > > > It?s refreshing to me as a Virginia Woolf scholar to read a male reader > reading Woolf: a male reader, a novelist, a male-homosexual reader-writer > reading Woolf. In my attendance at the annual Virginia Woolf Society > Conference over the past nine years, I have always been struck by the small > number of men who attend or deliver papers. Is Virginia Woolf a gendered > novelist? Do only women read and like her? I remember mentioning to a Dean > in my college that I was writing a book about Virginia Woolf. He looked at > me patiently and said, ?yes, my wife reads Virginia Woolf.? Hmmm. But > perhaps this is changing, and it is interesting that some of the male > readers who may be drawn to Woolf and the sexually-liberated Bloomsberries > are homosexual. Cunningham has also written, *Home at the End of the > World*, a well-received novel which presents in alternating voices, the > stories of two boys from Cleveland (one, gay) and their families, > reflecting new formations of gender and desire. It is this exploration of > gender and desire as well as Woolf that motivates Cunningham?s Pulitzer > prize-winning novel. Through reading Woolf and reinventing (and sometimes > parroting) some of her characters and stories, Michael Cunningham writes > about new kinds of heterosexual friendship as well as heterosexual and > homosexual romance. It is this that belongs to him. > > > > But this is also a book about translation: ?It is New York City. It is the > end of the twentieth century.? Cunningham translates the story of a 1920?s > London society hostess, Mrs. Dalloway, into an American context in 1990. *Mrs. > Dalloway* is now Woolf?s hottest novel given Eileen Atkin?s film version > starring Vanessa Redgrave last year. In her *Diary*, Woolf announces ?I > want to criticize the social system, & to show it at work? (D 2, 243-44) as > well as sketch the society ladies she knew, like Sybil Colefax and Lady > Ottoline Morrell whose lives were shaped by giving parties. They were women > who like Clarissa ?could feel nothing for the Albanians, or was it the > Armenians? but she loved her roses (didn?t that help the Armenians?)? > (p.182). She worried instead about the flowers, the silver, her dress, and > most importantly, the ?art? of the guest list. For Mrs. Dalloway is Woolf?s > exploration of the ?party consciousness? just as her other books explore > other states of mind. Woolf ?deconstructs? the socialite wife of > Parlimentarian, Richard Dalloway. She ?digs tunnels behind her characters? > and shows us that Mrs. Dalloway is a woman with a youthful past as > Clarissa, a beautiful vivacious young woman in love with both the intense > Peter and the scintillating Sally. Clarissa, it should be noted, is one of > the few married women in Woolf?s novels with a first name (i.e. Mrs. > Ramsay). She is a woman who finds that ?death? happens into the middle of > her party. She overhears one of her guests, Dr. William Bradshaw, the > psychiatrist, tell the story of the sad, shell-shocked Septimus, returned > soldier from World War I, who has jumped to his death from a window that > afternoon. And so, both the party and death--?What a lark! What a plunge!? > announces Mrs. Dalloway on the first page of the novel--structures the > novel. > > > > Cunningham also uses this structure of the party and the death in his > novel. In fact, the structure, the themes, the characters, the author as > character, phrasings, and attempts at Woolf?s writing rhythm could all be > said to be derived?if we attend to slippery ?origins.? But > deconstructionists have taught us that such pursuits are futile. Let?s > observe instead how successful Cunningham is in achieving his own effect > intertwined as he is with Woolf. > > > > In his novel, he skillfully intertwines three stories all of which happen > on a single day, each told from a different woman?s point of view. First, > in Cunningham?s novel, there is the story of Woolf herself trying > desperately to work on her manuscript of *Mrs. Dalloway* in 1923 as she > deals with the distractions of a visit from her sister Vanessa and her > husband Leonard?s work on the Hogarth Press, a press they acquired in 1915 > as part of Virginia?s therapy. The second tale, takes Woolf?s legendary > character, Mrs. Brown, from a 1923 article, ?Mr. Bennett and Mrs. Brown,? > in which Woolf queries how she, as a modernist author, is to describe a > dowdy woman whom she observes in the corner of a railway car. It is an > important essay in which Woolf sets out modernist principles for the > development of ?character.? Here she questions the Edwardian authors, John > Galsworthy, Arnold Bennett and H. G. Wells, who will describe the legendary > Mrs. Brown according to ?realist? modes?where she resides, how much income > she earns--what is she like from the ?outside.? Challenging this mode of > character development, Woolf will advance the modernist platform, and her > interest in interiority. She will be interested in what Mrs. Brown thinks > and feels, or as described in another novel, ?what is unsaid.? Since this > is a review that is not only about Cunningham reading Woolf but I, as a > critic and scholar, reading Woolf and reading Cunningham reading Woolf, you > may very well say, ?leave your knowledge of Mrs. Brown out of this > review.? But how can I? > > > > The traces of Woolf?s Mrs. Brown and Woolf?s larger fictional questions > are present in my mind as I read Cunningham. How do we describe and develop > ?character? in fiction. I read and observe Cunningham?s transformation of > Mrs. Brown from a frumpily dressed 1920?s Englishwoman in the corner of a > railway car to a 1990?s American housewife, mother of a young son, Laura > Brown. The translation of British themes and times, England in 1921 with > shell-shocked soldiers struggling with insanity just after the war, to the > America of the 1990?s experiencing an Aids epidemic and the fallout from > the women?s liberation movement of the 1960?s. The story of Laura Brown, > the depressed housewife, is the best of Cunningham?s three. Here he hits > his OWN stride. The plot is simple. Mrs. Brown is an unfulfilled housewife > with a young child who adores her (much like James with Mrs. Ramsay in *To > the Lighthouse*), pregnant with another child, living in Los Angeles. On > this particular morning in 1923, we find her planning a small party, a > birthday party, and attempting to make a proper cake. Delightfully (for all > literary mothers with such fantasies), she escapes her unsuccessful baking > day to go off to a hotel to rent a room (no. 19 where Doris Lessing also > places her suicidal housewife) for a few hours to read (can you guess?) *Mrs. > Dalloway*. The wickedness of modern brainy moms: an illicit day in June > spent in a hotel room reading Woolf. As Mrs. Dalloway says in Woolf?s > novel, ?It is very very dangerous to live even one day.? And one of the > messages of this novel is that reading can sometimes save one from danger. > > > > For in the third story in Cunningham?s novel that artfully intertwines > with the second, is about Richard, the young son of Laura Brown. He has > watched her every unhappy mood, thought and action with unnatural attention > and love, and he grows up to become a writer born of his mother, the > reader. He is now dying of Aids. One of his best friends is Clarissa > Vaughan, a woman of about fifty, a lesbian who lives in Greenwich Village, > with whom he has shared intimacy of a certain sort in youth. He is modelled > on Peter in Woolf?s novel but there is a homosexual reversal in the plot. > Judith Butler?s challenge to the ?heterosexual matrix? of literature is > actualized in Cunningham?s new glance at relationships. The happiness of > the traditional marriage plot (Laura Brown and her husband) is > reconsidered; homosexual relationships become more central. Clarissa, a > lesbian in Cunningham?s novel is planning a party for Richard who has just > received a literary prize. But the party never happens for this Richard > like Septimus in Woolf?s novel plunges out of a window to his death, unable > to deal with his deteriorating physical condition. Is there an implied > connection implied between Laura Brown?s depression, thoughts of suicide, > and her son?s plunge to his death? In this novel, the party, a metaphor for > the continuing celebration of life, does not prevail as it does in Woolf?s > novel. The party never happens; death does. And herein lies the difference > between Woolf and Cunningham?s vision. > > > > His novel is the underside of Woolf?s: he teases out the homosexual > subtext that Woolf critics have observed. He plays upon the knowledge of > Woolf?s brief physical relationship with Vita SackvilleWest which began in > 1925 just when *Mrs. Dalloway* was published. Though Clarissa makes a > heterosexual choice in Woolf?s novel, Cunningham?s Clarissa and Richard > make another, questioning and creating new forms of romance and > relationship, culturally and fictionally. > > > > But another reader, not the scholarly reader, but the ?common reader? > might say to this reviewer: I?ve never really read Woolf. Or I tried to > read *To the* *Lighthouse* in college but nothing ever seems to happen or > didn?t Woolf commit suicide or wasn?t she a lesbian or I don?t know who > Mrs. Brown is or I?ve only seen the movie. Such a reader might say, ?I like > Michael Cunningham?s novel because he helps me to read Woolf.? Woolf is now > so burdened with the cult of personality haunting most authors today: her > manic-depressive patterns, her notorious suicide, walking in a trance into > the River Ouse with her walking stick. Death in the middle of the river of > her words. Perhaps for these readers?for this essay is about different > readers?Michael Cunningham has done a service. We read a version of Woolf > through reading Michael Cunningham. > > > > But for those of us who do read and love Woolf, Cunningham can be clever, > yes; imaginative, yes; slick, yes: a writer of ambition. Given that he has > created three ingenious plots and taken his characters and inspiration from > Woolf, what might we now say about his writing style and presentation of > mind on the page, Woolf?s great gifts to the twentieth-century novel. > Cunningham himself mentions in interviews that he greatly admires her style > and has ambitions to achieve it in his own writing, and reviewers, in turn, > praise his ?poetic? style comparing it to Woolf?s. Let?s compare parallel > scenes to illuminate the differences. Interestingly, as someone who knows > Woolf?s novel well, one feels the ghostly presence of Woolf throughout, as > if Cunningham has Mrs. Dalloway open before him as he pens his shadow > novel. Let?s compare Cunningham?s passage about Clarissa on 8th Street & 5 > th Avenue in New York with Woolf?s Clarissa crossing Victoria Street in > London: > > > > She straightens her shoulders as she stands at the corner of Eighth Street > and Fifth Avenue, waiting for the light. There she is, thinks Willie Bass, > who passes her some mornings just about here. The old beauty, the old > hippie, hair still long and defiantly gray, out on her morning rounds in > jeans and a man?s cotton shirt, some sort of ethnic slippers (India? > Central America?) on her feet. She still has a certain sexiness; a certain > bohemian, good-witch sort of charm; and yet this morning she makes a tragic > sight, standing so straight in her big shirt and exotic shoes, resisting > the pull of gravity, a female mammoth already up to its knees in the tar, > taking a rest between efforts, standing bulky and proud, almost nonchalant, > pretending to contemplate the tender grasses waiting on the far bank when > it is beginning to know for certain the it will remain here, trapped and > alone, after dark, when the jackals come out. She waits patiently for the > light. (Cunningham, p.13) > > > > > > > > > > Woolf?s Clarissa: > > > > She stiffened a little on the kerb, waiting for Durtnall?s van to pass. A > charming woman, Scrope Purvis thought her (knowing her as one does know > people who live next door to one in Westminster); a touch of the bird about > her, of the jay, blue-green, light, vivacious, though she was over fifty, > and grown very white since her illness. There she perched, never seeing > him, waiting to cross, very upright. > > For having lived in Westminster?how many years now? Over twenty,--one > feels even in the midst of the traffic, or waking at night, Clarissa was > positive, a particular hush, or solemnity; an indescribable pause; a > suspense (but that might be her heart, affected, they said, by influenza) > before Big Ben Strikes. There! (Woolf p. 4) > > > > Woolf?s sentences here pass through time, minds, and emotion as she > collapses the partitions of the mind, boundaries between narrator and > characters, speech and thought, indeed, what is outward and what is inward. > She weaves in and out of different kinds of consciousness: from third > person narration to Scope Purvis?s mind, to the narrator?s brilliant > metaphor that merges narrator and character, to Clarissa?s mind. Deftly, > she describes Clarissa with ?a touch of the bird about her, of the jay.? > She is never physically described; indeed Clarissa like many of Woolf?s > characters does not seem to have a body. On the other hand, note the leaden > adjectives in Cunningham?s description: his Clarissa ?treads? the ground in > ethnic slippers, ?a female mammoth,? with a slick ?good-witch sort of > charm.? Mired in literal, cliched adjectives, Cunningham barely touches the > flight of Woolf?s mind, sentences and metaphors. And herein lies the > difference. > > > > Woolf said of her own writing of a morning: ?style is a very simple > matter; it is all rhythm. Once you get that, you can?t use the wrong words? > (*Letters* III, p.242). Those who know the pulses of Woolf?s > scintillating, dancing sentences and expressions of mind and heart on the > page know that Cunningham--despite his accomplishments in this novel--does > not get the rhythm right. > > > > 1 Gerard Genette, *Figures of Literary Discourse*. Trans. Alan Sheridan. > New York: Columbia > > UP, 1982, p.70. > > > > Patricia Laurence, > > Professor Emerita > > English Department > > City College of New York > > *English Literature in Translation* (2000) > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf < > vwoolf at lists.osu.edu> wrote: > >> Online ones would be more fun?. !!! Vara Neverow (she/her/hers) >> Professor, English Department and Women?s and Gender Studies Program >> Managing Editor, Virginia Woolf Miscellany Southern Connecticut State >> University New Haven, CT 06515 203-392-6717 >> Online ones would be more fun?.!!! >> >> Vara Neverow >> (she/her/hers) >> Professor, English Department and Women?s and Gender Studies Program >> Managing Editor, Virginia Woolf Miscellany >> Southern Connecticut State University >> New Haven, CT 06515 >> 203-392-6717 >> neverowv1 at southernct.edu >> >> I acknowledge that Southern Connecticut State University was built on >> traditional territory of the indigenous peoples and nations of the >> Paugusett and Quinnepiac peoples. >> ------------------------------ >> *From:* Vwoolf on behalf of Mark Hussey >> via Vwoolf >> *Sent:* Thursday, August 10, 2023 1:27:26 PM >> *To:* vwoolf at lists.osu.edu >> *Subject:* [Vwoolf] BBC Culture on The Hours >> >> I am seeing refs to this article pop up in various places, and wondered >> what people think of the headline?s accuracy: did The Hours (I guess they >> really mean Nicole Kidman?s portrayal of VW in the film) really ?change how >> >> I am seeing refs to this article pop up in various places, and wondered >> what people think of the headline?s accuracy: did *The Hours* (I guess >> they really mean Nicole Kidman?s portrayal of VW in the film) really >> ?change how we see? VW? Offline responses welcome! >> >> >> >> >> https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!3EawJB0aA8bZJeJZypZAKzdkXIrlEdrzR79zaCIhm1nP71giXA5PVmZdV5IfsYrTF1eNHuT7WPrkKApj47iHjKwhKg$ >> >> >> >> _______________________________________________ >> Vwoolf mailing list >> Vwoolf at lists.osu.edu >> https://lists.osu.edu/mailman/listinfo/vwoolf >> > -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Thu Aug 10 14:33:22 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Thu, 10 Aug 2023 18:33:22 +0000 Subject: [Vwoolf] BBC Culture on The Hours In-Reply-To: References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> Message-ID: Adding to the conversation, the special topic in Issue 62 of the Virginia Woolf Miscellany was dedicated to a discussion of The Hours (see pages 1-9 and 12-13): https://urldefense.com/v3/__https://virginiawoolfmiscellany.files.wordpress.com/2013/09/vwm62spring2003.pdf__;!!KGKeukY!25sF53dFs6zWnQ01ff14AeEOqz20LYdxzCc3qNq58A_e0gj2c_49xpXwB69mS08Bmp0E27sYEqvIUnLRx7muntt0EVPy$ . Also of interest is Patricia Cohen's review of the film (February 15, 2003) in the New York Times: https://urldefense.com/v3/__https://www.nytimes.com/2003/02/15/movies/the-nose-was-the-final-straw.html__;!!KGKeukY!25sF53dFs6zWnQ01ff14AeEOqz20LYdxzCc3qNq58A_e0gj2c_49xpXwB69mS08Bmp0E27sYEqvIUnLRx7munkNEYsCP$ (see also the attached PDF if the link does not work). Vara Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) ________________________________ From: Pat Laurence Sent: Thursday, August 10, 2023 2:02 PM To: Neverow, Vara S. Cc: mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] BBC Culture on The Hours I meant to add that observations on Woolf conferences are, of course, dated in the review. On Thu, Aug 10, 2023 at 1:59?PM Pat Laurence > wrote: Following up on the Lillian Crawford review, here's mine of the Cunningham novel, The Hours, that appeared in English Literature in Translation (2000) in which I assert--that despite certain breakthroughs--he does not "get the rhythm right." Michael Cunningham, The Hours (New York: Farrar, Strauss, Giroux, 1998) Michael Cunningham?s The Hours is a novel about reading: a homage to Virginia Woolf. It is one of many books to come out in the past few years in which a writer or critic reflects not only on the process of reading itself but also rambles among the works of a particularly-loved author: Harold Bloom?s Shakespeare: the Invention of the Human; Alain de Botton?s How Proust Can Change Your Life, Not a Novel; Stephen Marlowe?s The Lighthouse at the End of the World (involving Edgar Allen Poe). Now in Michael Cunningham?s novel, we have a fictional exploration of Virginia Woolf?s Mrs. Dalloway that was called The Hours among other titles in an earlier stage of the project. The idea is a fascinating one and in Cunningham?s writing the experience of reading turns in upon itself. It is a postmodern critical and fictional turn described by the French literary critic, Gerard Genette: The text is that Moebius strip in which the inner and outer sides, the signifying and the signified sides, the side of writing and the side of reading, ceaselessly turn and cross over, in which writing is constantly read, in which reading is constantly written and transcribed. The critic must also enter the interplay of this strange reversible circuit and thus become, as Proust says, and like every true reader, ?one?s own reader.? 1 We are in a hall of mirrors as we read ourselves reading Cunningham reading Woolf. We ?participate? as readers (and writers!) of this novel in new ways. Why are so many writers and critics preoccupied with writing about the process of reading? Perhaps the images on the computer screen have already darkened our reading sky as we intellectually venture into the Internet rather than ride the well-worn magic carpet. Are we as a culture already nostalgic about the demise of THE BOOK? Browse through any popular periodical, and you will find that the number of articles and images of technology far outnumber discussions or, indeed, images of books. Perhaps then writers and critics turn to the authors they have read and loved to pay tribute or to find inspiration and material. Perhaps they are preserving authors from the threat of being unread as ?story? takes new forms in hypertext, and on the Internet, CD-ROMs, television, and books on tape. Michael Cunningham has written of his own introduction to reading Virginia Woolf. He remembers he ?was in high school, where a very rough, difficult, slightly crazed girl with teased hair and long fingernails, who used to hang around behind the gym and smoke cigarettes, proclaimed her to be a genius.? Admitting that he was not particularly ?bookish,? Cunningham found Mrs. Dalloway in the local bookstore ?and the book just nailed me; I?ve thought about it almost constantly ever since? (PW 11/2/98). It?s refreshing to me as a Virginia Woolf scholar to read a male reader reading Woolf: a male reader, a novelist, a male-homosexual reader-writer reading Woolf. In my attendance at the annual Virginia Woolf Society Conference over the past nine years, I have always been struck by the small number of men who attend or deliver papers. Is Virginia Woolf a gendered novelist? Do only women read and like her? I remember mentioning to a Dean in my college that I was writing a book about Virginia Woolf. He looked at me patiently and said, ?yes, my wife reads Virginia Woolf.? Hmmm. But perhaps this is changing, and it is interesting that some of the male readers who may be drawn to Woolf and the sexually-liberated Bloomsberries are homosexual. Cunningham has also written, Home at the End of the World, a well-received novel which presents in alternating voices, the stories of two boys from Cleveland (one, gay) and their families, reflecting new formations of gender and desire. It is this exploration of gender and desire as well as Woolf that motivates Cunningham?s Pulitzer prize-winning novel. Through reading Woolf and reinventing (and sometimes parroting) some of her characters and stories, Michael Cunningham writes about new kinds of heterosexual friendship as well as heterosexual and homosexual romance. It is this that belongs to him. But this is also a book about translation: ?It is New York City. It is the end of the twentieth century.? Cunningham translates the story of a 1920?s London society hostess, Mrs. Dalloway, into an American context in 1990. Mrs. Dalloway is now Woolf?s hottest novel given Eileen Atkin?s film version starring Vanessa Redgrave last year. In her Diary, Woolf announces ?I want to criticize the social system, & to show it at work? (D 2, 243-44) as well as sketch the society ladies she knew, like Sybil Colefax and Lady Ottoline Morrell whose lives were shaped by giving parties. They were women who like Clarissa ?could feel nothing for the Albanians, or was it the Armenians? but she loved her roses (didn?t that help the Armenians?)? (p.182). She worried instead about the flowers, the silver, her dress, and most importantly, the ?art? of the guest list. For Mrs. Dalloway is Woolf?s exploration of the ?party consciousness? just as her other books explore other states of mind. Woolf ?deconstructs? the socialite wife of Parlimentarian, Richard Dalloway. She ?digs tunnels behind her characters? and shows us that Mrs. Dalloway is a woman with a youthful past as Clarissa, a beautiful vivacious young woman in love with both the intense Peter and the scintillating Sally. Clarissa, it should be noted, is one of the few married women in Woolf?s novels with a first name (i.e. Mrs. Ramsay). She is a woman who finds that ?death? happens into the middle of her party. She overhears one of her guests, Dr. William Bradshaw, the psychiatrist, tell the story of the sad, shell-shocked Septimus, returned soldier from World War I, who has jumped to his death from a window that afternoon. And so, both the party and death--?What a lark! What a plunge!? announces Mrs. Dalloway on the first page of the novel--structures the novel. Cunningham also uses this structure of the party and the death in his novel. In fact, the structure, the themes, the characters, the author as character, phrasings, and attempts at Woolf?s writing rhythm could all be said to be derived?if we attend to slippery ?origins.? But deconstructionists have taught us that such pursuits are futile. Let?s observe instead how successful Cunningham is in achieving his own effect intertwined as he is with Woolf. In his novel, he skillfully intertwines three stories all of which happen on a single day, each told from a different woman?s point of view. First, in Cunningham?s novel, there is the story of Woolf herself trying desperately to work on her manuscript of Mrs. Dalloway in 1923 as she deals with the distractions of a visit from her sister Vanessa and her husband Leonard?s work on the Hogarth Press, a press they acquired in 1915 as part of Virginia?s therapy. The second tale, takes Woolf?s legendary character, Mrs. Brown, from a 1923 article, ?Mr. Bennett and Mrs. Brown,? in which Woolf queries how she, as a modernist author, is to describe a dowdy woman whom she observes in the corner of a railway car. It is an important essay in which Woolf sets out modernist principles for the development of ?character.? Here she questions the Edwardian authors, John Galsworthy, Arnold Bennett and H. G. Wells, who will describe the legendary Mrs. Brown according to ?realist? modes?where she resides, how much income she earns--what is she like from the ?outside.? Challenging this mode of character development, Woolf will advance the modernist platform, and her interest in interiority. She will be interested in what Mrs. Brown thinks and feels, or as described in another novel, ?what is unsaid.? Since this is a review that is not only about Cunningham reading Woolf but I, as a critic and scholar, reading Woolf and reading Cunningham reading Woolf, you may very well say, ?leave your knowledge of Mrs. Brown out of this review.? But how can I? The traces of Woolf?s Mrs. Brown and Woolf?s larger fictional questions are present in my mind as I read Cunningham. How do we describe and develop ?character? in fiction. I read and observe Cunningham?s transformation of Mrs. Brown from a frumpily dressed 1920?s Englishwoman in the corner of a railway car to a 1990?s American housewife, mother of a young son, Laura Brown. The translation of British themes and times, England in 1921 with shell-shocked soldiers struggling with insanity just after the war, to the America of the 1990?s experiencing an Aids epidemic and the fallout from the women?s liberation movement of the 1960?s. The story of Laura Brown, the depressed housewife, is the best of Cunningham?s three. Here he hits his OWN stride. The plot is simple. Mrs. Brown is an unfulfilled housewife with a young child who adores her (much like James with Mrs. Ramsay in To the Lighthouse), pregnant with another child, living in Los Angeles. On this particular morning in 1923, we find her planning a small party, a birthday party, and attempting to make a proper cake. Delightfully (for all literary mothers with such fantasies), she escapes her unsuccessful baking day to go off to a hotel to rent a room (no. 19 where Doris Lessing also places her suicidal housewife) for a few hours to read (can you guess?) Mrs. Dalloway. The wickedness of modern brainy moms: an illicit day in June spent in a hotel room reading Woolf. As Mrs. Dalloway says in Woolf?s novel, ?It is very very dangerous to live even one day.? And one of the messages of this novel is that reading can sometimes save one from danger. For in the third story in Cunningham?s novel that artfully intertwines with the second, is about Richard, the young son of Laura Brown. He has watched her every unhappy mood, thought and action with unnatural attention and love, and he grows up to become a writer born of his mother, the reader. He is now dying of Aids. One of his best friends is Clarissa Vaughan, a woman of about fifty, a lesbian who lives in Greenwich Village, with whom he has shared intimacy of a certain sort in youth. He is modelled on Peter in Woolf?s novel but there is a homosexual reversal in the plot. Judith Butler?s challenge to the ?heterosexual matrix? of literature is actualized in Cunningham?s new glance at relationships. The happiness of the traditional marriage plot (Laura Brown and her husband) is reconsidered; homosexual relationships become more central. Clarissa, a lesbian in Cunningham?s novel is planning a party for Richard who has just received a literary prize. But the party never happens for this Richard like Septimus in Woolf?s novel plunges out of a window to his death, unable to deal with his deteriorating physical condition. Is there an implied connection implied between Laura Brown?s depression, thoughts of suicide, and her son?s plunge to his death? In this novel, the party, a metaphor for the continuing celebration of life, does not prevail as it does in Woolf?s novel. The party never happens; death does. And herein lies the difference between Woolf and Cunningham?s vision. His novel is the underside of Woolf?s: he teases out the homosexual subtext that Woolf critics have observed. He plays upon the knowledge of Woolf?s brief physical relationship with Vita SackvilleWest which began in 1925 just when Mrs. Dalloway was published. Though Clarissa makes a heterosexual choice in Woolf?s novel, Cunningham?s Clarissa and Richard make another, questioning and creating new forms of romance and relationship, culturally and fictionally. But another reader, not the scholarly reader, but the ?common reader? might say to this reviewer: I?ve never really read Woolf. Or I tried to read To the Lighthouse in college but nothing ever seems to happen or didn?t Woolf commit suicide or wasn?t she a lesbian or I don?t know who Mrs. Brown is or I?ve only seen the movie. Such a reader might say, ?I like Michael Cunningham?s novel because he helps me to read Woolf.? Woolf is now so burdened with the cult of personality haunting most authors today: her manic-depressive patterns, her notorious suicide, walking in a trance into the River Ouse with her walking stick. Death in the middle of the river of her words. Perhaps for these readers?for this essay is about different readers?Michael Cunningham has done a service. We read a version of Woolf through reading Michael Cunningham. But for those of us who do read and love Woolf, Cunningham can be clever, yes; imaginative, yes; slick, yes: a writer of ambition. Given that he has created three ingenious plots and taken his characters and inspiration from Woolf, what might we now say about his writing style and presentation of mind on the page, Woolf?s great gifts to the twentieth-century novel. Cunningham himself mentions in interviews that he greatly admires her style and has ambitions to achieve it in his own writing, and reviewers, in turn, praise his ?poetic? style comparing it to Woolf?s. Let?s compare parallel scenes to illuminate the differences. Interestingly, as someone who knows Woolf?s novel well, one feels the ghostly presence of Woolf throughout, as if Cunningham has Mrs. Dalloway open before him as he pens his shadow novel. Let?s compare Cunningham?s passage about Clarissa on 8th Street & 5th Avenue in New York with Woolf?s Clarissa crossing Victoria Street in London: She straightens her shoulders as she stands at the corner of Eighth Street and Fifth Avenue, waiting for the light. There she is, thinks Willie Bass, who passes her some mornings just about here. The old beauty, the old hippie, hair still long and defiantly gray, out on her morning rounds in jeans and a man?s cotton shirt, some sort of ethnic slippers (India? Central America?) on her feet. She still has a certain sexiness; a certain bohemian, good-witch sort of charm; and yet this morning she makes a tragic sight, standing so straight in her big shirt and exotic shoes, resisting the pull of gravity, a female mammoth already up to its knees in the tar, taking a rest between efforts, standing bulky and proud, almost nonchalant, pretending to contemplate the tender grasses waiting on the far bank when it is beginning to know for certain the it will remain here, trapped and alone, after dark, when the jackals come out. She waits patiently for the light. (Cunningham, p.13) Woolf?s Clarissa: She stiffened a little on the kerb, waiting for Durtnall?s van to pass. A charming woman, Scrope Purvis thought her (knowing her as one does know people who live next door to one in Westminster); a touch of the bird about her, of the jay, blue-green, light, vivacious, though she was over fifty, and grown very white since her illness. There she perched, never seeing him, waiting to cross, very upright. For having lived in Westminster?how many years now? Over twenty,--one feels even in the midst of the traffic, or waking at night, Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense (but that might be her heart, affected, they said, by influenza) before Big Ben Strikes. There! (Woolf p. 4) Woolf?s sentences here pass through time, minds, and emotion as she collapses the partitions of the mind, boundaries between narrator and characters, speech and thought, indeed, what is outward and what is inward. She weaves in and out of different kinds of consciousness: from third person narration to Scope Purvis?s mind, to the narrator?s brilliant metaphor that merges narrator and character, to Clarissa?s mind. Deftly, she describes Clarissa with ?a touch of the bird about her, of the jay.? She is never physically described; indeed Clarissa like many of Woolf?s characters does not seem to have a body. On the other hand, note the leaden adjectives in Cunningham?s description: his Clarissa ?treads? the ground in ethnic slippers, ?a female mammoth,? with a slick ?good-witch sort of charm.? Mired in literal, cliched adjectives, Cunningham barely touches the flight of Woolf?s mind, sentences and metaphors. And herein lies the difference. Woolf said of her own writing of a morning: ?style is a very simple matter; it is all rhythm. Once you get that, you can?t use the wrong words? (Letters III, p.242). Those who know the pulses of Woolf?s scintillating, dancing sentences and expressions of mind and heart on the page know that Cunningham--despite his accomplishments in this novel--does not get the rhythm right. 1 Gerard Genette, Figures of Literary Discourse. Trans. Alan Sheridan. New York: Columbia UP, 1982, p.70. Patricia Laurence, Professor Emerita English Department City College of New York English Literature in Translation (2000) On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf > wrote: Online ones would be more fun?.?!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 Online ones would be more fun?.!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. ________________________________ From: Vwoolf > on behalf of Mark Hussey via Vwoolf > Sent: Thursday, August 10, 2023 1:27:26 PM To: vwoolf at lists.osu.edu > Subject: [Vwoolf] BBC Culture on The Hours I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how we see? VW? Offline responses welcome! https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!25sF53dFs6zWnQ01ff14AeEOqz20LYdxzCc3qNq58A_e0gj2c_49xpXwB69mS08Bmp0E27sYEqvIUnLRx7munsPEdubc$ _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: The Nose Was the Final Straw - The New York Times.pdf Type: application/pdf Size: 114078 bytes Desc: The Nose Was the Final Straw - The New York Times.pdf URL: From jeremy.hawthorn at ntnu.no Thu Aug 10 16:00:06 2023 From: jeremy.hawthorn at ntnu.no (Jeremy Hawthorn) Date: Thu, 10 Aug 2023 20:00:06 +0000 Subject: [Vwoolf] Shetland and Woolf Message-ID: Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. https://urldefense.com/v3/__https://www.malachytallack.com/heart-of-beyond.html__;!!KGKeukY!2boO_WbpneEm-cYDgGs3WkwS6iiKOk0BZCrqkv4TMTQhWjKgX9xziALLfAuymZcbuaDeMisXjhvf0JXTorlTKCLIkh72xPgnuUtmOqE$ Jeremy H Jeremy Hawthorn Professor Emeritus NTNU 7491 Trondheim Norway -------------- next part -------------- An HTML attachment was scrubbed... URL: From mhussey at verizon.net Thu Aug 10 16:46:26 2023 From: mhussey at verizon.net (mhussey at verizon.net) Date: Thu, 10 Aug 2023 16:46:26 -0400 Subject: [Vwoolf] Shetland and Woolf In-Reply-To: References: Message-ID: <004a01d9cbcb$bbef44c0$33cdce40$@verizon.net> Thanks Jeremy. I loved Shetland (one of those shows I watch mainly for the pleasures of nostalgic views of UK countryside). It seems almost mandatory for English (& Scottish) police procedurals to be set in pretty places where every week brings fresh slaughters (Brighton, Oxford, Dorset?all apparently blood-soaked hunting grounds for serial killers!) From: Vwoolf On Behalf Of Jeremy Hawthorn via Vwoolf Sent: Thursday, August 10, 2023 4:00 PM To: VWOOLF at lists.acs.ohio-state.edu Subject: [Vwoolf] Shetland and Woolf Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. https:?//www.?malachytallack.?com/heart-of-beyond.?html Jeremy H Jeremy Hawthorn Professor Emeritus NTNU 7491 Trondheim Norway Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. https://urldefense.com/v3/__https://www.malachytallack.com/heart-of-beyond.html__;!!KGKeukY!wsenCBYBE39gben7RZHQVWrhJN-bPaqDIhrQu7jwSoZ1YiGTFqEWHHUx2-kEr9RpCOFpsA6a2Nzehop2oVo4C3bHa9G1Zo0$ Jeremy H Jeremy Hawthorn Professor Emeritus NTNU 7491 Trondheim Norway -------------- next part -------------- An HTML attachment was scrubbed... URL: From smhall123 at yahoo.co.uk Thu Aug 10 18:10:23 2023 From: smhall123 at yahoo.co.uk (Sarah M. Hall) Date: Thu, 10 Aug 2023 22:10:23 +0000 (UTC) Subject: [Vwoolf] Shetland and Woolf In-Reply-To: <004a01d9cbcb$bbef44c0$33cdce40$@verizon.net> References: <004a01d9cbcb$bbef44c0$33cdce40$@verizon.net> Message-ID: <10300684.3359966.1691705423958@mail.yahoo.com> Thanks, Jeremy. The writer is perceptive on the 'geographical centrality' in TTL, though misses the point that it's not really Skye. Mark's right, there are numerous British TV series in which the setting is like a main character. I'm a latecomer to Shetland (the TV show) and was in fact watching an episode last night. They're not afraid of a bit of bad weather; positively revel in it actually. It's the nearest we get to Nordic Noir: usually we just borrow the real thing. For fans of Cornwall, Doc Martin (not legal but medical) has fantastic views of Port Isaac, a coastal village in North Cornwall, and the surrounding countryside. It's always sunny there, of course. And Morse (and later Lewis and Endeavour) was always good for spotting well-known Oxford sites. I didn't realise how many fictional colleges were featured until recently, some with very convincing names (surely I've been to Wolsey College, and I'm sure that I saw the Beaufort College team on University Challenge). That's enough British TV for now. -- Ed. Sarah Sarah M. Hall Executive Council, Virginia Woolf Society of GB Web: virginiawoolfsociety.org.uk Facebook: @VWSGB Twitter: @VirginiaWoolfGB Instagram: @virginiawoolfsociety On Thursday, 10 August 2023 at 21:46:44 BST, Mark Hussey via Vwoolf wrote: Thanks Jeremy. I loved Shetland (one of those shows I watch mainly for the pleasures of nostalgic views of UK countryside). It seems almost mandatory for English (& Scottish) police procedurals to be set in pretty places where every week Thanks Jeremy. I loved Shetland (one of those shows I watch mainly for the pleasures of nostalgic views of UK countryside). It seems almost mandatory for English (& Scottish) police procedurals to be set in pretty places where every week brings fresh slaughters (Brighton, Oxford, Dorset?all apparently blood-soaked hunting grounds for serial killers!) ? From: Vwoolf On Behalf Of Jeremy Hawthorn via Vwoolf Sent: Thursday, August 10, 2023 4:00 PM To: VWOOLF at lists.acs.ohio-state.edu Subject: [Vwoolf] Shetland and Woolf ? Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. https:?//www.?malachytallack.?com/heart-of-beyond.?html Jeremy H Jeremy Hawthorn Professor Emeritus NTNU 7491 Trondheim Norway Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. ? https://urldefense.com/v3/__https://www.malachytallack.com/heart-of-beyond.html__;!!KGKeukY!10pyw2GPqNZMn86Yj-fwTqjZgMyaJZjcHvcInkJrniqbnl16W2vFVFKC9RxmvP8ggOgPY8YPrJYRGkzEtRT89QyUmh7L5kIB$ ? 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From jeremy.hawthorn at ntnu.no Thu Aug 10 20:29:46 2023 From: jeremy.hawthorn at ntnu.no (Jeremy Hawthorn) Date: Fri, 11 Aug 2023 00:29:46 +0000 Subject: [Vwoolf] Shetland and Woolf In-Reply-To: <10300684.3359966.1691705423958@mail.yahoo.com> References: <004a01d9cbcb$bbef44c0$33cdce40$@verizon.net> <10300684.3359966.1691705423958@mail.yahoo.com> Message-ID: And then there is ?Vera?! As I lived and worked in Sunderland from 1975 to 1981 I feel that England?s north-east countryside is underappreciated ? even in the UK. And the photography in the series is splendid. Jeremy From: Sarah M. Hall Sent: Friday, August 11, 2023 12:10 AM To: Jeremy Hawthorn ; vwoolf at lists.acs.ohio-state.edu; mhussey at verizon.net Subject: Re: [Vwoolf] Shetland and Woolf Thanks, Jeremy. The writer is perceptive on the 'geographical centrality' in TTL, though misses the point that it's not really Skye. Mark's right, there are numerous British TV series in which the setting is like a main character. I'm a latecomer to Shetland (the TV show) and was in fact watching an episode last night. They're not afraid of a bit of bad weather; positively revel in it actually. It's the nearest we get to Nordic Noir: usually we just borrow the real thing. For fans of Cornwall, Doc Martin (not legal but medical) has fantastic views of Port Isaac, a coastal village in North Cornwall, and the surrounding countryside. It's always sunny there, of course. And Morse (and later Lewis and Endeavour) was always good for spotting well-known Oxford sites. I didn't realise how many fictional colleges were featured until recently, some with very convincing names (surely I've been to Wolsey College, and I'm sure that I saw the Beaufort College team on University Challenge). That's enough British TV for now. -- Ed. Sarah Sarah M. Hall Executive Council, Virginia Woolf Society of GB Web: virginiawoolfsociety.org.uk Facebook: @VWSGB Twitter: @VirginiaWoolfGB Instagram: @virginiawoolfsociety On Thursday, 10 August 2023 at 21:46:44 BST, Mark Hussey via Vwoolf > wrote: Thanks Jeremy. I loved Shetland (one of those shows I watch mainly for the pleasures of nostalgic views of UK countryside). It seems almost mandatory for English (& Scottish) police procedurals to be set in pretty places where every week Thanks Jeremy. I loved Shetland (one of those shows I watch mainly for the pleasures of nostalgic views of UK countryside). It seems almost mandatory for English (& Scottish) police procedurals to be set in pretty places where every week brings fresh slaughters (Brighton, Oxford, Dorset?all apparently blood-soaked hunting grounds for serial killers!) From: Vwoolf > On Behalf Of Jeremy Hawthorn via Vwoolf Sent: Thursday, August 10, 2023 4:00 PM To: VWOOLF at lists.acs.ohio-state.edu Subject: [Vwoolf] Shetland and Woolf Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. https:?//www.?malachytallack.?com/heart-of-beyond.?html Jeremy H Jeremy Hawthorn Professor Emeritus NTNU 7491 Trondheim Norway Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. https://urldefense.com/v3/__https://www.malachytallack.com/heart-of-beyond.html__;!!KGKeukY!0xACWs1NipksueqZab6LEwGO5yZI6hzZpNtQCmhpEAKA08PsPCQMpqz8FDHXQHERNOaG2F36GoZK9wG2p7UHmLWkZIN5thbJf7zqqUI$ 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From stuart.n.clarke at btinternet.com Fri Aug 11 04:51:14 2023 From: stuart.n.clarke at btinternet.com (Stuart N. Clarke) Date: Fri, 11 Aug 2023 09:51:14 +0100 Subject: [Vwoolf] Shetland and Woolf - now side-tracked In-Reply-To: References: Message-ID: <0A46888934614A51AE9610F54C0EB874@StuartHP> Yes, very interesting. For despite seeming to be embedded in the place, the success of Shetland relies in fact on the opposite: on a feeling of mystery and menace that only make sense from afar. It relies, no less, say, than The Wicker Man, on a suspicion of small community life common to many who do not live in such communities. I am one of those people who is suspicious of small community life. More conservative, Conservative; less tolerant; using gossip as a means of social control. But you are closer to the awful things that happen to people. The 10yo boy who went on a swimming trip with his school, and had a heart attack on the beach and died. The farmer who had a heart attack in the field, and died. The woman who set fire to the family home with herself in it. The young couple, who held the record for the fastest trip between the two townships on the island, and had a joint funeral. The farmer?s wife who gave birth to a son who was blind and deaf and couldn?t walk. She looked after him, practically single-handed, for over 20 years until he died ? and she was blamed for it. The two elderly sisters, left over from the 19C, who had three houses ? all of which should have been demolished. Newspapers on the walls instead of wallpaper. ?Did they offer you a cup of tea?? ?Yes.? ?Did you accept?? ?Yes.? ?Oh, Stuart!? They sold their milk to the dairy, which paid them for it ? and threw it away. Or take our village, no longer an inward-looking community suspicious of outsiders, in view of all the new developments. A woman who moved into one of the first of the developments told me no one would speak to her. The farmers used to queue *outside* the little bank, so that they wouldn?t hear one another?s business *inside*. The main road through the village is called Church [of England] Road, which becomes [Methodist] Chapel Lane ? that?s even-handed. I could get drugs here easier than in London. Still, we haven?t had anyone firing a gun through someone?s windows for years. But the gay murder is still unsolved. The only suspect is a German called Karl ? not much to go on. Two semi-detached houses went on fire a few weeks ago. They are owned by two cousins. One of them didn?t look after his property, and an electrical fault set it off. No roof and not much in the upper floor. The cousins are now barely on speaking terms. (If I go on and moan about the power cuts, I should only be slipping into middle-class angst . . .) Stuart From: Jeremy Hawthorn via Vwoolf Sent: Thursday, August 10, 2023 9:00 PM To: VWOOLF at lists.acs.ohio-state.edu Subject: [Vwoolf] Shetland and Woolf Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. https:?//www.?malachytallack.?com/heart-of-beyond.?html Jeremy H Jeremy Hawthorn Professor Emeritus NTNU 7491 Trondheim Norway Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. https://urldefense.com/v3/__https://www.malachytallack.com/heart-of-beyond.html__;!!KGKeukY!wgJnUBbr9KjSFtbcK8e0IZfd8vIfDdpIyhMz5jxfAMNtmMs3b03DHtqrJfzVntxgeSbCaQxson4TXyIZxre9IbgoND5W5UX3Tw$ Jeremy H Jeremy Hawthorn Professor Emeritus NTNU 7491 Trondheim Norway -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Fri Aug 11 09:16:59 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Fri, 11 Aug 2023 13:16:59 +0000 Subject: [Vwoolf] Shetland and Woolf - now side-tracked In-Reply-To: <0A46888934614A51AE9610F54C0EB874@StuartHP> References: <0A46888934614A51AE9610F54C0EB874@StuartHP> Message-ID: Agatha Christie?s Miss Marple is haunting Shetland ? and the village. Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. ________________________________ From: Vwoolf on behalf of Stuart N. Clarke via Vwoolf Sent: Friday, August 11, 2023 4:51:14 AM To: vwoolf at lists.osu.edu Subject: [Vwoolf] Shetland and Woolf - now side-tracked Yes, very interesting. For despite seeming to be embedded in the place, the success of Shetland relies in fact on the opposite: on a feeling of mystery and menace that only make sense from afar. It relies, no less, say, than The Wicker Man, Yes, very interesting. For despite seeming to be embedded in the place, the success of Shetland relies in fact on the opposite: on a feeling of mystery and menace that only make sense from afar. It relies, no less, say, than The Wicker Man, on a suspicion of small community life common to many who do not live in such communities. I am one of those people who is suspicious of small community life. More conservative, Conservative; less tolerant; using gossip as a means of social control. But you are closer to the awful things that happen to people. The 10yo boy who went on a swimming trip with his school, and had a heart attack on the beach and died. The farmer who had a heart attack in the field, and died. The woman who set fire to the family home with herself in it. The young couple, who held the record for the fastest trip between the two townships on the island, and had a joint funeral. The farmer?s wife who gave birth to a son who was blind and deaf and couldn?t walk. She looked after him, practically single-handed, for over 20 years until he died ? and she was blamed for it. The two elderly sisters, left over from the 19C, who had three houses ? all of which should have been demolished. Newspapers on the walls instead of wallpaper. ?Did they offer you a cup of tea?? ?Yes.? ?Did you accept?? ?Yes.? ?Oh, Stuart!? They sold their milk to the dairy, which paid them for it ? and threw it away. Or take our village, no longer an inward-looking community suspicious of outsiders, in view of all the new developments. A woman who moved into one of the first of the developments told me no one would speak to her. The farmers used to queue *outside* the little bank, so that they wouldn?t hear one another?s business *inside*. The main road through the village is called Church [of England] Road, which becomes [Methodist] Chapel Lane ? that?s even-handed. I could get drugs here easier than in London. Still, we haven?t had anyone firing a gun through someone?s windows for years. But the gay murder is still unsolved. The only suspect is a German called Karl ? not much to go on. Two semi-detached houses went on fire a few weeks ago. They are owned by two cousins. One of them didn?t look after his property, and an electrical fault set it off. No roof and not much in the upper floor. The cousins are now barely on speaking terms. (If I go on and moan about the power cuts, I should only be slipping into middle-class angst . . .) Stuart From: Jeremy Hawthorn via Vwoolf Sent: Thursday, August 10, 2023 9:00 PM To: VWOOLF at lists.acs.ohio-state.edu Subject: [Vwoolf] Shetland and Woolf Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. https:?//www.?malachytallack.?com/heart-of-beyond.?html Jeremy H Jeremy Hawthorn Professor Emeritus NTNU 7491 Trondheim Norway Thoughtful little piece on the British crime series "Shetland," which contains an extended comment on TTL. https://urldefense.com/v3/__https://www.malachytallack.com/heart-of-beyond.html__;!!KGKeukY!3XzOX25mUfhbnsxwMNIYlXDYNL5TRxBnPziaKOx9rm4DQ5U02halbGAwFyieBrbMAwQLNAg5AdJ3wAAeR0n82IviyI-_$ Jeremy H Jeremy Hawthorn Professor Emeritus NTNU 7491 Trondheim Norway -------------- next part -------------- An HTML attachment was scrubbed... URL: From mhussey at verizon.net Fri Aug 11 09:23:25 2023 From: mhussey at verizon.net (Mark Hussey) Date: Fri, 11 Aug 2023 13:23:25 +0000 (UTC) Subject: [Vwoolf] BBC Culture on The Hours In-Reply-To: References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> Message-ID: <1839949410.3160118.1691760205289@mail.yahoo.com> Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, I?m still hoping for more responses to my question about The Hours?? On Thursday, August 10, 2023, 02:02:38 PM EDT, Pat Laurence wrote: I meant to add that observations on Woolf conferences are, of course, dated in the review. On Thu, Aug 10, 2023 at 1:59?PM Pat Laurence wrote: Following up on the Lillian Crawford review, here's mine of the Cunningham novel, The Hours, that appeared in English Literature in Translation (2000) in which I assert--that despite certain breakthroughs--he does not "get the rhythm right." Michael Cunningham, The Hours (New York: Farrar,Strauss, Giroux, 1998) ? Michael Cunningham?s The Hours is a novel aboutreading: a homage to Virginia Woolf. It is one of many books to come out in thepast few years in which a writer or critic reflects not only on the process ofreading itself but also rambles among the works of a particularly-loved author:Harold Bloom?s Shakespeare: the Invention of the Human; Alain de Botton?sHow Proust Can Change Your Life, ?Not a Novel; Stephen Marlowe?s TheLighthouse at the End of the World (involving Edgar Allen Poe). Now inMichael Cunningham?s novel, we have a fictional exploration of Virginia Woolf?sMrs. Dalloway that was called The Hours among other titles in anearlier stage of the project. The idea is a fascinating one and in Cunningham?swriting the experience of reading turns in upon itself. It is a postmoderncritical and fictional turn described by the French literary critic, GerardGenette: ? The text is that Moebius strip inwhich the inner and outer sides, the signifying and the signified sides, theside of writing and the side of reading, ceaselessly turn and cross over, inwhich writing is constantly read, in which reading is constantly written andtranscribed. The critic must also enter the interplay of this strangereversible circuit and thus become, as Proust says, and like every true reader,?one?s own reader.? 1 ? We are in a hall of mirrors as we read ourselves readingCunningham reading Woolf. We ?participate? as readers (and writers!) of thisnovel in new ways. ? Why are so many writers and critics preoccupied with writingabout the process of reading? Perhaps the images on the computer screen havealready darkened our reading sky as we intellectually venture into the Internetrather than ride the well-worn magic carpet. Are we as a culture alreadynostalgic about the demise of THE BOOK? Browse through any popular periodical,and you will find that the number of articles and images of technology faroutnumber discussions or, indeed, images of books. Perhaps then writers andcritics turn to the authors they have read and loved to pay tribute or to findinspiration and material. Perhaps they are preserving authors from the threatof being unread as ?story? takes new forms in hypertext, and on the Internet, CD-ROMs,television, and books on tape. ? Michael Cunningham has written of his own introduction toreading Virginia Woolf. He remembers he ?was in high school, where a veryrough, difficult, slightly crazed girl with teased hair and long fingernails, whoused to hang around behind the gym and smoke cigarettes, proclaimed her to be agenius.? Admitting that he was not particularly ?bookish,? Cunningham found Mrs.Dalloway in the local bookstore ?and the book just nailed me; I?ve thoughtabout it almost constantly ever since? (PW 11/2/98). ? It?s refreshing to me as a Virginia Woolf scholar to read amale reader reading Woolf: a male reader, a novelist, a male-homosexualreader-writer reading Woolf. In my attendance at the annual Virginia WoolfSociety Conference over the past nine years, I have always been struck by thesmall number of men who attend or deliver papers. Is Virginia Woolf a genderednovelist? Do only women read and like her??I remember mentioning to a Dean in my college that I was writing a bookabout Virginia Woolf. He looked at me patiently and said, ?yes, my wife readsVirginia Woolf.? Hmmm. But perhaps this is changing, and it is interesting thatsome of the male readers who may be drawn to Woolf and the sexually-liberatedBloomsberries are homosexual. Cunningham has also written, Home at the Endof the World, a well-received novel which presents in alternating voices,the stories of two boys from Cleveland (one, gay) and their families,reflecting new formations of gender and desire. It is this exploration ofgender and desire as well as Woolf that motivates Cunningham?s Pulitzerprize-winning novel. Through reading Woolf and reinventing (and sometimesparroting) some of her characters and stories, Michael Cunningham writes aboutnew kinds of heterosexual friendship as well as heterosexual and homosexualromance. It is this that belongs to him. ? But this is also a book about translation: ?It is New YorkCity. It is the end of the twentieth century.? Cunningham translates the storyof a 1920?s London society hostess, Mrs. Dalloway, into an American context in1990. Mrs. Dalloway is now Woolf?s hottest novel given Eileen Atkin?sfilm version starring Vanessa Redgrave last year. In her Diary, Woolfannounces ?I want to criticize the social system, & to show it at work? (D2, 243-44) as well as sketch the society ladies she knew, like Sybil Colefax andLady Ottoline Morrell whose lives were shaped by giving parties. They werewomen who like Clarissa ?could feel nothing for the Albanians, or was it theArmenians? but she loved her roses (didn?t that help the Armenians?)? (p.182). Sheworried instead about the flowers, the silver, her dress, and most importantly,the ?art? of the guest list. For Mrs. Dalloway is Woolf?s exploration of the?party consciousness? just as her other books explore other states ofmind.? Woolf ?deconstructs? the socialitewife of Parlimentarian, Richard Dalloway. She ?digs tunnels behind hercharacters? and shows us that Mrs. Dalloway is a woman with a youthful past asClarissa, a beautiful vivacious young woman in love with both the intense Peterand the scintillating Sally. Clarissa, it should be noted, is one of the fewmarried women in Woolf?s novels with a first name (i.e. Mrs. Ramsay). She is awoman who finds that ?death? happens into the middle of her party. Sheoverhears one of her guests, Dr. William Bradshaw, the psychiatrist, tell thestory of the sad, shell-shocked Septimus, returned soldier from World War I,who has jumped to his death from a window that afternoon. And so, both theparty and death--?What a lark! What a plunge!? announces Mrs. Dalloway on thefirst page of the novel--structures the novel. ? Cunningham also uses this structure of the party and thedeath in his novel. In fact, the structure, the themes, the characters, theauthor as character, phrasings, and attempts at Woolf?s writing rhythm couldall be said to be derived?if we attend to slippery ?origins.? Butdeconstructionists have taught us that such pursuits are futile. Let?s observeinstead how successful Cunningham is in achieving his own effect intertwined ashe is with Woolf. ? In his novel, he skillfully intertwines three stories all ofwhich happen on a single day, each told from a different woman?s point of view.First, in Cunningham?s novel, there is the story of Woolf herself tryingdesperately to work on her manuscript of Mrs. Dalloway in 1923 as shedeals with the distractions of a visit from her sister Vanessa and her husbandLeonard?s work on the Hogarth Press, a press they acquired in 1915 as part ofVirginia?s therapy.? The second tale,takes Woolf?s legendary character, Mrs. Brown, from a 1923 article, ?Mr.Bennett and Mrs. Brown,? in which Woolf queries how she, as a modernist author,is to describe a dowdy woman whom she observes in the corner of a railway car.It is an important essay in which Woolf sets out modernist principles for thedevelopment of ?character.?? Here shequestions the Edwardian authors, John Galsworthy, Arnold Bennett and H. G.Wells, who will describe the legendary Mrs. Brown according to ?realist?modes?where she resides, how much income she earns--what is she like from the?outside.? Challenging this mode of character development, Woolf will advancethe modernist platform, and her interest in interiority. She will be interestedin what Mrs. Brown thinks and feels, or as described in another novel, ?what isunsaid.? Since this is a review that is not only about Cunningham readingWoolf? but I, as a critic and scholar,reading Woolf and reading Cunningham reading Woolf, you may very well say,?leave your knowledge of Mrs. Brown? outof this review.? But how can I? ? The traces of Woolf?s Mrs. Brown and Woolf?s largerfictional questions are present in my mind as I read Cunningham. How do wedescribe and develop ?character? in fiction. I read and observe Cunningham?stransformation of Mrs. Brown from a frumpily dressed 1920?s Englishwoman in thecorner of a railway car to a 1990?s American housewife, mother of a young son,Laura Brown. The translation of British themes and times, England in 1921 withshell-shocked soldiers struggling with insanity just after the war, to theAmerica of the 1990?s experiencing an Aids epidemic and the fallout from thewomen?s liberation movement of the 1960?s. The story of Laura Brown, thedepressed housewife, is the best of Cunningham?s three. Here he hits his OWNstride. The plot is simple. Mrs. Brown is an unfulfilled housewife with a? young?child who adores her (much like James with Mrs. Ramsay in To theLighthouse), pregnant with another child, living in Los Angeles. On thisparticular morning in 1923, we find her planning a small party, a birthdayparty, and attempting to make a proper cake. Delightfully (for all literarymothers with such fantasies), she escapes her unsuccessful baking day to go offto a hotel to rent a room (no. 19 where Doris Lessing also places her suicidal housewife)for a few hours to read (can you guess?) Mrs. Dalloway. The wickednessof modern brainy moms: an illicit day in June spent in a hotel room readingWoolf. As Mrs. Dalloway says in Woolf?s novel, ?It is very very dangerous tolive even one day.? And one of the messages of this novel is that reading cansometimes save one from danger. ? For in the third story in Cunningham?s novel that artfullyintertwines with the second, is about Richard, the young son of Laura Brown. Hehas watched her every unhappy mood, thought and action with unnatural attentionand love, and he grows up to become a writer born of his mother, the reader. Heis now dying of Aids. One of his best friends is Clarissa Vaughan, a woman ofabout fifty, a lesbian who lives in Greenwich Village, with whom he has sharedintimacy of a certain sort in youth. He is modelled on Peter in Woolf?s novelbut there is a homosexual reversal in the plot. Judith Butler?s challenge tothe ?heterosexual matrix? of literature is actualized in Cunningham?s new glanceat relationships. The happiness of the traditional marriage plot (Laura Brownand her husband) is reconsidered; homosexual relationships become more central.? Clarissa, a lesbian in Cunningham?s novel isplanning a party for Richard who has just received a literary prize. But theparty never happens for this Richard like Septimus in Woolf?s novel plunges outof a window to his death, unable to deal with his deteriorating physicalcondition. Is there an implied connection implied between Laura Brown?sdepression, thoughts of suicide, and her son?s plunge to his death? In thisnovel, the party, a metaphor for the continuing celebration of life, does notprevail as it does in Woolf?s novel. The party never happens; death does. Andherein lies the difference between Woolf and Cunningham?s vision. ? His novel is the underside of Woolf?s: he teases out thehomosexual subtext that Woolf critics have observed. He plays upon theknowledge of Woolf?s brief physical relationship with Vita SackvilleWest which beganin 1925 just when Mrs. Dalloway was published. Though Clarissa makes aheterosexual choice in Woolf?s novel, Cunningham?s Clarissa and Richard makeanother, questioning and creating new forms of romance and relationship,culturally and fictionally. ? But another reader, not the scholarly reader, but the?common reader? might say to this reviewer: I?ve never really read Woolf. Or Itried to read To the Lighthouse in college but nothing ever seemsto happen or didn?t Woolf commit suicide or wasn?t she a lesbian or I don?tknow who Mrs. Brown is or I?ve only seen the movie. Such a reader might say, ?Ilike Michael Cunningham?s novel because he helps me to read Woolf.? Woolf isnow so burdened with the cult of personality haunting most authors today: hermanic-depressive patterns, her notorious suicide, walking in a trance into theRiver Ouse with her walking stick. Death in the middle of the river of herwords. Perhaps for these readers?for this essay is about differentreaders?Michael Cunningham has done a service. We read a version of Woolfthrough reading Michael Cunningham. ? But for those of us who do read and love Woolf, Cunninghamcan be clever, yes; imaginative, yes; slick, yes: a writer of ambition. Giventhat he has created three ingenious plots and taken his characters andinspiration from Woolf, what might we now say about his writing style andpresentation of mind on the page, Woolf?s great gifts to the twentieth-centurynovel.? Cunningham himself mentions ininterviews that he greatly admires her style and has ambitions to achieve it inhis own writing, and reviewers, in turn, praise his ?poetic? style comparing itto Woolf?s. Let?s compare parallel scenes to illuminate the differences.Interestingly, as someone who knows Woolf?s novel well, one feels the ghostlypresence of Woolf throughout, as if Cunningham has Mrs. Dalloway open beforehim as he pens his shadow novel. Let?s compare Cunningham?s passage aboutClarissa on 8th Street & 5th Avenue in New York withWoolf?s Clarissa crossing Victoria Street in London: ? She straightens her shoulders asshe stands at the corner of Eighth Street and Fifth Avenue, waiting for thelight. There she is, thinks Willie Bass, who passes her some mornings justabout here. The old beauty, the old hippie, hair still long and defiantly gray,out on her morning rounds in jeans and a man?s cotton shirt, some sort ofethnic slippers (India? Central America?) on her feet. She still has a certainsexiness; a certain bohemian, good-witch sort of charm; and yet this morningshe makes a tragic sight, standing so straight in her big shirt and exoticshoes, resisting the pull of gravity, a female mammoth already up to its kneesin the tar, taking a rest between efforts, standing bulky and proud, almostnonchalant, pretending to contemplate the tender grasses waiting on the farbank when it is beginning to know for certain the it will remain here, trappedand alone, after dark, when the jackals come out. She waits patiently for thelight. (Cunningham, p.13) ? ? ? ? Woolf?s Clarissa: ? She stiffened a little on thekerb, waiting for Durtnall?s van to pass. A charming woman, Scrope Purvisthought her (knowing her as one does know people who live next door to one inWestminster); a touch of the bird about her, of the jay, blue-green, light,vivacious, though she was over fifty, and grown very white since her illness.There she perched, never seeing him, waiting to cross, very upright. ???? For having lived in Westminster?how manyyears now? Over twenty,--one feels even in the midst of the traffic, or wakingat night, Clarissa was positive, a particular hush, or solemnity; anindescribable pause; a suspense (but that might be her heart, affected, theysaid, by influenza) before Big Ben Strikes. There! (Woolf p. 4) ? Woolf?s sentences here pass through time, minds, and emotionas she collapses the partitions of the mind, boundaries between narrator andcharacters, speech and thought, indeed, what is outward and what is inward. Sheweaves in and out of different kinds of consciousness: from third personnarration to Scope Purvis?s mind, to the narrator?s brilliant metaphor thatmerges narrator and character, to Clarissa?s mind. Deftly, she describesClarissa with ?a touch of the bird about her, of the jay.? She is neverphysically described; indeed Clarissa like many of Woolf?s characters does notseem to have a body. On the other hand, note the leaden adjectives in Cunningham?sdescription: his Clarissa ?treads? the ground in ethnic slippers, ?a femalemammoth,? with a slick ?good-witch sort of charm.? Mired in literal, cliched adjectives,Cunningham barely touches the flight of Woolf?s mind, sentences and metaphors.And herein lies the difference. ? Woolf said of her own writing of a morning: ?style is a verysimple matter; it is all rhythm. Once you get that, you can?t use the wrongwords? (Letters III, p.242). Those who know the pulses of Woolf?sscintillating, dancing sentences and expressions of mind and heart on the pageknow that Cunningham--despite his accomplishments in this novel--does not getthe rhythm right. ? 1 Gerard Genette, Figures of Literary Discourse.Trans. Alan Sheridan. New York: Columbia ? ????UP, 1982, p.70. ? Patricia Laurence, Professor Emerita English Department City College of New York English Literature in Translation (2000) ? ? ? ? ? ? ? ? ? ? ? ? ? ? On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf wrote: Online ones would be more fun?.?!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717Online ones would be more fun?.!!! Vara Neverow(she/her/hers)Professor,?English Department and Women?s and Gender Studies ProgramManaging Editor, Virginia Woolf Miscellany?Southern Connecticut State University New Haven, CT 06515 203-392-6717neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples.From: Vwoolf on behalf of Mark Hussey via Vwoolf Sent: Thursday, August 10, 2023 1:27:26 PM To: vwoolf at lists.osu.edu Subject: [Vwoolf] BBC Culture on The Hours?I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: didThe Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how we see? VW?? Offline responses welcome! ? https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!zL1vuRWGd2jH_jaMM8h7MJZa4TU6hMIr-ZmqYb4ZBtJp_-PSOsbDmA6wjv2Cbv9dbygU7OhvguSkIyq0xOtCAQ$ ? _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From cernat.laura at kuleuven.be Fri Aug 11 10:24:26 2023 From: cernat.laura at kuleuven.be (Laura Cernat) Date: Fri, 11 Aug 2023 14:24:26 +0000 Subject: [Vwoolf] Fw: BBC Culture on The Hours In-Reply-To: <1691762169534.5786@kuleuven.be> References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> , <1839949410.3160118.1691760205289@mail.yahoo.com>, <1691762169534.5786@kuleuven.be> Message-ID: <1691763866263.51081@kuleuven.be> I meant to send the message below to the entire list but I must have pressed the wrong buttons. I hope my reflection is of some use. Would people be interested in a Woolf Salon about The Hours? All best, Laura ________________________________ From: Laura Cernat Sent: Friday, August 11, 2023 3:56 PM To: Neverow, Vara S.; Pat Laurence; Mark Hussey Subject: Re: [Vwoolf] BBC Culture on The Hours Thanks for bringing us back to this question, Mark. To my mind The Hours did a lot to shape Woolf for people of my generation, at least. I have to say that, growing up in a non-Anglophone country, watching this film when it came out was actually among my first moments of acquaintance with Woolf, even before reading Mrs Dalloway. Does this mean my entire experience of the complexity of Woolf's life and of the ways in which it informs her fictions is reduced to it? By no means. But it did set a certain tone. And although I've been critical of the book's accuracy in some of my past work and some of my forthcoming work, I think it accomplished a lot in construing reading Woolf as an iconic experience, with the advantages and disadvantages that come with this status. Jim Collins has a very interesting analysis of this phenomenon in Bring on the Books for Everybody: How Literary Culture Became Popular Culture. And much as I want to distance myself from popular culture (which I really try to do, at least by not being on social media), his argument forces me to ask myself if I, as an MA student many years ago, would have at all been interested in The Hours the book and then consequently in reading Hermione Lee's biography of Woolf and working on several Woolf biographies and on Woolf's engagement with the topic of biography and biofiction for my MA thesis, had it not been for the first impression that The Hours the film made upon me back in high school. I think it's a legit question, and one we have to start from, even if we end somewhere completely different like a footnote to an annotated edition of Mrs Dalloway or Barbara Lounsberry's study of Woolf's diaries. For a long time I at least thought that The Hours as a book was superior to the film, but then I read Delia Ungureanu's brilliant analysis of the film in light of Woolf's other work (in Ungureanu's 2022 Time Regained: World Literature and Cinema) and that got me thinking. The artifice that movies use is not always rooted in ignorance of the realities, sometimes it can be a way of conveying a point that converges with the writer's own vision of the fluidity and interconnectedness of minds, even while taking other routes to get there. I am all for serious, meticulous, even pedantic scholarship (my first article on Woolf starts with a section called "The Devil in the Details", precisely about some of Cunningham's liberties with the historical record), but I'm also increasingly aware of where the desire for that scholarship comes, and sometimes we encounter it in other media or other forms of discourse. These are just a few improvised reflections, but I've been wanting to start a conversation on this for a while now, so maybe it's time I wrote to Shilo, Ben, Drew, and Ami and set up a Salon about The Hours. I'll try to invite other biofiction scholars and maybe film scholars as well. Let's see if that works, I'll keep everyone posted. Wishing everyone a splendid summer day, Laura Laura Cernat (she, they) FWO Postdoctoral Fellow KU Leuven, Department of Literary Studies English Literature Research Group ________________________________ From: Vwoolf on behalf of Mark Hussey via Vwoolf Sent: Friday, August 11, 2023 3:23 PM To: Neverow, Vara S.; Pat Laurence Cc: vwoolf at lists.osu.edu Subject: Re: [Vwoolf] BBC Culture on The Hours Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, I?m still hoping for more responses to my question about The Hours?? On Thursday, August 10, 2023, 02:?02:?38 PM EDT, Pat Laurence wrote:? Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, I?m still hoping for more responses to my question about The Hours?? On Thursday, August 10, 2023, 02:02:38 PM EDT, Pat Laurence wrote: I meant to add that observations on Woolf conferences are, of course, dated in the review. On Thu, Aug 10, 2023 at 1:59?PM Pat Laurence > wrote: Following up on the Lillian Crawford review, here's mine of the Cunningham novel, The Hours, that appeared in English Literature in Translation (2000) in which I assert--that despite certain breakthroughs--he does not "get the rhythm right." Michael Cunningham, The Hours (New York: Farrar, Strauss, Giroux, 1998) Michael Cunningham?s The Hours is a novel about reading: a homage to Virginia Woolf. It is one of many books to come out in the past few years in which a writer or critic reflects not only on the process of reading itself but also rambles among the works of a particularly-loved author: Harold Bloom?s Shakespeare: the Invention of the Human; Alain de Botton?s How Proust Can Change Your Life, Not a Novel; Stephen Marlowe?s The Lighthouse at the End of the World (involving Edgar Allen Poe). Now in Michael Cunningham?s novel, we have a fictional exploration of Virginia Woolf?s Mrs. Dalloway that was called The Hours among other titles in an earlier stage of the project. The idea is a fascinating one and in Cunningham?s writing the experience of reading turns in upon itself. It is a postmodern critical and fictional turn described by the French literary critic, Gerard Genette: The text is that Moebius strip in which the inner and outer sides, the signifying and the signified sides, the side of writing and the side of reading, ceaselessly turn and cross over, in which writing is constantly read, in which reading is constantly written and transcribed. The critic must also enter the interplay of this strange reversible circuit and thus become, as Proust says, and like every true reader, ?one?s own reader.? 1 We are in a hall of mirrors as we read ourselves reading Cunningham reading Woolf. We ?participate? as readers (and writers!) of this novel in new ways. Why are so many writers and critics preoccupied with writing about the process of reading? Perhaps the images on the computer screen have already darkened our reading sky as we intellectually venture into the Internet rather than ride the well-worn magic carpet. Are we as a culture already nostalgic about the demise of THE BOOK? Browse through any popular periodical, and you will find that the number of articles and images of technology far outnumber discussions or, indeed, images of books. Perhaps then writers and critics turn to the authors they have read and loved to pay tribute or to find inspiration and material. Perhaps they are preserving authors from the threat of being unread as ?story? takes new forms in hypertext, and on the Internet, CD-ROMs, television, and books on tape. Michael Cunningham has written of his own introduction to reading Virginia Woolf. He remembers he ?was in high school, where a very rough, difficult, slightly crazed girl with teased hair and long fingernails, who used to hang around behind the gym and smoke cigarettes, proclaimed her to be a genius.? Admitting that he was not particularly ?bookish,? Cunningham found Mrs. Dalloway in the local bookstore ?and the book just nailed me; I?ve thought about it almost constantly ever since? (PW 11/2/98). It?s refreshing to me as a Virginia Woolf scholar to read a male reader reading Woolf: a male reader, a novelist, a male-homosexual reader-writer reading Woolf. In my attendance at the annual Virginia Woolf Society Conference over the past nine years, I have always been struck by the small number of men who attend or deliver papers. Is Virginia Woolf a gendered novelist? Do only women read and like her? I remember mentioning to a Dean in my college that I was writing a book about Virginia Woolf. He looked at me patiently and said, ?yes, my wife reads Virginia Woolf.? Hmmm. But perhaps this is changing, and it is interesting that some of the male readers who may be drawn to Woolf and the sexually-liberated Bloomsberries are homosexual. Cunningham has also written, Home at the End of the World, a well-received novel which presents in alternating voices, the stories of two boys from Cleveland (one, gay) and their families, reflecting new formations of gender and desire. It is this exploration of gender and desire as well as Woolf that motivates Cunningham?s Pulitzer prize-winning novel. Through reading Woolf and reinventing (and sometimes parroting) some of her characters and stories, Michael Cunningham writes about new kinds of heterosexual friendship as well as heterosexual and homosexual romance. It is this that belongs to him. But this is also a book about translation: ?It is New York City. It is the end of the twentieth century.? Cunningham translates the story of a 1920?s London society hostess, Mrs. Dalloway, into an American context in 1990. Mrs. Dalloway is now Woolf?s hottest novel given Eileen Atkin?s film version starring Vanessa Redgrave last year. In her Diary, Woolf announces ?I want to criticize the social system, & to show it at work? (D 2, 243-44) as well as sketch the society ladies she knew, like Sybil Colefax and Lady Ottoline Morrell whose lives were shaped by giving parties. They were women who like Clarissa ?could feel nothing for the Albanians, or was it the Armenians? but she loved her roses (didn?t that help the Armenians?)? (p.182). She worried instead about the flowers, the silver, her dress, and most importantly, the ?art? of the guest list. For Mrs. Dalloway is Woolf?s exploration of the ?party consciousness? just as her other books explore other states of mind. Woolf ?deconstructs? the socialite wife of Parlimentarian, Richard Dalloway. She ?digs tunnels behind her characters? and shows us that Mrs. Dalloway is a woman with a youthful past as Clarissa, a beautiful vivacious young woman in love with both the intense Peter and the scintillating Sally. Clarissa, it should be noted, is one of the few married women in Woolf?s novels with a first name (i.e. Mrs. Ramsay). She is a woman who finds that ?death? happens into the middle of her party. She overhears one of her guests, Dr. William Bradshaw, the psychiatrist, tell the story of the sad, shell-shocked Septimus, returned soldier from World War I, who has jumped to his death from a window that afternoon. And so, both the party and death--?What a lark! What a plunge!? announces Mrs. Dalloway on the first page of the novel--structures the novel. Cunningham also uses this structure of the party and the death in his novel. In fact, the structure, the themes, the characters, the author as character, phrasings, and attempts at Woolf?s writing rhythm could all be said to be derived?if we attend to slippery ?origins.? But deconstructionists have taught us that such pursuits are futile. Let?s observe instead how successful Cunningham is in achieving his own effect intertwined as he is with Woolf. In his novel, he skillfully intertwines three stories all of which happen on a single day, each told from a different woman?s point of view. First, in Cunningham?s novel, there is the story of Woolf herself trying desperately to work on her manuscript of Mrs. Dalloway in 1923 as she deals with the distractions of a visit from her sister Vanessa and her husband Leonard?s work on the Hogarth Press, a press they acquired in 1915 as part of Virginia?s therapy. The second tale, takes Woolf?s legendary character, Mrs. Brown, from a 1923 article, ?Mr. Bennett and Mrs. Brown,? in which Woolf queries how she, as a modernist author, is to describe a dowdy woman whom she observes in the corner of a railway car. It is an important essay in which Woolf sets out modernist principles for the development of ?character.? Here she questions the Edwardian authors, John Galsworthy, Arnold Bennett and H. G. Wells, who will describe the legendary Mrs. Brown according to ?realist? modes?where she resides, how much income she earns--what is she like from the ?outside.? Challenging this mode of character development, Woolf will advance the modernist platform, and her interest in interiority. She will be interested in what Mrs. Brown thinks and feels, or as described in another novel, ?what is unsaid.? Since this is a review that is not only about Cunningham reading Woolf but I, as a critic and scholar, reading Woolf and reading Cunningham reading Woolf, you may very well say, ?leave your knowledge of Mrs. Brown out of this review.? But how can I? The traces of Woolf?s Mrs. Brown and Woolf?s larger fictional questions are present in my mind as I read Cunningham. How do we describe and develop ?character? in fiction. I read and observe Cunningham?s transformation of Mrs. Brown from a frumpily dressed 1920?s Englishwoman in the corner of a railway car to a 1990?s American housewife, mother of a young son, Laura Brown. The translation of British themes and times, England in 1921 with shell-shocked soldiers struggling with insanity just after the war, to the America of the 1990?s experiencing an Aids epidemic and the fallout from the women?s liberation movement of the 1960?s. The story of Laura Brown, the depressed housewife, is the best of Cunningham?s three. Here he hits his OWN stride. The plot is simple. Mrs. Brown is an unfulfilled housewife with a young child who adores her (much like James with Mrs. Ramsay in To the Lighthouse), pregnant with another child, living in Los Angeles. On this particular morning in 1923, we find her planning a small party, a birthday party, and attempting to make a proper cake. Delightfully (for all literary mothers with such fantasies), she escapes her unsuccessful baking day to go off to a hotel to rent a room (no. 19 where Doris Lessing also places her suicidal housewife) for a few hours to read (can you guess?) Mrs. Dalloway. The wickedness of modern brainy moms: an illicit day in June spent in a hotel room reading Woolf. As Mrs. Dalloway says in Woolf?s novel, ?It is very very dangerous to live even one day.? And one of the messages of this novel is that reading can sometimes save one from danger. For in the third story in Cunningham?s novel that artfully intertwines with the second, is about Richard, the young son of Laura Brown. He has watched her every unhappy mood, thought and action with unnatural attention and love, and he grows up to become a writer born of his mother, the reader. He is now dying of Aids. One of his best friends is Clarissa Vaughan, a woman of about fifty, a lesbian who lives in Greenwich Village, with whom he has shared intimacy of a certain sort in youth. He is modelled on Peter in Woolf?s novel but there is a homosexual reversal in the plot. Judith Butler?s challenge to the ?heterosexual matrix? of literature is actualized in Cunningham?s new glance at relationships. The happiness of the traditional marriage plot (Laura Brown and her husband) is reconsidered; homosexual relationships become more central. Clarissa, a lesbian in Cunningham?s novel is planning a party for Richard who has just received a literary prize. But the party never happens for this Richard like Septimus in Woolf?s novel plunges out of a window to his death, unable to deal with his deteriorating physical condition. Is there an implied connection implied between Laura Brown?s depression, thoughts of suicide, and her son?s plunge to his death? In this novel, the party, a metaphor for the continuing celebration of life, does not prevail as it does in Woolf?s novel. The party never happens; death does. And herein lies the difference between Woolf and Cunningham?s vision. His novel is the underside of Woolf?s: he teases out the homosexual subtext that Woolf critics have observed. He plays upon the knowledge of Woolf?s brief physical relationship with Vita SackvilleWest which began in 1925 just when Mrs. Dalloway was published. Though Clarissa makes a heterosexual choice in Woolf?s novel, Cunningham?s Clarissa and Richard make another, questioning and creating new forms of romance and relationship, culturally and fictionally. But another reader, not the scholarly reader, but the ?common reader? might say to this reviewer: I?ve never really read Woolf. Or I tried to read To the Lighthouse in college but nothing ever seems to happen or didn?t Woolf commit suicide or wasn?t she a lesbian or I don?t know who Mrs. Brown is or I?ve only seen the movie. Such a reader might say, ?I like Michael Cunningham?s novel because he helps me to read Woolf.? Woolf is now so burdened with the cult of personality haunting most authors today: her manic-depressive patterns, her notorious suicide, walking in a trance into the River Ouse with her walking stick. Death in the middle of the river of her words. Perhaps for these readers?for this essay is about different readers?Michael Cunningham has done a service. We read a version of Woolf through reading Michael Cunningham. But for those of us who do read and love Woolf, Cunningham can be clever, yes; imaginative, yes; slick, yes: a writer of ambition. Given that he has created three ingenious plots and taken his characters and inspiration from Woolf, what might we now say about his writing style and presentation of mind on the page, Woolf?s great gifts to the twentieth-century novel. Cunningham himself mentions in interviews that he greatly admires her style and has ambitions to achieve it in his own writing, and reviewers, in turn, praise his ?poetic? style comparing it to Woolf?s. Let?s compare parallel scenes to illuminate the differences. Interestingly, as someone who knows Woolf?s novel well, one feels the ghostly presence of Woolf throughout, as if Cunningham has Mrs. Dalloway open before him as he pens his shadow novel. Let?s compare Cunningham?s passage about Clarissa on 8th Street & 5th Avenue in New York with Woolf?s Clarissa crossing Victoria Street in London: She straightens her shoulders as she stands at the corner of Eighth Street and Fifth Avenue, waiting for the light. There she is, thinks Willie Bass, who passes her some mornings just about here. The old beauty, the old hippie, hair still long and defiantly gray, out on her morning rounds in jeans and a man?s cotton shirt, some sort of ethnic slippers (India? Central America?) on her feet. She still has a certain sexiness; a certain bohemian, good-witch sort of charm; and yet this morning she makes a tragic sight, standing so straight in her big shirt and exotic shoes, resisting the pull of gravity, a female mammoth already up to its knees in the tar, taking a rest between efforts, standing bulky and proud, almost nonchalant, pretending to contemplate the tender grasses waiting on the far bank when it is beginning to know for certain the it will remain here, trapped and alone, after dark, when the jackals come out. She waits patiently for the light. (Cunningham, p.13) Woolf?s Clarissa: She stiffened a little on the kerb, waiting for Durtnall?s van to pass. A charming woman, Scrope Purvis thought her (knowing her as one does know people who live next door to one in Westminster); a touch of the bird about her, of the jay, blue-green, light, vivacious, though she was over fifty, and grown very white since her illness. There she perched, never seeing him, waiting to cross, very upright. For having lived in Westminster?how many years now? Over twenty,--one feels even in the midst of the traffic, or waking at night, Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense (but that might be her heart, affected, they said, by influenza) before Big Ben Strikes. There! (Woolf p. 4) Woolf?s sentences here pass through time, minds, and emotion as she collapses the partitions of the mind, boundaries between narrator and characters, speech and thought, indeed, what is outward and what is inward. She weaves in and out of different kinds of consciousness: from third person narration to Scope Purvis?s mind, to the narrator?s brilliant metaphor that merges narrator and character, to Clarissa?s mind. Deftly, she describes Clarissa with ?a touch of the bird about her, of the jay.? She is never physically described; indeed Clarissa like many of Woolf?s characters does not seem to have a body. On the other hand, note the leaden adjectives in Cunningham?s description: his Clarissa ?treads? the ground in ethnic slippers, ?a female mammoth,? with a slick ?good-witch sort of charm.? Mired in literal, cliched adjectives, Cunningham barely touches the flight of Woolf?s mind, sentences and metaphors. And herein lies the difference. Woolf said of her own writing of a morning: ?style is a very simple matter; it is all rhythm. Once you get that, you can?t use the wrong words? (Letters III, p.242). Those who know the pulses of Woolf?s scintillating, dancing sentences and expressions of mind and heart on the page know that Cunningham--despite his accomplishments in this novel--does not get the rhythm right. 1 Gerard Genette, Figures of Literary Discourse. Trans. Alan Sheridan. New York: Columbia UP, 1982, p.70. Patricia Laurence, Professor Emerita English Department City College of New York English Literature in Translation (2000) On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf > wrote: Online ones would be more fun?.?!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 Online ones would be more fun?.!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. ________________________________ From: Vwoolf > on behalf of Mark Hussey via Vwoolf > Sent: Thursday, August 10, 2023 1:27:26 PM To: vwoolf at lists.osu.edu > Subject: [Vwoolf] BBC Culture on The Hours I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how we see? VW? Offline responses welcome! https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!23Fc-SW9XTRVsgSVLeRvIUO_j7_AYSsxsHIzAxvTINVZGbtS2eOFl2rJkIZI3fGWzpYtAK8KKK8JIwrXtBYTOC_qvYnB-g$ _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From mcheney at gmail.com Fri Aug 11 11:19:05 2023 From: mcheney at gmail.com (Matthew Cheney) Date: Fri, 11 Aug 2023 11:19:05 -0400 Subject: [Vwoolf] BBC Culture on The Hours In-Reply-To: <1839949410.3160118.1691760205289@mail.yahoo.com> References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> <1839949410.3160118.1691760205289@mail.yahoo.com> Message-ID: Thanks for these great reflections. *The Hours* as a novel brought me back to Woolf and helped solidify my interest in her work as something more than literary history. I was in my early 20s when the novel was released, and had done serious reading and study of Woolf in my college years, but had drifted away and developed in my own mind a sense of her as not especially relevant to the current era. (Relevancy being very important to me in my early 20s, still not quite having escaped the deep narcissism of adolescence.) *The Hours* was a book I read primarily because it was by Michael Cunningham, and Woolf and *Mrs. Dalloway* were nice added bonuses. Cunningham's earlier novel *A Home at the End of the World* was very important to me, a book I read in my first year of college in New York City. I hadn't loved *Flesh and Blood*, his follow-up novel, which felt too commercial to me then (how I, at that age, defined "commercial", I hardly remember), but *The Hours* was short, involved Woolf, and was available at the local library, so I happily gave it a shot. And was blown away. Really, few books have affected me as quickly and deeply. (Another of the joys of youth!) I found the structure engaging, but even more so the sentences, which just seemed perfect to me. I was far enough away from my Woolf studies that I didn't nitpick, but rather threw myself into the imaginative, imagined world. It was one of those lucky moments of reading exactly the right book at exactly the right time. Its aesthetic and emotional structures enraptured me. I was just out of New York, AIDS was very much on my mind, life felt terribly uncertain, and the mix of Cunningham's mind and words with a fictive Woolf was the perfect recipe. What I remember most from the reception of the book then is how shocked I was that Cunningham hit the mainstream and won the Pulitzer. *Flesh and Blood* may have gotten some attention (I remember it being in quite a few bookstores), but openly gay fiction was still pretty marginalized, and Cunningham was seen (or so I remember) as an exciting gay novelist more than as an exciting novelist. I had bought my cherished copy of *A Home at the End of the World* at A Different Light bookstore, not Barnes & Noble. Cunningham's publisher clearly saw him as someone well positioned to break out of the niche, but as obvious as it feels in retrospect, a novel like *The Hours* didn't quite seem like it had huge potential for bestsellerdom. I remember a thrill when it won the Pulitzer because it felt like a vindication of my own taste (ha!) but more importantly a recognition of a writer who came from a world I recognized, a writer I had followed because of his association with and attachment to that world. I hurried to the nearest bookstore after the announcement of the Pulitzer because I wanted to get a hardcover copy of my own, both as a memento of the moment and as a way to thank the bookstore for having a copy in stock. The book's unexpected popularity opened up all sorts of opportunities for conversation, too ? I remember a colleague of mine loving *The Hours* and asking me what else to read and I suggested *A Home at the End of the World*. She read that next and it really changed her perspective on people who were not, like her, heterosexual, white married women. (That had been her way into *The Hours*, and it began the process of thinking more broadly for her, as she explained it to me, at least.) So for me the importance of *The Hours* is less as a Woolfian novel than as part of the gay male literary world of the 1990s. It then rekindled my interest in Woolf, and allowed a greater sense of Woolf's work as having power for that present moment. I went back to *Mrs. Dalloway* renewed. For a while, I even taught a high school class using both books, but ultimately decided they were better on their own, for me at least. I haven't watched the movie in ages, but I loved it when it came out, mostly I think because of that sense of recognition ? something that had been part of my own small experience was now getting worldwide attention. I found the performances powerful (despite Nicole Kidman's nose!), the adaptation sensitive, the somewhat gauzy respectability of it all a plus more than a minus because it felt so strangely affirming to watch what we might think of as a prestige picture about this subject, these people ? remember, this is before even *Brokeback Mountain*. It's only 10 years since *Philadelphia*. I remember coming out of the theatre after first watching the film and just feeling overwhelmed in all sorts of ways, partly from the story and from seeing a cherished book adapted not terribly, but also from a sense of ... I just watched *that* in the same movie theatre where I have seen big action movies. Also, we were only a couple years out from 9/11 and I'm sure the representation of NYC in the film got emotionally intertwined with that for me. (Interesting to think of the book as pre-9/11, the movie as post-. I don't know if it makes any difference, but I've not thought of them that way before, and it's relevant for anything set in the city.) For all their pathos, the novel and then the movie made me feel hopeful for a better future for both literature and life. Cheers, Matt Cheney On Fri, Aug 11, 2023 at 9:23?AM Mark Hussey via Vwoolf wrote: > Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, > I?m still hoping for more responses to my question about The Hours?? On > Thursday, August 10, 2023, 02: 02: 38 PM EDT, Pat Laurence gmail. com> wrote: > Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, > I?m still hoping for more responses to my question about The Hours?? > > On Thursday, August 10, 2023, 02:02:38 PM EDT, Pat Laurence < > pat.laurence at gmail.com> wrote: > > > I meant to add that observations on Woolf conferences are, of course, > dated in the review. > > On Thu, Aug 10, 2023 at 1:59?PM Pat Laurence > wrote: > > Following up on the Lillian Crawford review, here's mine of the Cunningham *novel, > **The Hours*, that appeared in *English Literature in Translation* (2000) > in which I assert--that despite certain breakthroughs--he does not "get the > rhythm right." > > Michael Cunningham, *The Hours (*New York: Farrar, Strauss, Giroux, 1998) > > > > Michael Cunningham?s *The Hours* is a novel about reading: a homage to > Virginia Woolf. It is one of many books to come out in the past few years > in which a writer or critic reflects not only on the process of reading > itself but also rambles among the works of a particularly-loved author: > Harold Bloom?s *Shakespeare: the Invention of the Human*; Alain de > Botton?s *How Proust* *Can Change Your Life*, * Not a Novel*; Stephen > Marlowe?s *The Lighthouse at the End of the World *(involving Edgar Allen > Poe). Now in Michael Cunningham?s novel, we have a fictional exploration of > Virginia Woolf?s *Mrs. Dalloway* that was called *The Hours* among other > titles in an earlier stage of the project. The idea is a fascinating one > and in Cunningham?s writing the experience of reading turns in upon itself. > It is a postmodern critical and fictional turn described by the French > literary critic, Gerard Genette: > > > > The text is that Moebius strip in which the inner and outer sides, the > signifying and the signified sides, the side of writing and the side of > reading, ceaselessly turn and cross over, in which writing is constantly > read, in which reading is constantly written and transcribed. The critic > must also enter the interplay of this strange reversible circuit and thus > become, as Proust says, and like every true reader, ?one?s own reader.? 1 > > > > We are in a hall of mirrors as we read ourselves reading Cunningham > reading Woolf. We ?participate? as readers (and writers!) of this novel in > new ways. > > > > Why are so many writers and critics preoccupied with writing about the > process of reading? Perhaps the images on the computer screen have already > darkened our reading sky as we intellectually venture into the Internet > rather than ride the well-worn magic carpet. Are we as a culture already > nostalgic about the demise of THE BOOK? Browse through any popular > periodical, and you will find that the number of articles and images of > technology far outnumber discussions or, indeed, images of books. Perhaps > then writers and critics turn to the authors they have read and loved to > pay tribute or to find inspiration and material. Perhaps they are > preserving authors from the threat of being unread as ?story? takes new > forms in hypertext, and on the Internet, CD-ROMs, television, and books on > tape. > > > > Michael Cunningham has written of his own introduction to reading Virginia > Woolf. He remembers he ?was in high school, where a very rough, difficult, > slightly crazed girl with teased hair and long fingernails, who used to > hang around behind the gym and smoke cigarettes, proclaimed her to be a > genius.? Admitting that he was not particularly ?bookish,? Cunningham found *Mrs. > Dalloway* in the local bookstore ?and the book just nailed me; I?ve > thought about it almost constantly ever since? (PW 11/2/98). > > > > It?s refreshing to me as a Virginia Woolf scholar to read a male reader > reading Woolf: a male reader, a novelist, a male-homosexual reader-writer > reading Woolf. In my attendance at the annual Virginia Woolf Society > Conference over the past nine years, I have always been struck by the small > number of men who attend or deliver papers. Is Virginia Woolf a gendered > novelist? Do only women read and like her? I remember mentioning to a Dean > in my college that I was writing a book about Virginia Woolf. He looked at > me patiently and said, ?yes, my wife reads Virginia Woolf.? Hmmm. But > perhaps this is changing, and it is interesting that some of the male > readers who may be drawn to Woolf and the sexually-liberated Bloomsberries > are homosexual. Cunningham has also written, *Home at the End of the > World*, a well-received novel which presents in alternating voices, the > stories of two boys from Cleveland (one, gay) and their families, > reflecting new formations of gender and desire. It is this exploration of > gender and desire as well as Woolf that motivates Cunningham?s Pulitzer > prize-winning novel. Through reading Woolf and reinventing (and sometimes > parroting) some of her characters and stories, Michael Cunningham writes > about new kinds of heterosexual friendship as well as heterosexual and > homosexual romance. It is this that belongs to him. > > > > But this is also a book about translation: ?It is New York City. It is the > end of the twentieth century.? Cunningham translates the story of a 1920?s > London society hostess, Mrs. Dalloway, into an American context in 1990. *Mrs. > Dalloway* is now Woolf?s hottest novel given Eileen Atkin?s film version > starring Vanessa Redgrave last year. In her *Diary*, Woolf announces ?I > want to criticize the social system, & to show it at work? (D 2, 243-44) as > well as sketch the society ladies she knew, like Sybil Colefax and Lady > Ottoline Morrell whose lives were shaped by giving parties. They were women > who like Clarissa ?could feel nothing for the Albanians, or was it the > Armenians? but she loved her roses (didn?t that help the Armenians?)? > (p.182). She worried instead about the flowers, the silver, her dress, and > most importantly, the ?art? of the guest list. For Mrs. Dalloway is Woolf?s > exploration of the ?party consciousness? just as her other books explore > other states of mind. Woolf ?deconstructs? the socialite wife of > Parlimentarian, Richard Dalloway. She ?digs tunnels behind her characters? > and shows us that Mrs. Dalloway is a woman with a youthful past as > Clarissa, a beautiful vivacious young woman in love with both the intense > Peter and the scintillating Sally. Clarissa, it should be noted, is one of > the few married women in Woolf?s novels with a first name (i.e. Mrs. > Ramsay). She is a woman who finds that ?death? happens into the middle of > her party. She overhears one of her guests, Dr. William Bradshaw, the > psychiatrist, tell the story of the sad, shell-shocked Septimus, returned > soldier from World War I, who has jumped to his death from a window that > afternoon. And so, both the party and death--?What a lark! What a plunge!? > announces Mrs. Dalloway on the first page of the novel--structures the > novel. > > > > Cunningham also uses this structure of the party and the death in his > novel. In fact, the structure, the themes, the characters, the author as > character, phrasings, and attempts at Woolf?s writing rhythm could all be > said to be derived?if we attend to slippery ?origins.? But > deconstructionists have taught us that such pursuits are futile. Let?s > observe instead how successful Cunningham is in achieving his own effect > intertwined as he is with Woolf. > > > > In his novel, he skillfully intertwines three stories all of which happen > on a single day, each told from a different woman?s point of view. First, > in Cunningham?s novel, there is the story of Woolf herself trying > desperately to work on her manuscript of *Mrs. Dalloway* in 1923 as she > deals with the distractions of a visit from her sister Vanessa and her > husband Leonard?s work on the Hogarth Press, a press they acquired in 1915 > as part of Virginia?s therapy. The second tale, takes Woolf?s legendary > character, Mrs. Brown, from a 1923 article, ?Mr. Bennett and Mrs. Brown,? > in which Woolf queries how she, as a modernist author, is to describe a > dowdy woman whom she observes in the corner of a railway car. It is an > important essay in which Woolf sets out modernist principles for the > development of ?character.? Here she questions the Edwardian authors, John > Galsworthy, Arnold Bennett and H. G. Wells, who will describe the legendary > Mrs. Brown according to ?realist? modes?where she resides, how much income > she earns--what is she like from the ?outside.? Challenging this mode of > character development, Woolf will advance the modernist platform, and her > interest in interiority. She will be interested in what Mrs. Brown thinks > and feels, or as described in another novel, ?what is unsaid.? Since this > is a review that is not only about Cunningham reading Woolf but I, as a > critic and scholar, reading Woolf and reading Cunningham reading Woolf, you > may very well say, ?leave your knowledge of Mrs. Brown out of this > review.? But how can I? > > > > The traces of Woolf?s Mrs. Brown and Woolf?s larger fictional questions > are present in my mind as I read Cunningham. How do we describe and develop > ?character? in fiction. I read and observe Cunningham?s transformation of > Mrs. Brown from a frumpily dressed 1920?s Englishwoman in the corner of a > railway car to a 1990?s American housewife, mother of a young son, Laura > Brown. The translation of British themes and times, England in 1921 with > shell-shocked soldiers struggling with insanity just after the war, to the > America of the 1990?s experiencing an Aids epidemic and the fallout from > the women?s liberation movement of the 1960?s. The story of Laura Brown, > the depressed housewife, is the best of Cunningham?s three. Here he hits > his OWN stride. The plot is simple. Mrs. Brown is an unfulfilled housewife > with a young child who adores her (much like James with Mrs. Ramsay in *To > the Lighthouse*), pregnant with another child, living in Los Angeles. On > this particular morning in 1923, we find her planning a small party, a > birthday party, and attempting to make a proper cake. Delightfully (for all > literary mothers with such fantasies), she escapes her unsuccessful baking > day to go off to a hotel to rent a room (no. 19 where Doris Lessing also > places her suicidal housewife) for a few hours to read (can you guess?) *Mrs. > Dalloway*. The wickedness of modern brainy moms: an illicit day in June > spent in a hotel room reading Woolf. As Mrs. Dalloway says in Woolf?s > novel, ?It is very very dangerous to live even one day.? And one of the > messages of this novel is that reading can sometimes save one from danger. > > > > For in the third story in Cunningham?s novel that artfully intertwines > with the second, is about Richard, the young son of Laura Brown. He has > watched her every unhappy mood, thought and action with unnatural attention > and love, and he grows up to become a writer born of his mother, the > reader. He is now dying of Aids. One of his best friends is Clarissa > Vaughan, a woman of about fifty, a lesbian who lives in Greenwich Village, > with whom he has shared intimacy of a certain sort in youth. He is modelled > on Peter in Woolf?s novel but there is a homosexual reversal in the plot. > Judith Butler?s challenge to the ?heterosexual matrix? of literature is > actualized in Cunningham?s new glance at relationships. The happiness of > the traditional marriage plot (Laura Brown and her husband) is > reconsidered; homosexual relationships become more central. Clarissa, a > lesbian in Cunningham?s novel is planning a party for Richard who has just > received a literary prize. But the party never happens for this Richard > like Septimus in Woolf?s novel plunges out of a window to his death, unable > to deal with his deteriorating physical condition. Is there an implied > connection implied between Laura Brown?s depression, thoughts of suicide, > and her son?s plunge to his death? In this novel, the party, a metaphor for > the continuing celebration of life, does not prevail as it does in Woolf?s > novel. The party never happens; death does. And herein lies the difference > between Woolf and Cunningham?s vision. > > > > His novel is the underside of Woolf?s: he teases out the homosexual > subtext that Woolf critics have observed. He plays upon the knowledge of > Woolf?s brief physical relationship with Vita SackvilleWest which began in > 1925 just when *Mrs. Dalloway* was published. Though Clarissa makes a > heterosexual choice in Woolf?s novel, Cunningham?s Clarissa and Richard > make another, questioning and creating new forms of romance and > relationship, culturally and fictionally. > > > > But another reader, not the scholarly reader, but the ?common reader? > might say to this reviewer: I?ve never really read Woolf. Or I tried to > read *To the* *Lighthouse* in college but nothing ever seems to happen or > didn?t Woolf commit suicide or wasn?t she a lesbian or I don?t know who > Mrs. Brown is or I?ve only seen the movie. Such a reader might say, ?I like > Michael Cunningham?s novel because he helps me to read Woolf.? Woolf is now > so burdened with the cult of personality haunting most authors today: her > manic-depressive patterns, her notorious suicide, walking in a trance into > the River Ouse with her walking stick. Death in the middle of the river of > her words. Perhaps for these readers?for this essay is about different > readers?Michael Cunningham has done a service. We read a version of Woolf > through reading Michael Cunningham. > > > > But for those of us who do read and love Woolf, Cunningham can be clever, > yes; imaginative, yes; slick, yes: a writer of ambition. Given that he has > created three ingenious plots and taken his characters and inspiration from > Woolf, what might we now say about his writing style and presentation of > mind on the page, Woolf?s great gifts to the twentieth-century novel. > Cunningham himself mentions in interviews that he greatly admires her style > and has ambitions to achieve it in his own writing, and reviewers, in turn, > praise his ?poetic? style comparing it to Woolf?s. Let?s compare parallel > scenes to illuminate the differences. Interestingly, as someone who knows > Woolf?s novel well, one feels the ghostly presence of Woolf throughout, as > if Cunningham has Mrs. Dalloway open before him as he pens his shadow > novel. Let?s compare Cunningham?s passage about Clarissa on 8th Street & 5 > th Avenue in New York with Woolf?s Clarissa crossing Victoria Street in > London: > > > > She straightens her shoulders as she stands at the corner of Eighth Street > and Fifth Avenue, waiting for the light. There she is, thinks Willie Bass, > who passes her some mornings just about here. The old beauty, the old > hippie, hair still long and defiantly gray, out on her morning rounds in > jeans and a man?s cotton shirt, some sort of ethnic slippers (India? > Central America?) on her feet. She still has a certain sexiness; a certain > bohemian, good-witch sort of charm; and yet this morning she makes a tragic > sight, standing so straight in her big shirt and exotic shoes, resisting > the pull of gravity, a female mammoth already up to its knees in the tar, > taking a rest between efforts, standing bulky and proud, almost nonchalant, > pretending to contemplate the tender grasses waiting on the far bank when > it is beginning to know for certain the it will remain here, trapped and > alone, after dark, when the jackals come out. She waits patiently for the > light. (Cunningham, p.13) > > > > > > > > > > Woolf?s Clarissa: > > > > She stiffened a little on the kerb, waiting for Durtnall?s van to pass. A > charming woman, Scrope Purvis thought her (knowing her as one does know > people who live next door to one in Westminster); a touch of the bird about > her, of the jay, blue-green, light, vivacious, though she was over fifty, > and grown very white since her illness. There she perched, never seeing > him, waiting to cross, very upright. > > For having lived in Westminster?how many years now? Over twenty,--one > feels even in the midst of the traffic, or waking at night, Clarissa was > positive, a particular hush, or solemnity; an indescribable pause; a > suspense (but that might be her heart, affected, they said, by influenza) > before Big Ben Strikes. There! (Woolf p. 4) > > > > Woolf?s sentences here pass through time, minds, and emotion as she > collapses the partitions of the mind, boundaries between narrator and > characters, speech and thought, indeed, what is outward and what is inward. > She weaves in and out of different kinds of consciousness: from third > person narration to Scope Purvis?s mind, to the narrator?s brilliant > metaphor that merges narrator and character, to Clarissa?s mind. Deftly, > she describes Clarissa with ?a touch of the bird about her, of the jay.? > She is never physically described; indeed Clarissa like many of Woolf?s > characters does not seem to have a body. On the other hand, note the leaden > adjectives in Cunningham?s description: his Clarissa ?treads? the ground in > ethnic slippers, ?a female mammoth,? with a slick ?good-witch sort of > charm.? Mired in literal, cliched adjectives, Cunningham barely touches the > flight of Woolf?s mind, sentences and metaphors. And herein lies the > difference. > > > > Woolf said of her own writing of a morning: ?style is a very simple > matter; it is all rhythm. Once you get that, you can?t use the wrong words? > (*Letters* III, p.242). Those who know the pulses of Woolf?s > scintillating, dancing sentences and expressions of mind and heart on the > page know that Cunningham--despite his accomplishments in this novel--does > not get the rhythm right. > > > > 1 Gerard Genette, *Figures of Literary Discourse*. Trans. Alan Sheridan. > New York: Columbia > > UP, 1982, p.70. > > > > Patricia Laurence, > > Professor Emerita > > English Department > > City College of New York > > *English Literature in Translation* (2000) > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf < > vwoolf at lists.osu.edu> wrote: > > Online ones would be more fun?. !!! Vara Neverow (she/her/hers) Professor, > English Department and Women?s and Gender Studies Program Managing Editor, > Virginia Woolf Miscellany Southern Connecticut State University New Haven, > CT 06515 203-392-6717 > Online ones would be more fun?.!!! > > Vara Neverow > (she/her/hers) > Professor, English Department and Women?s and Gender Studies Program > Managing Editor, Virginia Woolf Miscellany > Southern Connecticut State University > New Haven, CT 06515 > 203-392-6717 > neverowv1 at southernct.edu > > I acknowledge that Southern Connecticut State University was built on > traditional territory of the indigenous peoples and nations of the > Paugusett and Quinnepiac peoples. > ------------------------------ > *From:* Vwoolf on behalf of Mark Hussey > via Vwoolf > *Sent:* Thursday, August 10, 2023 1:27:26 PM > *To:* vwoolf at lists.osu.edu > *Subject:* [Vwoolf] BBC Culture on The Hours > > I am seeing refs to this article pop up in various places, and wondered > what people think of the headline?s accuracy: did The Hours (I guess they > really mean Nicole Kidman?s portrayal of VW in the film) really ?change how > > I am seeing refs to this article pop up in various places, and wondered > what people think of the headline?s accuracy: did *The Hours* (I guess > they really mean Nicole Kidman?s portrayal of VW in the film) really > ?change how we see? VW? Offline responses welcome! > > > > > https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!wJcgya-5cJ0vVs32X8TvY00P6YHYrLTTOream9xqLIqPP1THylvKI51zopspVoQ9W88zYCAHVs93AJUlZE0$ > > > > _______________________________________________ > 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From jane.garrity at colorado.edu Fri Aug 11 11:52:14 2023 From: jane.garrity at colorado.edu (Jane Marie Garrity) Date: Fri, 11 Aug 2023 15:52:14 +0000 Subject: [Vwoolf] BBC Culture on The Hours In-Reply-To: <014601d9cbb0$b4113710$1c33a530$@verizon.net> References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> <014601d9cbb0$b4113710$1c33a530$@verizon.net> Message-ID: <98D97D0E-8DAE-4208-8E0F-F78139E4D48B@colorado.edu> Mark, you?re writing a book on Mrs. Dalloway?? Say more! JG Jane Garrity Associate Professor of English University of Colorado at Boulder 226 UCB Boulder, CO 80309-0226 Jane.Garrity at Colorado.Edu On Aug 10, 2023, at 11:32 AM, Mark Hussey via Vwoolf wrote: I welcome both (am writing a book about Mrs Dalloway?) From: Neverow, Vara S. > Sent: Thursday, August 10, 2023 1:29 PM To: mhussey at verizon.net; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] BBC Culture on The Hours Online ones would be more fun?.!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. ________________________________ From: Vwoolf > on behalf of Mark Hussey via Vwoolf > Sent: Thursday, August 10, 2023 1:27:26 PM To: vwoolf at lists.osu.edu > Subject: [Vwoolf] BBC Culture on The Hours I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how we see? VW? Offline responses welcome! https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!0TNBaX029UbiD3U69-NmC4gIIATSE3oybM3MClpNARgBMTTJpumvdzOcpywQ7nPmWfdXxCcKsLTHLOALFzc24DXZG8SefA$ _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From mhussey at verizon.net Fri Aug 11 11:52:49 2023 From: mhussey at verizon.net (mhussey at verizon.net) Date: Fri, 11 Aug 2023 11:52:49 -0400 Subject: [Vwoolf] Fw: BBC Culture on The Hours In-Reply-To: <1691763866263.51081@kuleuven.be> References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> , <1839949410.3160118.1691760205289@mail.yahoo.com>, <1691762169534.5786@kuleuven.be> <1691763866263.51081@kuleuven.be> Message-ID: <003b01d9cc6b$e1d463a0$a57d2ae0$@verizon.net> Dear Laura, Thank you so much for your ?few, improvised reflections?! They are extremely interesting to me, and I appreciate the leads you provide for further reading. All the best, Mark From: Vwoolf On Behalf Of Laura Cernat via Vwoolf Sent: Friday, August 11, 2023 10:24 AM To: vwoolf at lists.osu.edu Subject: [Vwoolf] Fw: BBC Culture on The Hours I meant to send the message below to the entire list but I must have pressed the wrong buttons. I hope my reflection is of some use. Would people be interested in a Woolf Salon about The Hours? All best, Laura From: Laura Cernat Sent: Friday, I meant to send the message below to the entire list but I must have pressed the wrong buttons. I hope my reflection is of some use. Would people be interested in a Woolf Salon about The Hours? All best, Laura _____ From: Laura Cernat Sent: Friday, August 11, 2023 3:56 PM To: Neverow, Vara S.; Pat Laurence; Mark Hussey Subject: Re: [Vwoolf] BBC Culture on The Hours Thanks for bringing us back to this question, Mark. To my mind The Hours did a lot to shape Woolf for people of my generation, at least. I have to say that, growing up in a non-Anglophone country, watching this film when it came out was actually among my first moments of acquaintance with Woolf, even before reading Mrs Dalloway. Does this mean my entire experience of the complexity of Woolf's life and of the ways in which it informs her fictions is reduced to it? By no means. But it did set a certain tone. And although I've been critical of the book's accuracy in some of my past work and some of my forthcoming work, I think it accomplished a lot in construing reading Woolf as an iconic experience, with the advantages and disadvantages that come with this status. Jim Collins has a very interesting analysis of this phenomenon in Bring on the Books for Everybody: How Literary Culture Became Popular Culture. And much as I want to distance myself from popular culture (which I really try to do, at least by not being on social media), his argument forces me to ask myself if I, as an MA student many years ago, would have at all been interested in The Hours the book and then consequently in reading Hermione Lee's biography of Woolf and working on several Woolf biographies and on Woolf's engagement with the topic of biography and biofiction for my MA thesis, had it not been for the first impression that The Hours the film made upon me back in high school. I think it's a legit question, and one we have to start from, even if we end somewhere completely different like a footnote to an annotated edition of Mrs Dalloway or Barbara Lounsberry's study of Woolf's diaries. For a long time I at least thought that The Hours as a book was superior to the film, but then I read Delia Ungureanu's brilliant analysis of the film in light of Woolf's other work (in Ungureanu's 2022 Time Regained: World Literature and Cinema) and that got me thinking. The artifice that movies use is not always rooted in ignorance of the realities, sometimes it can be a way of conveying a point that converges with the writer's own vision of the fluidity and interconnectedness of minds, even while taking other routes to get there. I am all for serious, meticulous, even pedantic scholarship (my first article on Woolf starts with a section called "The Devil in the Details", precisely about some of Cunningham's liberties with the historical record), but I'm also increasingly aware of where the desire for that scholarship comes, and sometimes we encounter it in other media or other forms of discourse. These are just a few improvised reflections, but I've been wanting to start a conversation on this for a while now, so maybe it's time I wrote to Shilo, Ben, Drew, and Ami and set up a Salon about The Hours. I'll try to invite other biofiction scholars and maybe film scholars as well. Let's see if that works, I'll keep everyone posted. Wishing everyone a splendid summer day, Laura Laura Cernat (she, they) FWO Postdoctoral Fellow KU Leuven, Department of Literary Studies English Literature Research Group _____ From: Vwoolf > on behalf of Mark Hussey via Vwoolf > Sent: Friday, August 11, 2023 3:23 PM To: Neverow, Vara S.; Pat Laurence Cc: vwoolf at lists.osu.edu Subject: Re: [Vwoolf] BBC Culture on The Hours Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, I?m still hoping for more responses to my question about The Hours?? On Thursday, August 10, 2023, 02:?02:?38 PM EDT, Pat Laurence wrote:? Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, I?m still hoping for more responses to my question about The Hours?? On Thursday, August 10, 2023, 02:02:38 PM EDT, Pat Laurence > wrote: I meant to add that observations on Woolf conferences are, of course, dated in the review. On Thu, Aug 10, 2023 at 1:59?PM Pat Laurence > wrote: Following up on the Lillian Crawford review, here's mine of the Cunningham novel, The Hours, that appeared in English Literature in Translation (2000) in which I assert--that despite certain breakthroughs--he does not "get the rhythm right." Michael Cunningham, The Hours (New York: Farrar, Strauss, Giroux, 1998) Michael Cunningham?s The Hours is a novel about reading: a homage to Virginia Woolf. It is one of many books to come out in the past few years in which a writer or critic reflects not only on the process of reading itself but also rambles among the works of a particularly-loved author: Harold Bloom?s Shakespeare: the Invention of the Human; Alain de Botton?s How Proust Can Change Your Life, Not a Novel; Stephen Marlowe?s The Lighthouse at the End of the World (involving Edgar Allen Poe). Now in Michael Cunningham?s novel, we have a fictional exploration of Virginia Woolf?s Mrs. Dalloway that was called The Hours among other titles in an earlier stage of the project. The idea is a fascinating one and in Cunningham?s writing the experience of reading turns in upon itself. It is a postmodern critical and fictional turn described by the French literary critic, Gerard Genette: The text is that Moebius strip in which the inner and outer sides, the signifying and the signified sides, the side of writing and the side of reading, ceaselessly turn and cross over, in which writing is constantly read, in which reading is constantly written and transcribed. The critic must also enter the interplay of this strange reversible circuit and thus become, as Proust says, and like every true reader, ?one?s own reader.? 1 We are in a hall of mirrors as we read ourselves reading Cunningham reading Woolf. We ?participate? as readers (and writers!) of this novel in new ways. Why are so many writers and critics preoccupied with writing about the process of reading? Perhaps the images on the computer screen have already darkened our reading sky as we intellectually venture into the Internet rather than ride the well-worn magic carpet. Are we as a culture already nostalgic about the demise of THE BOOK? Browse through any popular periodical, and you will find that the number of articles and images of technology far outnumber discussions or, indeed, images of books. Perhaps then writers and critics turn to the authors they have read and loved to pay tribute or to find inspiration and material. Perhaps they are preserving authors from the threat of being unread as ?story? takes new forms in hypertext, and on the Internet, CD-ROMs, television, and books on tape. Michael Cunningham has written of his own introduction to reading Virginia Woolf. He remembers he ?was in high school, where a very rough, difficult, slightly crazed girl with teased hair and long fingernails, who used to hang around behind the gym and smoke cigarettes, proclaimed her to be a genius.? Admitting that he was not particularly ?bookish,? Cunningham found Mrs. Dalloway in the local bookstore ?and the book just nailed me; I?ve thought about it almost constantly ever since? (PW 11/2/98). It?s refreshing to me as a Virginia Woolf scholar to read a male reader reading Woolf: a male reader, a novelist, a male-homosexual reader-writer reading Woolf. In my attendance at the annual Virginia Woolf Society Conference over the past nine years, I have always been struck by the small number of men who attend or deliver papers. Is Virginia Woolf a gendered novelist? Do only women read and like her? I remember mentioning to a Dean in my college that I was writing a book about Virginia Woolf. He looked at me patiently and said, ?yes, my wife reads Virginia Woolf.? Hmmm. But perhaps this is changing, and it is interesting that some of the male readers who may be drawn to Woolf and the sexually-liberated Bloomsberries are homosexual. Cunningham has also written, Home at the End of the World, a well-received novel which presents in alternating voices, the stories of two boys from Cleveland (one, gay) and their families, reflecting new formations of gender and desire. It is this exploration of gender and desire as well as Woolf that motivates Cunningham?s Pulitzer prize-winning novel. Through reading Woolf and reinventing (and sometimes parroting) some of her characters and stories, Michael Cunningham writes about new kinds of heterosexual friendship as well as heterosexual and homosexual romance. It is this that belongs to him. But this is also a book about translation: ?It is New York City. It is the end of the twentieth century.? Cunningham translates the story of a 1920?s London society hostess, Mrs. Dalloway, into an American context in 1990. Mrs. Dalloway is now Woolf?s hottest novel given Eileen Atkin?s film version starring Vanessa Redgrave last year. In her Diary, Woolf announces ?I want to criticize the social system, & to show it at work? (D 2, 243-44) as well as sketch the society ladies she knew, like Sybil Colefax and Lady Ottoline Morrell whose lives were shaped by giving parties. They were women who like Clarissa ?could feel nothing for the Albanians, or was it the Armenians? but she loved her roses (didn?t that help the Armenians?)? (p.182). She worried instead about the flowers, the silver, her dress, and most importantly, the ?art? of the guest list. For Mrs. Dalloway is Woolf?s exploration of the ?party consciousness? just as her other books explore other states of mind. Woolf ?deconstructs? the socialite wife of Parlimentarian, Richard Dalloway. She ?digs tunnels behind her characters? and shows us that Mrs. Dalloway is a woman with a youthful past as Clarissa, a beautiful vivacious young woman in love with both the intense Peter and the scintillating Sally. Clarissa, it should be noted, is one of the few married women in Woolf?s novels with a first name (i.e. Mrs. Ramsay). She is a woman who finds that ?death? happens into the middle of her party. She overhears one of her guests, Dr. William Bradshaw, the psychiatrist, tell the story of the sad, shell-shocked Septimus, returned soldier from World War I, who has jumped to his death from a window that afternoon. And so, both the party and death--?What a lark! What a plunge!? announces Mrs. Dalloway on the first page of the novel--structures the novel. Cunningham also uses this structure of the party and the death in his novel. In fact, the structure, the themes, the characters, the author as character, phrasings, and attempts at Woolf?s writing rhythm could all be said to be derived?if we attend to slippery ?origins.? But deconstructionists have taught us that such pursuits are futile. Let?s observe instead how successful Cunningham is in achieving his own effect intertwined as he is with Woolf. In his novel, he skillfully intertwines three stories all of which happen on a single day, each told from a different woman?s point of view. First, in Cunningham?s novel, there is the story of Woolf herself trying desperately to work on her manuscript of Mrs. Dalloway in 1923 as she deals with the distractions of a visit from her sister Vanessa and her husband Leonard?s work on the Hogarth Press, a press they acquired in 1915 as part of Virginia?s therapy. The second tale, takes Woolf?s legendary character, Mrs. Brown, from a 1923 article, ?Mr. Bennett and Mrs. Brown,? in which Woolf queries how she, as a modernist author, is to describe a dowdy woman whom she observes in the corner of a railway car. It is an important essay in which Woolf sets out modernist principles for the development of ?character.? Here she questions the Edwardian authors, John Galsworthy, Arnold Bennett and H. G. Wells, who will describe the legendary Mrs. Brown according to ?realist? modes?where she resides, how much income she earns--what is she like from the ?outside.? Challenging this mode of character development, Woolf will advance the modernist platform, and her interest in interiority. She will be interested in what Mrs. Brown thinks and feels, or as described in another novel, ?what is unsaid.? Since this is a review that is not only about Cunningham reading Woolf but I, as a critic and scholar, reading Woolf and reading Cunningham reading Woolf, you may very well say, ?leave your knowledge of Mrs. Brown out of this review.? But how can I? The traces of Woolf?s Mrs. Brown and Woolf?s larger fictional questions are present in my mind as I read Cunningham. How do we describe and develop ?character? in fiction. I read and observe Cunningham?s transformation of Mrs. Brown from a frumpily dressed 1920?s Englishwoman in the corner of a railway car to a 1990?s American housewife, mother of a young son, Laura Brown. The translation of British themes and times, England in 1921 with shell-shocked soldiers struggling with insanity just after the war, to the America of the 1990?s experiencing an Aids epidemic and the fallout from the women?s liberation movement of the 1960?s. The story of Laura Brown, the depressed housewife, is the best of Cunningham?s three. Here he hits his OWN stride. The plot is simple. Mrs. Brown is an unfulfilled housewife with a young child who adores her (much like James with Mrs. Ramsay in To the Lighthouse), pregnant with another child, living in Los Angeles. On this particular morning in 1923, we find her planning a small party, a birthday party, and attempting to make a proper cake. Delightfully (for all literary mothers with such fantasies), she escapes her unsuccessful baking day to go off to a hotel to rent a room (no. 19 where Doris Lessing also places her suicidal housewife) for a few hours to read (can you guess?) Mrs. Dalloway. The wickedness of modern brainy moms: an illicit day in June spent in a hotel room reading Woolf. As Mrs. Dalloway says in Woolf?s novel, ?It is very very dangerous to live even one day.? And one of the messages of this novel is that reading can sometimes save one from danger. For in the third story in Cunningham?s novel that artfully intertwines with the second, is about Richard, the young son of Laura Brown. He has watched her every unhappy mood, thought and action with unnatural attention and love, and he grows up to become a writer born of his mother, the reader. He is now dying of Aids. One of his best friends is Clarissa Vaughan, a woman of about fifty, a lesbian who lives in Greenwich Village, with whom he has shared intimacy of a certain sort in youth. He is modelled on Peter in Woolf?s novel but there is a homosexual reversal in the plot. Judith Butler?s challenge to the ?heterosexual matrix? of literature is actualized in Cunningham?s new glance at relationships. The happiness of the traditional marriage plot (Laura Brown and her husband) is reconsidered; homosexual relationships become more central. Clarissa, a lesbian in Cunningham?s novel is planning a party for Richard who has just received a literary prize. But the party never happens for this Richard like Septimus in Woolf?s novel plunges out of a window to his death, unable to deal with his deteriorating physical condition. Is there an implied connection implied between Laura Brown?s depression, thoughts of suicide, and her son?s plunge to his death? In this novel, the party, a metaphor for the continuing celebration of life, does not prevail as it does in Woolf?s novel. The party never happens; death does. And herein lies the difference between Woolf and Cunningham?s vision. His novel is the underside of Woolf?s: he teases out the homosexual subtext that Woolf critics have observed. He plays upon the knowledge of Woolf?s brief physical relationship with Vita SackvilleWest which began in 1925 just when Mrs. Dalloway was published. Though Clarissa makes a heterosexual choice in Woolf?s novel, Cunningham?s Clarissa and Richard make another, questioning and creating new forms of romance and relationship, culturally and fictionally. But another reader, not the scholarly reader, but the ?common reader? might say to this reviewer: I?ve never really read Woolf. Or I tried to read To the Lighthouse in college but nothing ever seems to happen or didn?t Woolf commit suicide or wasn?t she a lesbian or I don?t know who Mrs. Brown is or I?ve only seen the movie. Such a reader might say, ?I like Michael Cunningham?s novel because he helps me to read Woolf.? Woolf is now so burdened with the cult of personality haunting most authors today: her manic-depressive patterns, her notorious suicide, walking in a trance into the River Ouse with her walking stick. Death in the middle of the river of her words. Perhaps for these readers?for this essay is about different readers?Michael Cunningham has done a service. We read a version of Woolf through reading Michael Cunningham. But for those of us who do read and love Woolf, Cunningham can be clever, yes; imaginative, yes; slick, yes: a writer of ambition. Given that he has created three ingenious plots and taken his characters and inspiration from Woolf, what might we now say about his writing style and presentation of mind on the page, Woolf?s great gifts to the twentieth-century novel. Cunningham himself mentions in interviews that he greatly admires her style and has ambitions to achieve it in his own writing, and reviewers, in turn, praise his ?poetic? style comparing it to Woolf?s. Let?s compare parallel scenes to illuminate the differences. Interestingly, as someone who knows Woolf?s novel well, one feels the ghostly presence of Woolf throughout, as if Cunningham has Mrs. Dalloway open before him as he pens his shadow novel. Let?s compare Cunningham?s passage about Clarissa on 8th Street & 5th Avenue in New York with Woolf?s Clarissa crossing Victoria Street in London: She straightens her shoulders as she stands at the corner of Eighth Street and Fifth Avenue, waiting for the light. There she is, thinks Willie Bass, who passes her some mornings just about here. The old beauty, the old hippie, hair still long and defiantly gray, out on her morning rounds in jeans and a man?s cotton shirt, some sort of ethnic slippers (India? Central America?) on her feet. She still has a certain sexiness; a certain bohemian, good-witch sort of charm; and yet this morning she makes a tragic sight, standing so straight in her big shirt and exotic shoes, resisting the pull of gravity, a female mammoth already up to its knees in the tar, taking a rest between efforts, standing bulky and proud, almost nonchalant, pretending to contemplate the tender grasses waiting on the far bank when it is beginning to know for certain the it will remain here, trapped and alone, after dark, when the jackals come out. She waits patiently for the light. (Cunningham, p.13) Woolf?s Clarissa: She stiffened a little on the kerb, waiting for Durtnall?s van to pass. A charming woman, Scrope Purvis thought her (knowing her as one does know people who live next door to one in Westminster); a touch of the bird about her, of the jay, blue-green, light, vivacious, though she was over fifty, and grown very white since her illness. There she perched, never seeing him, waiting to cross, very upright. For having lived in Westminster?how many years now? Over twenty,--one feels even in the midst of the traffic, or waking at night, Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense (but that might be her heart, affected, they said, by influenza) before Big Ben Strikes. There! (Woolf p. 4) Woolf?s sentences here pass through time, minds, and emotion as she collapses the partitions of the mind, boundaries between narrator and characters, speech and thought, indeed, what is outward and what is inward. She weaves in and out of different kinds of consciousness: from third person narration to Scope Purvis?s mind, to the narrator?s brilliant metaphor that merges narrator and character, to Clarissa?s mind. Deftly, she describes Clarissa with ?a touch of the bird about her, of the jay.? She is never physically described; indeed Clarissa like many of Woolf?s characters does not seem to have a body. On the other hand, note the leaden adjectives in Cunningham?s description: his Clarissa ?treads? the ground in ethnic slippers, ?a female mammoth,? with a slick ?good-witch sort of charm.? Mired in literal, cliched adjectives, Cunningham barely touches the flight of Woolf?s mind, sentences and metaphors. And herein lies the difference. Woolf said of her own writing of a morning: ?style is a very simple matter; it is all rhythm. Once you get that, you can?t use the wrong words? (Letters III, p.242). Those who know the pulses of Woolf?s scintillating, dancing sentences and expressions of mind and heart on the page know that Cunningham--despite his accomplishments in this novel--does not get the rhythm right. 1 Gerard Genette, Figures of Literary Discourse. Trans. Alan Sheridan. New York: Columbia UP, 1982, p.70. Patricia Laurence, Professor Emerita English Department City College of New York English Literature in Translation (2000) On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf > wrote: Online ones would be more fun?.?!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 Online ones would be more fun?.!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. _____ From: Vwoolf > on behalf of Mark Hussey via Vwoolf > Sent: Thursday, August 10, 2023 1:27:26 PM To: vwoolf at lists.osu.edu > Subject: [Vwoolf] BBC Culture on The Hours I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how we see? VW? Offline responses welcome! https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!2b9XbdWyD2LsIcU-1UA0-32hVisA6Fix5gcAnz9HH8kr8k76z2sh1OuBZroYYCMyLoQ0ew9cmH728ELMyoQvhQ$ _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From mhussey at verizon.net Fri Aug 11 11:55:28 2023 From: mhussey at verizon.net (mhussey at verizon.net) Date: Fri, 11 Aug 2023 11:55:28 -0400 Subject: [Vwoolf] BBC Culture on The Hours In-Reply-To: References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> <1839949410.3160118.1691760205289@mail.yahoo.com> Message-ID: <005601d9cc6c$409e7100$c1db5300$@verizon.net> Dear Matt, Thanks so much for these fascinating thoughts?really eye-opening for me! (One question I have been thinking a little about it why that particular novel broke out in the way it did, when it did). I really appreciate the time you have taken to send these thoughts. All the best, Mark From: Vwoolf On Behalf Of Matthew Cheney via Vwoolf Sent: Friday, August 11, 2023 11:19 AM To: vwoolf at lists.osu.edu Subject: Re: [Vwoolf] BBC Culture on The Hours Thanks for these great reflections. The Hours as a novel brought me back to Woolf and helped solidify my interest in her work as something more than literary history. I was in my early 20s when the novel was released, and had done serious reading Thanks for these great reflections. The Hours as a novel brought me back to Woolf and helped solidify my interest in her work as something more than literary history. I was in my early 20s when the novel was released, and had done serious reading and study of Woolf in my college years, but had drifted away and developed in my own mind a sense of her as not especially relevant to the current era. (Relevancy being very important to me in my early 20s, still not quite having escaped the deep narcissism of adolescence.) The Hours was a book I read primarily because it was by Michael Cunningham, and Woolf and Mrs. Dalloway were nice added bonuses. Cunningham's earlier novel A Home at the End of the World was very important to me, a book I read in my first year of college in New York City. I hadn't loved Flesh and Blood, his follow-up novel, which felt too commercial to me then (how I, at that age, defined "commercial", I hardly remember), but The Hours was short, involved Woolf, and was available at the local library, so I happily gave it a shot. And was blown away. Really, few books have affected me as quickly and deeply. (Another of the joys of youth!) I found the structure engaging, but even more so the sentences, which just seemed perfect to me. I was far enough away from my Woolf studies that I didn't nitpick, but rather threw myself into the imaginative, imagined world. It was one of those lucky moments of reading exactly the right book at exactly the right time. Its aesthetic and emotional structures enraptured me. I was just out of New York, AIDS was very much on my mind, life felt terribly uncertain, and the mix of Cunningham's mind and words with a fictive Woolf was the perfect recipe. What I remember most from the reception of the book then is how shocked I was that Cunningham hit the mainstream and won the Pulitzer. Flesh and Blood may have gotten some attention (I remember it being in quite a few bookstores), but openly gay fiction was still pretty marginalized, and Cunningham was seen (or so I remember) as an exciting gay novelist more than as an exciting novelist. I had bought my cherished copy of A Home at the End of the World at A Different Light bookstore, not Barnes & Noble. Cunningham's publisher clearly saw him as someone well positioned to break out of the niche, but as obvious as it feels in retrospect, a novel like The Hours didn't quite seem like it had huge potential for bestsellerdom. I remember a thrill when it won the Pulitzer because it felt like a vindication of my own taste (ha!) but more importantly a recognition of a writer who came from a world I recognized, a writer I had followed because of his association with and attachment to that world. I hurried to the nearest bookstore after the announcement of the Pulitzer because I wanted to get a hardcover copy of my own, both as a memento of the moment and as a way to thank the bookstore for having a copy in stock. The book's unexpected popularity opened up all sorts of opportunities for conversation, too ? I remember a colleague of mine loving The Hours and asking me what else to read and I suggested A Home at the End of the World. She read that next and it really changed her perspective on people who were not, like her, heterosexual, white married women. (That had been her way into The Hours, and it began the process of thinking more broadly for her, as she explained it to me, at least.) So for me the importance of The Hours is less as a Woolfian novel than as part of the gay male literary world of the 1990s. It then rekindled my interest in Woolf, and allowed a greater sense of Woolf's work as having power for that present moment. I went back to Mrs. Dalloway renewed. For a while, I even taught a high school class using both books, but ultimately decided they were better on their own, for me at least. I haven't watched the movie in ages, but I loved it when it came out, mostly I think because of that sense of recognition ? something that had been part of my own small experience was now getting worldwide attention. I found the performances powerful (despite Nicole Kidman's nose!), the adaptation sensitive, the somewhat gauzy respectability of it all a plus more than a minus because it felt so strangely affirming to watch what we might think of as a prestige picture about this subject, these people ? remember, this is before even Brokeback Mountain. It's only 10 years since Philadelphia. I remember coming out of the theatre after first watching the film and just feeling overwhelmed in all sorts of ways, partly from the story and from seeing a cherished book adapted not terribly, but also from a sense of ... I just watched that in the same movie theatre where I have seen big action movies. Also, we were only a couple years out from 9/11 and I'm sure the representation of NYC in the film got emotionally intertwined with that for me. (Interesting to think of the book as pre-9/11, the movie as post-. I don't know if it makes any difference, but I've not thought of them that way before, and it's relevant for anything set in the city.) For all their pathos, the novel and then the movie made me feel hopeful for a better future for both literature and life. Cheers, Matt Cheney On Fri, Aug 11, 2023 at 9:23?AM Mark Hussey via Vwoolf > wrote: Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, I?m still hoping for more responses to my question about The Hours?? On Thursday, August 10, 2023, 02:?02:?38 PM EDT, Pat Laurence wrote:? Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, I?m still hoping for more responses to my question about The Hours?? On Thursday, August 10, 2023, 02:02:38 PM EDT, Pat Laurence > wrote: I meant to add that observations on Woolf conferences are, of course, dated in the review. On Thu, Aug 10, 2023 at 1:59?PM Pat Laurence > wrote: Following up on the Lillian Crawford review, here's mine of the Cunningham novel, The Hours, that appeared in English Literature in Translation (2000) in which I assert--that despite certain breakthroughs--he does not "get the rhythm right." Michael Cunningham, The Hours (New York: Farrar, Strauss, Giroux, 1998) Michael Cunningham?s The Hours is a novel about reading: a homage to Virginia Woolf. It is one of many books to come out in the past few years in which a writer or critic reflects not only on the process of reading itself but also rambles among the works of a particularly-loved author: Harold Bloom?s Shakespeare: the Invention of the Human; Alain de Botton?s How Proust Can Change Your Life, Not a Novel; Stephen Marlowe?s The Lighthouse at the End of the World (involving Edgar Allen Poe). Now in Michael Cunningham?s novel, we have a fictional exploration of Virginia Woolf?s Mrs. Dalloway that was called The Hours among other titles in an earlier stage of the project. The idea is a fascinating one and in Cunningham?s writing the experience of reading turns in upon itself. It is a postmodern critical and fictional turn described by the French literary critic, Gerard Genette: The text is that Moebius strip in which the inner and outer sides, the signifying and the signified sides, the side of writing and the side of reading, ceaselessly turn and cross over, in which writing is constantly read, in which reading is constantly written and transcribed. The critic must also enter the interplay of this strange reversible circuit and thus become, as Proust says, and like every true reader, ?one?s own reader.? 1 We are in a hall of mirrors as we read ourselves reading Cunningham reading Woolf. We ?participate? as readers (and writers!) of this novel in new ways. Why are so many writers and critics preoccupied with writing about the process of reading? Perhaps the images on the computer screen have already darkened our reading sky as we intellectually venture into the Internet rather than ride the well-worn magic carpet. Are we as a culture already nostalgic about the demise of THE BOOK? Browse through any popular periodical, and you will find that the number of articles and images of technology far outnumber discussions or, indeed, images of books. Perhaps then writers and critics turn to the authors they have read and loved to pay tribute or to find inspiration and material. Perhaps they are preserving authors from the threat of being unread as ?story? takes new forms in hypertext, and on the Internet, CD-ROMs, television, and books on tape. Michael Cunningham has written of his own introduction to reading Virginia Woolf. He remembers he ?was in high school, where a very rough, difficult, slightly crazed girl with teased hair and long fingernails, who used to hang around behind the gym and smoke cigarettes, proclaimed her to be a genius.? Admitting that he was not particularly ?bookish,? Cunningham found Mrs. Dalloway in the local bookstore ?and the book just nailed me; I?ve thought about it almost constantly ever since? (PW 11/2/98). It?s refreshing to me as a Virginia Woolf scholar to read a male reader reading Woolf: a male reader, a novelist, a male-homosexual reader-writer reading Woolf. In my attendance at the annual Virginia Woolf Society Conference over the past nine years, I have always been struck by the small number of men who attend or deliver papers. Is Virginia Woolf a gendered novelist? Do only women read and like her? I remember mentioning to a Dean in my college that I was writing a book about Virginia Woolf. He looked at me patiently and said, ?yes, my wife reads Virginia Woolf.? Hmmm. But perhaps this is changing, and it is interesting that some of the male readers who may be drawn to Woolf and the sexually-liberated Bloomsberries are homosexual. Cunningham has also written, Home at the End of the World, a well-received novel which presents in alternating voices, the stories of two boys from Cleveland (one, gay) and their families, reflecting new formations of gender and desire. It is this exploration of gender and desire as well as Woolf that motivates Cunningham?s Pulitzer prize-winning novel. Through reading Woolf and reinventing (and sometimes parroting) some of her characters and stories, Michael Cunningham writes about new kinds of heterosexual friendship as well as heterosexual and homosexual romance. It is this that belongs to him. But this is also a book about translation: ?It is New York City. It is the end of the twentieth century.? Cunningham translates the story of a 1920?s London society hostess, Mrs. Dalloway, into an American context in 1990. Mrs. Dalloway is now Woolf?s hottest novel given Eileen Atkin?s film version starring Vanessa Redgrave last year. In her Diary, Woolf announces ?I want to criticize the social system, & to show it at work? (D 2, 243-44) as well as sketch the society ladies she knew, like Sybil Colefax and Lady Ottoline Morrell whose lives were shaped by giving parties. They were women who like Clarissa ?could feel nothing for the Albanians, or was it the Armenians? but she loved her roses (didn?t that help the Armenians?)? (p.182). She worried instead about the flowers, the silver, her dress, and most importantly, the ?art? of the guest list. For Mrs. Dalloway is Woolf?s exploration of the ?party consciousness? just as her other books explore other states of mind. Woolf ?deconstructs? the socialite wife of Parlimentarian, Richard Dalloway. She ?digs tunnels behind her characters? and shows us that Mrs. Dalloway is a woman with a youthful past as Clarissa, a beautiful vivacious young woman in love with both the intense Peter and the scintillating Sally. Clarissa, it should be noted, is one of the few married women in Woolf?s novels with a first name (i.e. Mrs. Ramsay). She is a woman who finds that ?death? happens into the middle of her party. She overhears one of her guests, Dr. William Bradshaw, the psychiatrist, tell the story of the sad, shell-shocked Septimus, returned soldier from World War I, who has jumped to his death from a window that afternoon. And so, both the party and death--?What a lark! What a plunge!? announces Mrs. Dalloway on the first page of the novel--structures the novel. Cunningham also uses this structure of the party and the death in his novel. In fact, the structure, the themes, the characters, the author as character, phrasings, and attempts at Woolf?s writing rhythm could all be said to be derived?if we attend to slippery ?origins.? But deconstructionists have taught us that such pursuits are futile. Let?s observe instead how successful Cunningham is in achieving his own effect intertwined as he is with Woolf. In his novel, he skillfully intertwines three stories all of which happen on a single day, each told from a different woman?s point of view. First, in Cunningham?s novel, there is the story of Woolf herself trying desperately to work on her manuscript of Mrs. Dalloway in 1923 as she deals with the distractions of a visit from her sister Vanessa and her husband Leonard?s work on the Hogarth Press, a press they acquired in 1915 as part of Virginia?s therapy. The second tale, takes Woolf?s legendary character, Mrs. Brown, from a 1923 article, ?Mr. Bennett and Mrs. Brown,? in which Woolf queries how she, as a modernist author, is to describe a dowdy woman whom she observes in the corner of a railway car. It is an important essay in which Woolf sets out modernist principles for the development of ?character.? Here she questions the Edwardian authors, John Galsworthy, Arnold Bennett and H. G. Wells, who will describe the legendary Mrs. Brown according to ?realist? modes?where she resides, how much income she earns--what is she like from the ?outside.? Challenging this mode of character development, Woolf will advance the modernist platform, and her interest in interiority. She will be interested in what Mrs. Brown thinks and feels, or as described in another novel, ?what is unsaid.? Since this is a review that is not only about Cunningham reading Woolf but I, as a critic and scholar, reading Woolf and reading Cunningham reading Woolf, you may very well say, ?leave your knowledge of Mrs. Brown out of this review.? But how can I? The traces of Woolf?s Mrs. Brown and Woolf?s larger fictional questions are present in my mind as I read Cunningham. How do we describe and develop ?character? in fiction. I read and observe Cunningham?s transformation of Mrs. Brown from a frumpily dressed 1920?s Englishwoman in the corner of a railway car to a 1990?s American housewife, mother of a young son, Laura Brown. The translation of British themes and times, England in 1921 with shell-shocked soldiers struggling with insanity just after the war, to the America of the 1990?s experiencing an Aids epidemic and the fallout from the women?s liberation movement of the 1960?s. The story of Laura Brown, the depressed housewife, is the best of Cunningham?s three. Here he hits his OWN stride. The plot is simple. Mrs. Brown is an unfulfilled housewife with a young child who adores her (much like James with Mrs. Ramsay in To the Lighthouse), pregnant with another child, living in Los Angeles. On this particular morning in 1923, we find her planning a small party, a birthday party, and attempting to make a proper cake. Delightfully (for all literary mothers with such fantasies), she escapes her unsuccessful baking day to go off to a hotel to rent a room (no. 19 where Doris Lessing also places her suicidal housewife) for a few hours to read (can you guess?) Mrs. Dalloway. The wickedness of modern brainy moms: an illicit day in June spent in a hotel room reading Woolf. As Mrs. Dalloway says in Woolf?s novel, ?It is very very dangerous to live even one day.? And one of the messages of this novel is that reading can sometimes save one from danger. For in the third story in Cunningham?s novel that artfully intertwines with the second, is about Richard, the young son of Laura Brown. He has watched her every unhappy mood, thought and action with unnatural attention and love, and he grows up to become a writer born of his mother, the reader. He is now dying of Aids. One of his best friends is Clarissa Vaughan, a woman of about fifty, a lesbian who lives in Greenwich Village, with whom he has shared intimacy of a certain sort in youth. He is modelled on Peter in Woolf?s novel but there is a homosexual reversal in the plot. Judith Butler?s challenge to the ?heterosexual matrix? of literature is actualized in Cunningham?s new glance at relationships. The happiness of the traditional marriage plot (Laura Brown and her husband) is reconsidered; homosexual relationships become more central. Clarissa, a lesbian in Cunningham?s novel is planning a party for Richard who has just received a literary prize. But the party never happens for this Richard like Septimus in Woolf?s novel plunges out of a window to his death, unable to deal with his deteriorating physical condition. Is there an implied connection implied between Laura Brown?s depression, thoughts of suicide, and her son?s plunge to his death? In this novel, the party, a metaphor for the continuing celebration of life, does not prevail as it does in Woolf?s novel. The party never happens; death does. And herein lies the difference between Woolf and Cunningham?s vision. His novel is the underside of Woolf?s: he teases out the homosexual subtext that Woolf critics have observed. He plays upon the knowledge of Woolf?s brief physical relationship with Vita SackvilleWest which began in 1925 just when Mrs. Dalloway was published. Though Clarissa makes a heterosexual choice in Woolf?s novel, Cunningham?s Clarissa and Richard make another, questioning and creating new forms of romance and relationship, culturally and fictionally. But another reader, not the scholarly reader, but the ?common reader? might say to this reviewer: I?ve never really read Woolf. Or I tried to read To the Lighthouse in college but nothing ever seems to happen or didn?t Woolf commit suicide or wasn?t she a lesbian or I don?t know who Mrs. Brown is or I?ve only seen the movie. Such a reader might say, ?I like Michael Cunningham?s novel because he helps me to read Woolf.? Woolf is now so burdened with the cult of personality haunting most authors today: her manic-depressive patterns, her notorious suicide, walking in a trance into the River Ouse with her walking stick. Death in the middle of the river of her words. Perhaps for these readers?for this essay is about different readers?Michael Cunningham has done a service. We read a version of Woolf through reading Michael Cunningham. But for those of us who do read and love Woolf, Cunningham can be clever, yes; imaginative, yes; slick, yes: a writer of ambition. Given that he has created three ingenious plots and taken his characters and inspiration from Woolf, what might we now say about his writing style and presentation of mind on the page, Woolf?s great gifts to the twentieth-century novel. Cunningham himself mentions in interviews that he greatly admires her style and has ambitions to achieve it in his own writing, and reviewers, in turn, praise his ?poetic? style comparing it to Woolf?s. Let?s compare parallel scenes to illuminate the differences. Interestingly, as someone who knows Woolf?s novel well, one feels the ghostly presence of Woolf throughout, as if Cunningham has Mrs. Dalloway open before him as he pens his shadow novel. Let?s compare Cunningham?s passage about Clarissa on 8th Street & 5th Avenue in New York with Woolf?s Clarissa crossing Victoria Street in London: She straightens her shoulders as she stands at the corner of Eighth Street and Fifth Avenue, waiting for the light. There she is, thinks Willie Bass, who passes her some mornings just about here. The old beauty, the old hippie, hair still long and defiantly gray, out on her morning rounds in jeans and a man?s cotton shirt, some sort of ethnic slippers (India? Central America?) on her feet. She still has a certain sexiness; a certain bohemian, good-witch sort of charm; and yet this morning she makes a tragic sight, standing so straight in her big shirt and exotic shoes, resisting the pull of gravity, a female mammoth already up to its knees in the tar, taking a rest between efforts, standing bulky and proud, almost nonchalant, pretending to contemplate the tender grasses waiting on the far bank when it is beginning to know for certain the it will remain here, trapped and alone, after dark, when the jackals come out. She waits patiently for the light. (Cunningham, p.13) Woolf?s Clarissa: She stiffened a little on the kerb, waiting for Durtnall?s van to pass. A charming woman, Scrope Purvis thought her (knowing her as one does know people who live next door to one in Westminster); a touch of the bird about her, of the jay, blue-green, light, vivacious, though she was over fifty, and grown very white since her illness. There she perched, never seeing him, waiting to cross, very upright. For having lived in Westminster?how many years now? Over twenty,--one feels even in the midst of the traffic, or waking at night, Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense (but that might be her heart, affected, they said, by influenza) before Big Ben Strikes. There! (Woolf p. 4) Woolf?s sentences here pass through time, minds, and emotion as she collapses the partitions of the mind, boundaries between narrator and characters, speech and thought, indeed, what is outward and what is inward. She weaves in and out of different kinds of consciousness: from third person narration to Scope Purvis?s mind, to the narrator?s brilliant metaphor that merges narrator and character, to Clarissa?s mind. Deftly, she describes Clarissa with ?a touch of the bird about her, of the jay.? She is never physically described; indeed Clarissa like many of Woolf?s characters does not seem to have a body. On the other hand, note the leaden adjectives in Cunningham?s description: his Clarissa ?treads? the ground in ethnic slippers, ?a female mammoth,? with a slick ?good-witch sort of charm.? Mired in literal, cliched adjectives, Cunningham barely touches the flight of Woolf?s mind, sentences and metaphors. And herein lies the difference. Woolf said of her own writing of a morning: ?style is a very simple matter; it is all rhythm. Once you get that, you can?t use the wrong words? (Letters III, p.242). Those who know the pulses of Woolf?s scintillating, dancing sentences and expressions of mind and heart on the page know that Cunningham--despite his accomplishments in this novel--does not get the rhythm right. 1 Gerard Genette, Figures of Literary Discourse. Trans. Alan Sheridan. New York: Columbia UP, 1982, p.70. Patricia Laurence, Professor Emerita English Department City College of New York English Literature in Translation (2000) On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf > wrote: Online ones would be more fun?.?!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 Online ones would be more fun?.!!! Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. _____ From: Vwoolf > on behalf of Mark Hussey via Vwoolf > Sent: Thursday, August 10, 2023 1:27:26 PM To: vwoolf at lists.osu.edu > Subject: [Vwoolf] BBC Culture on The Hours I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how I am seeing refs to this article pop up in various places, and wondered what people think of the headline?s accuracy: did The Hours (I guess they really mean Nicole Kidman?s portrayal of VW in the film) really ?change how we see? VW? Offline responses welcome! https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!3drSixvNqvanwLNJEB2dL0zEZgzWblZxE0esz6klfbLru66FOGg9SQJz4QnMCpAT3L2--hH_5Br-Jr-Sy22Elg$ _______________________________________________ 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From ozma at sover.net Fri Aug 11 17:41:48 2023 From: ozma at sover.net (Gretchen Gerzina) Date: Fri, 11 Aug 2023 17:41:48 -0400 Subject: [Vwoolf] A room of one's own sighting Message-ID: Here?s another decorating article based on Virginia Woolf: https://urldefense.com/v3/__https://www.houseandgarden.co.uk/article/rethinking-the-idea-of-a-room-of-ones-own__;!!KGKeukY!wzSkrxir1T55rwciUY8R9WK3rLJvN-MvLEG2vJHV7tPn0UlH8m2B38Fx5F_jGtf9lpuywu6KqQZLHvE$ Also, The Guardian is doing an article on Sussex?s Charleston Farmhouse?now with an in-town venue?in the Saturday edition. Gretchen Holbrook Gerzina -------------- next part -------------- An HTML attachment was scrubbed... URL: From emily.kopley at gmail.com Fri Aug 11 20:02:30 2023 From: emily.kopley at gmail.com (Emily Kopley) Date: Fri, 11 Aug 2023 20:02:30 -0400 Subject: [Vwoolf] BBC Culture on The Hours In-Reply-To: <005601d9cc6c$409e7100$c1db5300$@verizon.net> References: <002e01d9cbaf$ef1beb80$cd53c280$.ref@verizon.net> <002e01d9cbaf$ef1beb80$cd53c280$@verizon.net> <1839949410.3160118.1691760205289@mail.yahoo.com> <005601d9cc6c$409e7100$c1db5300$@verizon.net> Message-ID: Hi Mark and All, This seems an opportune moment to mention a book I recently read and loved, Anna Solomon's novel *The Book of V *(2020), which is explicitly indebted to both the biblical Book of Esther ("V" is for Vashti) and to *The Hours*: it traces three related stories, each featuring a a pair of women, in three time periods (era of the Book of Esther, 1970s DC, contemporary Brooklyn). Solomon's Acknowledgments begin, "This book would not exist without two books that came first: the original *Book of Esther, *in all its bawdy splendor, and *The Hours, *whose structure helped inspire me own..*.." *Allusions to *The Hours* (or to MD or both) strengthen the link. The book is smart and witty and psychologically astute. In free indirect discourse blending realism with occasional magical realism, it explores how texts sometimes serve purposes other than those intended, how we seek and craft the narratives that we want, when and how truth matters, and how one can hold multiple and changing identities. It's also really fun. Best, Emily On Fri, Aug 11, 2023 at 11:57?AM Mark Hussey via Vwoolf < vwoolf at lists.osu.edu> wrote: > Dear Matt, Thanks so much for these fascinating thoughts?really > eye-opening for me! (One question I have been thinking a little about it > why that particular novel broke out in the way it did, when it did). I > really appreciate the time you have > > Dear Matt, > > Thanks so much for these fascinating thoughts?really eye-opening for me! > (One question I have been thinking a little about it why that particular > novel broke out in the way it did, when it did). I really appreciate the > time you have taken to send these thoughts. > > > > All the best, > > Mark > > > > *From:* Vwoolf *On Behalf Of *Matthew > Cheney via Vwoolf > *Sent:* Friday, August 11, 2023 11:19 AM > *To:* vwoolf at lists.osu.edu > *Subject:* Re: [Vwoolf] BBC Culture on The Hours > > > > Thanks for these great reflections. The Hours as a novel brought me back > to Woolf and helped solidify my interest in her work as something more than > literary history. I was in my early 20s when the novel was released, and > had done serious reading > > Thanks for these great reflections. *The Hours* as a novel brought me > back to Woolf and helped solidify my interest in her work as something more > than literary history. I was in my early 20s when the novel was released, > and had done serious reading and study of Woolf in my college years, but > had drifted away and developed in my own mind a sense of her as not > especially relevant to the current era. (Relevancy being very important to > me in my early 20s, still not quite having escaped the deep narcissism of > adolescence.) *The Hours* was a book I read primarily because it was by > Michael Cunningham, and Woolf and *Mrs. Dalloway* were nice added bonuses. > > > > Cunningham's earlier novel *A Home at the End of the World* was very > important to me, a book I read in my first year of college in New York > City. I hadn't loved *Flesh and Blood*, his follow-up novel, which felt > too commercial to me then (how I, at that age, defined "commercial", I > hardly remember), but *The Hours* was short, involved Woolf, and was > available at the local library, so I happily gave it a shot. And was blown > away. Really, few books have affected me as quickly and deeply. (Another of > the joys of youth!) I found the structure engaging, but even more so the > sentences, which just seemed perfect to me. I was far enough away from my > Woolf studies that I didn't nitpick, but rather threw myself into the > imaginative, imagined world. It was one of those lucky moments of reading > exactly the right book at exactly the right time. Its aesthetic and > emotional structures enraptured me. I was just out of New York, AIDS was > very much on my mind, life felt terribly uncertain, and the mix of > Cunningham's mind and words with a fictive Woolf was the perfect recipe. > > > > What I remember most from the reception of the book then is how shocked I > was that Cunningham hit the mainstream and won the Pulitzer. *Flesh and > Blood* may have gotten some attention (I remember it being in quite a few > bookstores), but openly gay fiction was still pretty marginalized, and > Cunningham was seen (or so I remember) as an exciting gay novelist more > than as an exciting novelist. I had bought my cherished copy of *A Home > at the End of the World* at A Different Light bookstore, not Barnes & > Noble. Cunningham's publisher clearly saw him as someone well positioned to > break out of the niche, but as obvious as it feels in retrospect, a novel > like *The Hours* didn't quite seem like it had huge potential for > bestsellerdom. I remember a thrill when it won the Pulitzer because it felt > like a vindication of my own taste (ha!) but more importantly a recognition > of a writer who came from a world I recognized, a writer I had followed > because of his association with and attachment to that world. I hurried to > the nearest bookstore after the announcement of the Pulitzer because I > wanted to get a hardcover copy of my own, both as a memento of the moment > and as a way to thank the bookstore for having a copy in stock. > > > > The book's unexpected popularity opened up all sorts of opportunities for > conversation, too ? I remember a colleague of mine loving *The Hours* and > asking me what else to read and I suggested *A Home at the End of the > World*. She read that next and it really changed her perspective on > people who were not, like her, heterosexual, white married women. (That had > been her way into *The Hours*, and it began the process of thinking more > broadly for her, as she explained it to me, at least.) So for me the > importance of *The Hours* is less as a Woolfian novel than as part of the > gay male literary world of the 1990s. It then rekindled my interest in > Woolf, and allowed a greater sense of Woolf's work as having power for that > present moment. I went back to *Mrs. Dalloway* renewed. For a while, I > even taught a high school class using both books, but ultimately decided > they were better on their own, for me at least. > > > > I haven't watched the movie in ages, but I loved it when it came out, > mostly I think because of that sense of recognition ? something that had > been part of my own small experience was now getting worldwide attention. I > found the performances powerful (despite Nicole Kidman's nose!), the > adaptation sensitive, the somewhat gauzy respectability of it all a plus > more than a minus because it felt so strangely affirming to watch what we > might think of as a prestige picture about this subject, these people ? > remember, this is before even *Brokeback Mountain*. It's only 10 years > since *Philadelphia*. I remember coming out of the theatre after first > watching the film and just feeling overwhelmed in all sorts of ways, partly > from the story and from seeing a cherished book adapted not terribly, but > also from a sense of ... I just watched *that* in the same movie theatre > where I have seen big action movies. Also, we were only a couple years out > from 9/11 and I'm sure the representation of NYC in the film got > emotionally intertwined with that for me. (Interesting to think of the book > as pre-9/11, the movie as post-. I don't know if it makes any difference, > but I've not thought of them that way before, and it's relevant for > anything set in the city.) For all their pathos, the novel and then the > movie made me feel hopeful for a better future for both literature and life. > > > > Cheers, > > Matt Cheney > > > > On Fri, Aug 11, 2023 at 9:23?AM Mark Hussey via Vwoolf < > vwoolf at lists.osu.edu> wrote: > > Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, > I?m still hoping for more responses to my question about The Hours?? On > Thursday, August 10, 2023, 02: 02: 38 PM EDT, Pat Laurence gmail. com> wrote: > > Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, > I?m still hoping for more responses to my question about The Hours?? > > > > On Thursday, August 10, 2023, 02:02:38 PM EDT, Pat Laurence < > pat.laurence at gmail.com> wrote: > > > > > > I meant to add that observations on Woolf conferences are, of course, > dated in the review. > > > > On Thu, Aug 10, 2023 at 1:59?PM Pat Laurence > wrote: > > Following up on the Lillian Crawford review, here's mine of the Cunningham *novel, > **The Hours*, that appeared in *English Literature in Translation* (2000) > in which I assert--that despite certain breakthroughs--he does not "get the > rhythm right." > > > > Michael Cunningham, *The Hours (*New York: Farrar, Strauss, Giroux, 1998) > > > > Michael Cunningham?s *The Hours* is a novel about reading: a homage to > Virginia Woolf. It is one of many books to come out in the past few years > in which a writer or critic reflects not only on the process of reading > itself but also rambles among the works of a particularly-loved author: > Harold Bloom?s *Shakespeare: the Invention of the Human*; Alain de > Botton?s *How Proust* *Can Change Your Life*, * Not a Novel*; Stephen > Marlowe?s *The Lighthouse at the End of the World *(involving Edgar Allen > Poe). Now in Michael Cunningham?s novel, we have a fictional exploration of > Virginia Woolf?s *Mrs. Dalloway* that was called *The Hours* among other > titles in an earlier stage of the project. The idea is a fascinating one > and in Cunningham?s writing the experience of reading turns in upon itself. > It is a postmodern critical and fictional turn described by the French > literary critic, Gerard Genette: > > > > The text is that Moebius strip in which the inner and outer sides, the > signifying and the signified sides, the side of writing and the side of > reading, ceaselessly turn and cross over, in which writing is constantly > read, in which reading is constantly written and transcribed. The critic > must also enter the interplay of this strange reversible circuit and thus > become, as Proust says, and like every true reader, ?one?s own reader.? 1 > > > > We are in a hall of mirrors as we read ourselves reading Cunningham > reading Woolf. We ?participate? as readers (and writers!) of this novel in > new ways. > > > > Why are so many writers and critics preoccupied with writing about the > process of reading? Perhaps the images on the computer screen have already > darkened our reading sky as we intellectually venture into the Internet > rather than ride the well-worn magic carpet. Are we as a culture already > nostalgic about the demise of THE BOOK? Browse through any popular > periodical, and you will find that the number of articles and images of > technology far outnumber discussions or, indeed, images of books. Perhaps > then writers and critics turn to the authors they have read and loved to > pay tribute or to find inspiration and material. Perhaps they are > preserving authors from the threat of being unread as ?story? takes new > forms in hypertext, and on the Internet, CD-ROMs, television, and books on > tape. > > > > Michael Cunningham has written of his own introduction to reading Virginia > Woolf. He remembers he ?was in high school, where a very rough, difficult, > slightly crazed girl with teased hair and long fingernails, who used to > hang around behind the gym and smoke cigarettes, proclaimed her to be a > genius.? Admitting that he was not particularly ?bookish,? Cunningham found *Mrs. > Dalloway* in the local bookstore ?and the book just nailed me; I?ve > thought about it almost constantly ever since? (PW 11/2/98). > > > > It?s refreshing to me as a Virginia Woolf scholar to read a male reader > reading Woolf: a male reader, a novelist, a male-homosexual reader-writer > reading Woolf. In my attendance at the annual Virginia Woolf Society > Conference over the past nine years, I have always been struck by the small > number of men who attend or deliver papers. Is Virginia Woolf a gendered > novelist? Do only women read and like her? I remember mentioning to a Dean > in my college that I was writing a book about Virginia Woolf. He looked at > me patiently and said, ?yes, my wife reads Virginia Woolf.? Hmmm. But > perhaps this is changing, and it is interesting that some of the male > readers who may be drawn to Woolf and the sexually-liberated Bloomsberries > are homosexual. Cunningham has also written, *Home at the End of the > World*, a well-received novel which presents in alternating voices, the > stories of two boys from Cleveland (one, gay) and their families, > reflecting new formations of gender and desire. It is this exploration of > gender and desire as well as Woolf that motivates Cunningham?s Pulitzer > prize-winning novel. Through reading Woolf and reinventing (and sometimes > parroting) some of her characters and stories, Michael Cunningham writes > about new kinds of heterosexual friendship as well as heterosexual and > homosexual romance. It is this that belongs to him. > > > > But this is also a book about translation: ?It is New York City. It is the > end of the twentieth century.? Cunningham translates the story of a 1920?s > London society hostess, Mrs. Dalloway, into an American context in 1990. *Mrs. > Dalloway* is now Woolf?s hottest novel given Eileen Atkin?s film version > starring Vanessa Redgrave last year. In her *Diary*, Woolf announces ?I > want to criticize the social system, & to show it at work? (D 2, 243-44) as > well as sketch the society ladies she knew, like Sybil Colefax and Lady > Ottoline Morrell whose lives were shaped by giving parties. They were women > who like Clarissa ?could feel nothing for the Albanians, or was it the > Armenians? but she loved her roses (didn?t that help the Armenians?)? > (p.182). She worried instead about the flowers, the silver, her dress, and > most importantly, the ?art? of the guest list. For Mrs. Dalloway is Woolf?s > exploration of the ?party consciousness? just as her other books explore > other states of mind. Woolf ?deconstructs? the socialite wife of > Parlimentarian, Richard Dalloway. She ?digs tunnels behind her characters? > and shows us that Mrs. Dalloway is a woman with a youthful past as > Clarissa, a beautiful vivacious young woman in love with both the intense > Peter and the scintillating Sally. Clarissa, it should be noted, is one of > the few married women in Woolf?s novels with a first name (i.e. Mrs. > Ramsay). She is a woman who finds that ?death? happens into the middle of > her party. She overhears one of her guests, Dr. William Bradshaw, the > psychiatrist, tell the story of the sad, shell-shocked Septimus, returned > soldier from World War I, who has jumped to his death from a window that > afternoon. And so, both the party and death--?What a lark! What a plunge!? > announces Mrs. Dalloway on the first page of the novel--structures the > novel. > > > > Cunningham also uses this structure of the party and the death in his > novel. In fact, the structure, the themes, the characters, the author as > character, phrasings, and attempts at Woolf?s writing rhythm could all be > said to be derived?if we attend to slippery ?origins.? But > deconstructionists have taught us that such pursuits are futile. Let?s > observe instead how successful Cunningham is in achieving his own effect > intertwined as he is with Woolf. > > > > In his novel, he skillfully intertwines three stories all of which happen > on a single day, each told from a different woman?s point of view. First, > in Cunningham?s novel, there is the story of Woolf herself trying > desperately to work on her manuscript of *Mrs. Dalloway* in 1923 as she > deals with the distractions of a visit from her sister Vanessa and her > husband Leonard?s work on the Hogarth Press, a press they acquired in 1915 > as part of Virginia?s therapy. The second tale, takes Woolf?s legendary > character, Mrs. Brown, from a 1923 article, ?Mr. Bennett and Mrs. Brown,? > in which Woolf queries how she, as a modernist author, is to describe a > dowdy woman whom she observes in the corner of a railway car. It is an > important essay in which Woolf sets out modernist principles for the > development of ?character.? Here she questions the Edwardian authors, John > Galsworthy, Arnold Bennett and H. G. Wells, who will describe the legendary > Mrs. Brown according to ?realist? modes?where she resides, how much income > she earns--what is she like from the ?outside.? Challenging this mode of > character development, Woolf will advance the modernist platform, and her > interest in interiority. She will be interested in what Mrs. Brown thinks > and feels, or as described in another novel, ?what is unsaid.? Since this > is a review that is not only about Cunningham reading Woolf but I, as a > critic and scholar, reading Woolf and reading Cunningham reading Woolf, you > may very well say, ?leave your knowledge of Mrs. Brown out of this > review.? But how can I? > > > > The traces of Woolf?s Mrs. Brown and Woolf?s larger fictional questions > are present in my mind as I read Cunningham. How do we describe and develop > ?character? in fiction. I read and observe Cunningham?s transformation of > Mrs. Brown from a frumpily dressed 1920?s Englishwoman in the corner of a > railway car to a 1990?s American housewife, mother of a young son, Laura > Brown. The translation of British themes and times, England in 1921 with > shell-shocked soldiers struggling with insanity just after the war, to the > America of the 1990?s experiencing an Aids epidemic and the fallout from > the women?s liberation movement of the 1960?s. The story of Laura Brown, > the depressed housewife, is the best of Cunningham?s three. Here he hits > his OWN stride. The plot is simple. Mrs. Brown is an unfulfilled housewife > with a young child who adores her (much like James with Mrs. Ramsay in *To > the Lighthouse*), pregnant with another child, living in Los Angeles. On > this particular morning in 1923, we find her planning a small party, a > birthday party, and attempting to make a proper cake. Delightfully (for all > literary mothers with such fantasies), she escapes her unsuccessful baking > day to go off to a hotel to rent a room (no. 19 where Doris Lessing also > places her suicidal housewife) for a few hours to read (can you guess?) *Mrs. > Dalloway*. The wickedness of modern brainy moms: an illicit day in June > spent in a hotel room reading Woolf. As Mrs. Dalloway says in Woolf?s > novel, ?It is very very dangerous to live even one day.? And one of the > messages of this novel is that reading can sometimes save one from danger. > > > > For in the third story in Cunningham?s novel that artfully intertwines > with the second, is about Richard, the young son of Laura Brown. He has > watched her every unhappy mood, thought and action with unnatural attention > and love, and he grows up to become a writer born of his mother, the > reader. He is now dying of Aids. One of his best friends is Clarissa > Vaughan, a woman of about fifty, a lesbian who lives in Greenwich Village, > with whom he has shared intimacy of a certain sort in youth. He is modelled > on Peter in Woolf?s novel but there is a homosexual reversal in the plot. > Judith Butler?s challenge to the ?heterosexual matrix? of literature is > actualized in Cunningham?s new glance at relationships. The happiness of > the traditional marriage plot (Laura Brown and her husband) is > reconsidered; homosexual relationships become more central. Clarissa, a > lesbian in Cunningham?s novel is planning a party for Richard who has just > received a literary prize. But the party never happens for this Richard > like Septimus in Woolf?s novel plunges out of a window to his death, unable > to deal with his deteriorating physical condition. Is there an implied > connection implied between Laura Brown?s depression, thoughts of suicide, > and her son?s plunge to his death? In this novel, the party, a metaphor for > the continuing celebration of life, does not prevail as it does in Woolf?s > novel. The party never happens; death does. And herein lies the difference > between Woolf and Cunningham?s vision. > > > > His novel is the underside of Woolf?s: he teases out the homosexual > subtext that Woolf critics have observed. He plays upon the knowledge of > Woolf?s brief physical relationship with Vita SackvilleWest which began in > 1925 just when *Mrs. Dalloway* was published. Though Clarissa makes a > heterosexual choice in Woolf?s novel, Cunningham?s Clarissa and Richard > make another, questioning and creating new forms of romance and > relationship, culturally and fictionally. > > > > But another reader, not the scholarly reader, but the ?common reader? > might say to this reviewer: I?ve never really read Woolf. Or I tried to > read *To the* *Lighthouse* in college but nothing ever seems to happen or > didn?t Woolf commit suicide or wasn?t she a lesbian or I don?t know who > Mrs. Brown is or I?ve only seen the movie. Such a reader might say, ?I like > Michael Cunningham?s novel because he helps me to read Woolf.? Woolf is now > so burdened with the cult of personality haunting most authors today: her > manic-depressive patterns, her notorious suicide, walking in a trance into > the River Ouse with her walking stick. Death in the middle of the river of > her words. Perhaps for these readers?for this essay is about different > readers?Michael Cunningham has done a service. We read a version of Woolf > through reading Michael Cunningham. > > > > But for those of us who do read and love Woolf, Cunningham can be clever, > yes; imaginative, yes; slick, yes: a writer of ambition. Given that he has > created three ingenious plots and taken his characters and inspiration from > Woolf, what might we now say about his writing style and presentation of > mind on the page, Woolf?s great gifts to the twentieth-century novel. > Cunningham himself mentions in interviews that he greatly admires her style > and has ambitions to achieve it in his own writing, and reviewers, in turn, > praise his ?poetic? style comparing it to Woolf?s. Let?s compare parallel > scenes to illuminate the differences. Interestingly, as someone who knows > Woolf?s novel well, one feels the ghostly presence of Woolf throughout, as > if Cunningham has Mrs. Dalloway open before him as he pens his shadow > novel. Let?s compare Cunningham?s passage about Clarissa on 8th Street & 5 > th Avenue in New York with Woolf?s Clarissa crossing Victoria Street in > London: > > > > She straightens her shoulders as she stands at the corner of Eighth Street > and Fifth Avenue, waiting for the light. There she is, thinks Willie Bass, > who passes her some mornings just about here. The old beauty, the old > hippie, hair still long and defiantly gray, out on her morning rounds in > jeans and a man?s cotton shirt, some sort of ethnic slippers (India? > Central America?) on her feet. She still has a certain sexiness; a certain > bohemian, good-witch sort of charm; and yet this morning she makes a tragic > sight, standing so straight in her big shirt and exotic shoes, resisting > the pull of gravity, a female mammoth already up to its knees in the tar, > taking a rest between efforts, standing bulky and proud, almost nonchalant, > pretending to contemplate the tender grasses waiting on the far bank when > it is beginning to know for certain the it will remain here, trapped and > alone, after dark, when the jackals come out. She waits patiently for the > light. (Cunningham, p.13) > > > > > > > > > > Woolf?s Clarissa: > > > > She stiffened a little on the kerb, waiting for Durtnall?s van to pass. A > charming woman, Scrope Purvis thought her (knowing her as one does know > people who live next door to one in Westminster); a touch of the bird about > her, of the jay, blue-green, light, vivacious, though she was over fifty, > and grown very white since her illness. There she perched, never seeing > him, waiting to cross, very upright. > > For having lived in Westminster?how many years now? Over twenty,--one > feels even in the midst of the traffic, or waking at night, Clarissa was > positive, a particular hush, or solemnity; an indescribable pause; a > suspense (but that might be her heart, affected, they said, by influenza) > before Big Ben Strikes. There! (Woolf p. 4) > > > > Woolf?s sentences here pass through time, minds, and emotion as she > collapses the partitions of the mind, boundaries between narrator and > characters, speech and thought, indeed, what is outward and what is inward. > She weaves in and out of different kinds of consciousness: from third > person narration to Scope Purvis?s mind, to the narrator?s brilliant > metaphor that merges narrator and character, to Clarissa?s mind. Deftly, > she describes Clarissa with ?a touch of the bird about her, of the jay.? > She is never physically described; indeed Clarissa like many of Woolf?s > characters does not seem to have a body. On the other hand, note the leaden > adjectives in Cunningham?s description: his Clarissa ?treads? the ground in > ethnic slippers, ?a female mammoth,? with a slick ?good-witch sort of > charm.? Mired in literal, cliched adjectives, Cunningham barely touches the > flight of Woolf?s mind, sentences and metaphors. And herein lies the > difference. > > > > Woolf said of her own writing of a morning: ?style is a very simple > matter; it is all rhythm. Once you get that, you can?t use the wrong words? > (*Letters* III, p.242). Those who know the pulses of Woolf?s > scintillating, dancing sentences and expressions of mind and heart on the > page know that Cunningham--despite his accomplishments in this novel--does > not get the rhythm right. > > > > 1 Gerard Genette, *Figures of Literary Discourse*. Trans. Alan Sheridan. > New York: Columbia > > UP, 1982, p.70. > > > > Patricia Laurence, > > Professor Emerita > > English Department > > City College of New York > > *English Literature in Translation* (2000) > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf < > vwoolf at lists.osu.edu> wrote: > > Online ones would be more fun?. !!! Vara Neverow (she/her/hers) Professor, > English Department and Women?s and Gender Studies Program Managing Editor, > Virginia Woolf Miscellany Southern Connecticut State University New Haven, > CT 06515 203-392-6717 > > Online ones would be more fun?.!!! > > > > Vara Neverow > > (she/her/hers) > > Professor, English Department and Women?s and Gender Studies Program > > Managing Editor, Virginia Woolf Miscellany > > Southern Connecticut State University > > New Haven, CT 06515 > > 203-392-6717 > > neverowv1 at southernct.edu > > > > I acknowledge that Southern Connecticut State University was built on > traditional territory of the indigenous peoples and nations of the > Paugusett and Quinnepiac peoples. > ------------------------------ > > *From:* Vwoolf on behalf of Mark Hussey > via Vwoolf > *Sent:* Thursday, August 10, 2023 1:27:26 PM > *To:* vwoolf at lists.osu.edu > *Subject:* [Vwoolf] BBC Culture on The Hours > > > > I am seeing refs to this article pop up in various places, and wondered > what people think of the headline?s accuracy: did The Hours (I guess they > really mean Nicole Kidman?s portrayal of VW in the film) really ?change how > > I am seeing refs to this article pop up in various places, and wondered > what people think of the headline?s accuracy: did *The Hours* (I guess > they really mean Nicole Kidman?s portrayal of VW in the film) really > ?change how we see? VW? Offline responses welcome! > > > > > https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!wlQNqyXHlLz29kbdqjo3jiX7PBsABKTAtYtTJFYuoMJLJ2DHntZ9k9HJz1NYbHkgQeOMTO02PFhZxwllQReqYmLVVA$ > > > > > _______________________________________________ > 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From ozma at sover.net Sat Aug 12 08:55:17 2023 From: ozma at sover.net (Gretchen Gerzina) Date: Sat, 12 Aug 2023 08:55:17 -0400 Subject: [Vwoolf] Charleston and Bloomsbury design Message-ID: <0ECB1309-2578-4A5B-931D-C5971D5D526A@sover.net> !-------------------------------------------------------------------| This Message Is From an External Sender This message came from outside your organization. |-------------------------------------------------------------------! As promised, here is the link to The Guardian's new article on Charleston and Bloomsbury design: https://urldefense.com/v3/__https://www.theguardian.com/fashion/2023/aug/12/charleston-house-how-fashion-world-fell-for-bloomsbury-set-country-home__;!!KGKeukY!wEQzRDbmUXDZN9yZgJYTx_8g6tYm1T91IKWJ-C-XA8bEQcot0UAZWD_6JNdG8z_7eEUdw8sDEZEa_0k$ Gretchen Gerzina ?On 8/11/23, 8:02 PM, "vwoolf-bounces+ozma=sover.net at lists.osu.edu on behalf of vwoolf-request at lists.osu.edu " on behalf of vwoolf-request at lists.osu.edu > wrote: Send Vwoolf mailing list submissions to vwoolf at lists.osu.edu To subscribe or unsubscribe via the World Wide Web, visit https://lists.osu.edu/mailman/listinfo/vwoolf or, via email, send a message with subject or body 'help' to vwoolf-request at lists.osu.edu You can reach the person managing the list at vwoolf-owner at lists.osu.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of Vwoolf digest..." Today's Topics: 1. A room of one's own sighting (Gretchen Gerzina) 2. Re: BBC Culture on The Hours (Emily Kopley) ---------------------------------------------------------------------- Message: 1 Date: Fri, 11 Aug 2023 17:41:48 -0400 From: Gretchen Gerzina > To: > Subject: [Vwoolf] A room of one's own sighting Message-ID: > Content-Type: text/plain; charset="utf-8" Here?s another decorating article based on Virginia Woolf: https://urldefense.com/v3/__https://www.houseandgarden.co.uk/article/rethinking-the-idea-of-a-room-of-ones-own__;!!KGKeukY!wzSkrxir1T55rwciUY8R9WK3rLJvN-MvLEG2vJHV7tPn0UlH8m2B38Fx5F_jGtf9lpuywu6KqQZLHvE$ Also, The Guardian is doing an article on Sussex?s Charleston Farmhouse?now with an in-town venue?in the Saturday edition. Gretchen Holbrook Gerzina -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Message: 2 Date: Fri, 11 Aug 2023 20:02:30 -0400 From: Emily Kopley > To: mhussey at verizon.net Cc: vwoolf at lists.osu.edu Subject: Re: [Vwoolf] BBC Culture on The Hours Message-ID: > Content-Type: text/plain; charset="utf-8" Hi Mark and All, This seems an opportune moment to mention a book I recently read and loved, Anna Solomon's novel *The Book of V *(2020), which is explicitly indebted to both the biblical Book of Esther ("V" is for Vashti) and to *The Hours*: it traces three related stories, each featuring a a pair of women, in three time periods (era of the Book of Esther, 1970s DC, contemporary Brooklyn). Solomon's Acknowledgments begin, "This book would not exist without two books that came first: the original *Book of Esther, *in all its bawdy splendor, and *The Hours, *whose structure helped inspire me own..*.." *Allusions to *The Hours* (or to MD or both) strengthen the link. The book is smart and witty and psychologically astute. In free indirect discourse blending realism with occasional magical realism, it explores how texts sometimes serve purposes other than those intended, how we seek and craft the narratives that we want, when and how truth matters, and how one can hold multiple and changing identities. It's also really fun. Best, Emily On Fri, Aug 11, 2023 at 11:57?AM Mark Hussey via Vwoolf < vwoolf at lists.osu.edu > wrote: > Dear Matt, Thanks so much for these fascinating thoughts?really > eye-opening for me! (One question I have been thinking a little about it > why that particular novel broke out in the way it did, when it did). I > really appreciate the time you have > > Dear Matt, > > Thanks so much for these fascinating thoughts?really eye-opening for me! > (One question I have been thinking a little about it why that particular > novel broke out in the way it did, when it did). I really appreciate the > time you have taken to send these thoughts. > > > > All the best, > > Mark > > > > *From:* Vwoolf > *On Behalf Of *Matthew > Cheney via Vwoolf > *Sent:* Friday, August 11, 2023 11:19 AM > *To:* vwoolf at lists.osu.edu > *Subject:* Re: [Vwoolf] BBC Culture on The Hours > > > > Thanks for these great reflections. The Hours as a novel brought me back > to Woolf and helped solidify my interest in her work as something more than > literary history. I was in my early 20s when the novel was released, and > had done serious reading > > Thanks for these great reflections. *The Hours* as a novel brought me > back to Woolf and helped solidify my interest in her work as something more > than literary history. I was in my early 20s when the novel was released, > and had done serious reading and study of Woolf in my college years, but > had drifted away and developed in my own mind a sense of her as not > especially relevant to the current era. (Relevancy being very important to > me in my early 20s, still not quite having escaped the deep narcissism of > adolescence.) *The Hours* was a book I read primarily because it was by > Michael Cunningham, and Woolf and *Mrs. Dalloway* were nice added bonuses. > > > > Cunningham's earlier novel *A Home at the End of the World* was very > important to me, a book I read in my first year of college in New York > City. I hadn't loved *Flesh and Blood*, his follow-up novel, which felt > too commercial to me then (how I, at that age, defined "commercial", I > hardly remember), but *The Hours* was short, involved Woolf, and was > available at the local library, so I happily gave it a shot. And was blown > away. Really, few books have affected me as quickly and deeply. (Another of > the joys of youth!) I found the structure engaging, but even more so the > sentences, which just seemed perfect to me. I was far enough away from my > Woolf studies that I didn't nitpick, but rather threw myself into the > imaginative, imagined world. It was one of those lucky moments of reading > exactly the right book at exactly the right time. Its aesthetic and > emotional structures enraptured me. I was just out of New York, AIDS was > very much on my mind, life felt terribly uncertain, and the mix of > Cunningham's mind and words with a fictive Woolf was the perfect recipe. > > > > What I remember most from the reception of the book then is how shocked I > was that Cunningham hit the mainstream and won the Pulitzer. *Flesh and > Blood* may have gotten some attention (I remember it being in quite a few > bookstores), but openly gay fiction was still pretty marginalized, and > Cunningham was seen (or so I remember) as an exciting gay novelist more > than as an exciting novelist. I had bought my cherished copy of *A Home > at the End of the World* at A Different Light bookstore, not Barnes & > Noble. Cunningham's publisher clearly saw him as someone well positioned to > break out of the niche, but as obvious as it feels in retrospect, a novel > like *The Hours* didn't quite seem like it had huge potential for > bestsellerdom. I remember a thrill when it won the Pulitzer because it felt > like a vindication of my own taste (ha!) but more importantly a recognition > of a writer who came from a world I recognized, a writer I had followed > because of his association with and attachment to that world. I hurried to > the nearest bookstore after the announcement of the Pulitzer because I > wanted to get a hardcover copy of my own, both as a memento of the moment > and as a way to thank the bookstore for having a copy in stock. > > > > The book's unexpected popularity opened up all sorts of opportunities for > conversation, too ? I remember a colleague of mine loving *The Hours* and > asking me what else to read and I suggested *A Home at the End of the > World*. She read that next and it really changed her perspective on > people who were not, like her, heterosexual, white married women. (That had > been her way into *The Hours*, and it began the process of thinking more > broadly for her, as she explained it to me, at least.) So for me the > importance of *The Hours* is less as a Woolfian novel than as part of the > gay male literary world of the 1990s. It then rekindled my interest in > Woolf, and allowed a greater sense of Woolf's work as having power for that > present moment. I went back to *Mrs. Dalloway* renewed. For a while, I > even taught a high school class using both books, but ultimately decided > they were better on their own, for me at least. > > > > I haven't watched the movie in ages, but I loved it when it came out, > mostly I think because of that sense of recognition ? something that had > been part of my own small experience was now getting worldwide attention. I > found the performances powerful (despite Nicole Kidman's nose!), the > adaptation sensitive, the somewhat gauzy respectability of it all a plus > more than a minus because it felt so strangely affirming to watch what we > might think of as a prestige picture about this subject, these people ? > remember, this is before even *Brokeback Mountain*. It's only 10 years > since *Philadelphia*. I remember coming out of the theatre after first > watching the film and just feeling overwhelmed in all sorts of ways, partly > from the story and from seeing a cherished book adapted not terribly, but > also from a sense of ... I just watched *that* in the same movie theatre > where I have seen big action movies. Also, we were only a couple years out > from 9/11 and I'm sure the representation of NYC in the film got > emotionally intertwined with that for me. (Interesting to think of the book > as pre-9/11, the movie as post-. I don't know if it makes any difference, > but I've not thought of them that way before, and it's relevant for > anything set in the city.) For all their pathos, the novel and then the > movie made me feel hopeful for a better future for both literature and life. > > > > Cheers, > > Matt Cheney > > > > On Fri, Aug 11, 2023 at 9:23?AM Mark Hussey via Vwoolf < > vwoolf at lists.osu.edu > wrote: > > Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, > I?m still hoping for more responses to my question about The Hours?? On > Thursday, August 10, 2023, 02: 02: 38 PM EDT, Pat Laurence gmail. com> wrote: > > Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries posts, > I?m still hoping for more responses to my question about The Hours?? > > > > On Thursday, August 10, 2023, 02:02:38 PM EDT, Pat Laurence < > pat.laurence at gmail.com > wrote: > > > > > > I meant to add that observations on Woolf conferences are, of course, > dated in the review. > > > > On Thu, Aug 10, 2023 at 1:59?PM Pat Laurence > > wrote: > > Following up on the Lillian Crawford review, here's mine of the Cunningham *novel, > **The Hours*, that appeared in *English Literature in Translation* (2000) > in which I assert--that despite certain breakthroughs--he does not "get the > rhythm right." > > > > Michael Cunningham, *The Hours (*New York: Farrar, Strauss, Giroux, 1998) > > > > Michael Cunningham?s *The Hours* is a novel about reading: a homage to > Virginia Woolf. It is one of many books to come out in the past few years > in which a writer or critic reflects not only on the process of reading > itself but also rambles among the works of a particularly-loved author: > Harold Bloom?s *Shakespeare: the Invention of the Human*; Alain de > Botton?s *How Proust* *Can Change Your Life*, * Not a Novel*; Stephen > Marlowe?s *The Lighthouse at the End of the World *(involving Edgar Allen > Poe). Now in Michael Cunningham?s novel, we have a fictional exploration of > Virginia Woolf?s *Mrs. Dalloway* that was called *The Hours* among other > titles in an earlier stage of the project. The idea is a fascinating one > and in Cunningham?s writing the experience of reading turns in upon itself. > It is a postmodern critical and fictional turn described by the French > literary critic, Gerard Genette: > > > > The text is that Moebius strip in which the inner and outer sides, the > signifying and the signified sides, the side of writing and the side of > reading, ceaselessly turn and cross over, in which writing is constantly > read, in which reading is constantly written and transcribed. The critic > must also enter the interplay of this strange reversible circuit and thus > become, as Proust says, and like every true reader, ?one?s own reader.? 1 > > > > We are in a hall of mirrors as we read ourselves reading Cunningham > reading Woolf. We ?participate? as readers (and writers!) of this novel in > new ways. > > > > Why are so many writers and critics preoccupied with writing about the > process of reading? Perhaps the images on the computer screen have already > darkened our reading sky as we intellectually venture into the Internet > rather than ride the well-worn magic carpet. Are we as a culture already > nostalgic about the demise of THE BOOK? Browse through any popular > periodical, and you will find that the number of articles and images of > technology far outnumber discussions or, indeed, images of books. Perhaps > then writers and critics turn to the authors they have read and loved to > pay tribute or to find inspiration and material. Perhaps they are > preserving authors from the threat of being unread as ?story? takes new > forms in hypertext, and on the Internet, CD-ROMs, television, and books on > tape. > > > > Michael Cunningham has written of his own introduction to reading Virginia > Woolf. He remembers he ?was in high school, where a very rough, difficult, > slightly crazed girl with teased hair and long fingernails, who used to > hang around behind the gym and smoke cigarettes, proclaimed her to be a > genius.? Admitting that he was not particularly ?bookish,? Cunningham found *Mrs. > Dalloway* in the local bookstore ?and the book just nailed me; I?ve > thought about it almost constantly ever since? (PW 11/2/98). > > > > It?s refreshing to me as a Virginia Woolf scholar to read a male reader > reading Woolf: a male reader, a novelist, a male-homosexual reader-writer > reading Woolf. In my attendance at the annual Virginia Woolf Society > Conference over the past nine years, I have always been struck by the small > number of men who attend or deliver papers. Is Virginia Woolf a gendered > novelist? Do only women read and like her? I remember mentioning to a Dean > in my college that I was writing a book about Virginia Woolf. He looked at > me patiently and said, ?yes, my wife reads Virginia Woolf.? Hmmm. But > perhaps this is changing, and it is interesting that some of the male > readers who may be drawn to Woolf and the sexually-liberated Bloomsberries > are homosexual. Cunningham has also written, *Home at the End of the > World*, a well-received novel which presents in alternating voices, the > stories of two boys from Cleveland (one, gay) and their families, > reflecting new formations of gender and desire. It is this exploration of > gender and desire as well as Woolf that motivates Cunningham?s Pulitzer > prize-winning novel. Through reading Woolf and reinventing (and sometimes > parroting) some of her characters and stories, Michael Cunningham writes > about new kinds of heterosexual friendship as well as heterosexual and > homosexual romance. It is this that belongs to him. > > > > But this is also a book about translation: ?It is New York City. It is the > end of the twentieth century.? Cunningham translates the story of a 1920?s > London society hostess, Mrs. Dalloway, into an American context in 1990. *Mrs. > Dalloway* is now Woolf?s hottest novel given Eileen Atkin?s film version > starring Vanessa Redgrave last year. In her *Diary*, Woolf announces ?I > want to criticize the social system, & to show it at work? (D 2, 243-44) as > well as sketch the society ladies she knew, like Sybil Colefax and Lady > Ottoline Morrell whose lives were shaped by giving parties. They were women > who like Clarissa ?could feel nothing for the Albanians, or was it the > Armenians? but she loved her roses (didn?t that help the Armenians?)? > (p.182). She worried instead about the flowers, the silver, her dress, and > most importantly, the ?art? of the guest list. For Mrs. Dalloway is Woolf?s > exploration of the ?party consciousness? just as her other books explore > other states of mind. Woolf ?deconstructs? the socialite wife of > Parlimentarian, Richard Dalloway. She ?digs tunnels behind her characters? > and shows us that Mrs. Dalloway is a woman with a youthful past as > Clarissa, a beautiful vivacious young woman in love with both the intense > Peter and the scintillating Sally. Clarissa, it should be noted, is one of > the few married women in Woolf?s novels with a first name (i.e. Mrs. > Ramsay). She is a woman who finds that ?death? happens into the middle of > her party. She overhears one of her guests, Dr. William Bradshaw, the > psychiatrist, tell the story of the sad, shell-shocked Septimus, returned > soldier from World War I, who has jumped to his death from a window that > afternoon. And so, both the party and death--?What a lark! What a plunge!? > announces Mrs. Dalloway on the first page of the novel--structures the > novel. > > > > Cunningham also uses this structure of the party and the death in his > novel. In fact, the structure, the themes, the characters, the author as > character, phrasings, and attempts at Woolf?s writing rhythm could all be > said to be derived?if we attend to slippery ?origins.? But > deconstructionists have taught us that such pursuits are futile. Let?s > observe instead how successful Cunningham is in achieving his own effect > intertwined as he is with Woolf. > > > > In his novel, he skillfully intertwines three stories all of which happen > on a single day, each told from a different woman?s point of view. First, > in Cunningham?s novel, there is the story of Woolf herself trying > desperately to work on her manuscript of *Mrs. Dalloway* in 1923 as she > deals with the distractions of a visit from her sister Vanessa and her > husband Leonard?s work on the Hogarth Press, a press they acquired in 1915 > as part of Virginia?s therapy. The second tale, takes Woolf?s legendary > character, Mrs. Brown, from a 1923 article, ?Mr. Bennett and Mrs. Brown,? > in which Woolf queries how she, as a modernist author, is to describe a > dowdy woman whom she observes in the corner of a railway car. It is an > important essay in which Woolf sets out modernist principles for the > development of ?character.? Here she questions the Edwardian authors, John > Galsworthy, Arnold Bennett and H. G. Wells, who will describe the legendary > Mrs. Brown according to ?realist? modes?where she resides, how much income > she earns--what is she like from the ?outside.? Challenging this mode of > character development, Woolf will advance the modernist platform, and her > interest in interiority. She will be interested in what Mrs. Brown thinks > and feels, or as described in another novel, ?what is unsaid.? Since this > is a review that is not only about Cunningham reading Woolf but I, as a > critic and scholar, reading Woolf and reading Cunningham reading Woolf, you > may very well say, ?leave your knowledge of Mrs. Brown out of this > review.? But how can I? > > > > The traces of Woolf?s Mrs. Brown and Woolf?s larger fictional questions > are present in my mind as I read Cunningham. How do we describe and develop > ?character? in fiction. I read and observe Cunningham?s transformation of > Mrs. Brown from a frumpily dressed 1920?s Englishwoman in the corner of a > railway car to a 1990?s American housewife, mother of a young son, Laura > Brown. The translation of British themes and times, England in 1921 with > shell-shocked soldiers struggling with insanity just after the war, to the > America of the 1990?s experiencing an Aids epidemic and the fallout from > the women?s liberation movement of the 1960?s. The story of Laura Brown, > the depressed housewife, is the best of Cunningham?s three. Here he hits > his OWN stride. The plot is simple. Mrs. Brown is an unfulfilled housewife > with a young child who adores her (much like James with Mrs. Ramsay in *To > the Lighthouse*), pregnant with another child, living in Los Angeles. On > this particular morning in 1923, we find her planning a small party, a > birthday party, and attempting to make a proper cake. Delightfully (for all > literary mothers with such fantasies), she escapes her unsuccessful baking > day to go off to a hotel to rent a room (no. 19 where Doris Lessing also > places her suicidal housewife) for a few hours to read (can you guess?) *Mrs. > Dalloway*. The wickedness of modern brainy moms: an illicit day in June > spent in a hotel room reading Woolf. As Mrs. Dalloway says in Woolf?s > novel, ?It is very very dangerous to live even one day.? And one of the > messages of this novel is that reading can sometimes save one from danger. > > > > For in the third story in Cunningham?s novel that artfully intertwines > with the second, is about Richard, the young son of Laura Brown. He has > watched her every unhappy mood, thought and action with unnatural attention > and love, and he grows up to become a writer born of his mother, the > reader. He is now dying of Aids. One of his best friends is Clarissa > Vaughan, a woman of about fifty, a lesbian who lives in Greenwich Village, > with whom he has shared intimacy of a certain sort in youth. He is modelled > on Peter in Woolf?s novel but there is a homosexual reversal in the plot. > Judith Butler?s challenge to the ?heterosexual matrix? of literature is > actualized in Cunningham?s new glance at relationships. The happiness of > the traditional marriage plot (Laura Brown and her husband) is > reconsidered; homosexual relationships become more central. Clarissa, a > lesbian in Cunningham?s novel is planning a party for Richard who has just > received a literary prize. But the party never happens for this Richard > like Septimus in Woolf?s novel plunges out of a window to his death, unable > to deal with his deteriorating physical condition. Is there an implied > connection implied between Laura Brown?s depression, thoughts of suicide, > and her son?s plunge to his death? In this novel, the party, a metaphor for > the continuing celebration of life, does not prevail as it does in Woolf?s > novel. The party never happens; death does. And herein lies the difference > between Woolf and Cunningham?s vision. > > > > His novel is the underside of Woolf?s: he teases out the homosexual > subtext that Woolf critics have observed. He plays upon the knowledge of > Woolf?s brief physical relationship with Vita SackvilleWest which began in > 1925 just when *Mrs. Dalloway* was published. Though Clarissa makes a > heterosexual choice in Woolf?s novel, Cunningham?s Clarissa and Richard > make another, questioning and creating new forms of romance and > relationship, culturally and fictionally. > > > > But another reader, not the scholarly reader, but the ?common reader? > might say to this reviewer: I?ve never really read Woolf. Or I tried to > read *To the* *Lighthouse* in college but nothing ever seems to happen or > didn?t Woolf commit suicide or wasn?t she a lesbian or I don?t know who > Mrs. Brown is or I?ve only seen the movie. Such a reader might say, ?I like > Michael Cunningham?s novel because he helps me to read Woolf.? Woolf is now > so burdened with the cult of personality haunting most authors today: her > manic-depressive patterns, her notorious suicide, walking in a trance into > the River Ouse with her walking stick. Death in the middle of the river of > her words. Perhaps for these readers?for this essay is about different > readers?Michael Cunningham has done a service. We read a version of Woolf > through reading Michael Cunningham. > > > > But for those of us who do read and love Woolf, Cunningham can be clever, > yes; imaginative, yes; slick, yes: a writer of ambition. Given that he has > created three ingenious plots and taken his characters and inspiration from > Woolf, what might we now say about his writing style and presentation of > mind on the page, Woolf?s great gifts to the twentieth-century novel. > Cunningham himself mentions in interviews that he greatly admires her style > and has ambitions to achieve it in his own writing, and reviewers, in turn, > praise his ?poetic? style comparing it to Woolf?s. Let?s compare parallel > scenes to illuminate the differences. Interestingly, as someone who knows > Woolf?s novel well, one feels the ghostly presence of Woolf throughout, as > if Cunningham has Mrs. Dalloway open before him as he pens his shadow > novel. Let?s compare Cunningham?s passage about Clarissa on 8th Street & 5 > th Avenue in New York with Woolf?s Clarissa crossing Victoria Street in > London: > > > > She straightens her shoulders as she stands at the corner of Eighth Street > and Fifth Avenue, waiting for the light. There she is, thinks Willie Bass, > who passes her some mornings just about here. The old beauty, the old > hippie, hair still long and defiantly gray, out on her morning rounds in > jeans and a man?s cotton shirt, some sort of ethnic slippers (India? > Central America?) on her feet. She still has a certain sexiness; a certain > bohemian, good-witch sort of charm; and yet this morning she makes a tragic > sight, standing so straight in her big shirt and exotic shoes, resisting > the pull of gravity, a female mammoth already up to its knees in the tar, > taking a rest between efforts, standing bulky and proud, almost nonchalant, > pretending to contemplate the tender grasses waiting on the far bank when > it is beginning to know for certain the it will remain here, trapped and > alone, after dark, when the jackals come out. She waits patiently for the > light. (Cunningham, p.13) > > > > > > > > > > Woolf?s Clarissa: > > > > She stiffened a little on the kerb, waiting for Durtnall?s van to pass. A > charming woman, Scrope Purvis thought her (knowing her as one does know > people who live next door to one in Westminster); a touch of the bird about > her, of the jay, blue-green, light, vivacious, though she was over fifty, > and grown very white since her illness. There she perched, never seeing > him, waiting to cross, very upright. > > For having lived in Westminster?how many years now? Over twenty,--one > feels even in the midst of the traffic, or waking at night, Clarissa was > positive, a particular hush, or solemnity; an indescribable pause; a > suspense (but that might be her heart, affected, they said, by influenza) > before Big Ben Strikes. There! (Woolf p. 4) > > > > Woolf?s sentences here pass through time, minds, and emotion as she > collapses the partitions of the mind, boundaries between narrator and > characters, speech and thought, indeed, what is outward and what is inward. > She weaves in and out of different kinds of consciousness: from third > person narration to Scope Purvis?s mind, to the narrator?s brilliant > metaphor that merges narrator and character, to Clarissa?s mind. Deftly, > she describes Clarissa with ?a touch of the bird about her, of the jay.? > She is never physically described; indeed Clarissa like many of Woolf?s > characters does not seem to have a body. On the other hand, note the leaden > adjectives in Cunningham?s description: his Clarissa ?treads? the ground in > ethnic slippers, ?a female mammoth,? with a slick ?good-witch sort of > charm.? Mired in literal, cliched adjectives, Cunningham barely touches the > flight of Woolf?s mind, sentences and metaphors. And herein lies the > difference. > > > > Woolf said of her own writing of a morning: ?style is a very simple > matter; it is all rhythm. Once you get that, you can?t use the wrong words? > (*Letters* III, p.242). Those who know the pulses of Woolf?s > scintillating, dancing sentences and expressions of mind and heart on the > page know that Cunningham--despite his accomplishments in this novel--does > not get the rhythm right. > > > > 1 Gerard Genette, *Figures of Literary Discourse*. Trans. Alan Sheridan. > New York: Columbia > > UP, 1982, p.70. > > > > Patricia Laurence, > > Professor Emerita > > English Department > > City College of New York > > *English Literature in Translation* (2000) > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf < > vwoolf at lists.osu.edu > wrote: > > Online ones would be more fun?. !!! Vara Neverow (she/her/hers) Professor, > English Department and Women?s and Gender Studies Program Managing Editor, > Virginia Woolf Miscellany Southern Connecticut State University New Haven, > CT 06515 203-392-6717 > > Online ones would be more fun?.!!! > > > > Vara Neverow > > (she/her/hers) > > Professor, English Department and Women?s and Gender Studies Program > > Managing Editor, Virginia Woolf Miscellany > > Southern Connecticut State University > > New Haven, CT 06515 > > 203-392-6717 > > neverowv1 at southernct.edu > > > > I acknowledge that Southern Connecticut State University was built on > traditional territory of the indigenous peoples and nations of the > Paugusett and Quinnepiac peoples. > ------------------------------ > > *From:* Vwoolf > on behalf of Mark Hussey > via Vwoolf > > *Sent:* Thursday, August 10, 2023 1:27:26 PM > *To:* vwoolf at lists.osu.edu > > *Subject:* [Vwoolf] BBC Culture on The Hours > > > > I am seeing refs to this article pop up in various places, and wondered > what people think of the headline?s accuracy: did The Hours (I guess they > really mean Nicole Kidman?s portrayal of VW in the film) really ?change how > > I am seeing refs to this article pop up in various places, and wondered > what people think of the headline?s accuracy: did *The Hours* (I guess > they really mean Nicole Kidman?s portrayal of VW in the film) really > ?change how we see? VW? Offline responses welcome! > > > > > https://urldefense.com/v3/__https://www.bbc.com/culture/article/20230808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;!!KGKeukY!wlQNqyXHlLz29kbdqjo3jiX7PBsABKTAtYtTJFYuoMJLJ2DHntZ9k9HJz1NYbHkgQeOMTO02PFhZxwllQReqYmLVVA$ > > > > > > _______________________________________________ > 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Subject: Digest Footer _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf ------------------------------ End of Vwoolf Digest, Vol 135, Issue 19 *************************************** From mhussey at verizon.net Sun Aug 13 17:14:30 2023 From: mhussey at verizon.net (mhussey at verizon.net) Date: Sun, 13 Aug 2023 17:14:30 -0400 Subject: [Vwoolf] Charleston and Bloomsbury design In-Reply-To: <0ECB1309-2578-4A5B-931D-C5971D5D526A@sover.net> References: <0ECB1309-2578-4A5B-931D-C5971D5D526A@sover.net> Message-ID: <006101d9ce2b$26d9e4f0$748daed0$@verizon.net> !-------------------------------------------------------------------| This Message Is From an External Sender This message came from outside your organization. |-------------------------------------------------------------------! Thank you for sending this, Gretchen. I just read all the comments on the article and was struck by how alive and well Bloomsbury bashing still is in England! Such venom (as well as the usual misconceptions and simple ignorance of facts, or opinions presented as facts). -----Original Message----- From: Vwoolf On Behalf Of Gretchen Gerzina via Vwoolf Sent: Saturday, August 12, 2023 8:55 AM To: vwoolf at lists.osu.edu Subject: [Vwoolf] Charleston and Bloomsbury design As promised, here is the link to The Guardian's new article on Charleston and Bloomsbury design: https://urldefense.com/v3/__https://www.theguardian.com/fashion/2023/aug/12/charleston-house-how-fashion-world-fell-for-bloomsbury-set-country-home__;!!KGKeukY!wEQzRDbmUXDZN9yZgJYTx_8g6tYm1T91IKWJ-C-XA8bEQcot0UAZWD_6JNdG8z_7eEUdw8sDEZEa_0k$ Gretchen Gerzina ?On 8/11/23, 8:02 PM, "vwoolf-bounces+ozma=sover.net at lists.osu.edu on behalf of vwoolf-request at lists.osu.edu " on behalf of vwoolf-request at lists.osu.edu > wrote: Send Vwoolf mailing list submissions to vwoolf at lists.osu.edu To subscribe or unsubscribe via the World Wide Web, visit https://lists.osu.edu/mailman/listinfo/vwoolf or, via email, send a message with subject or body 'help' to vwoolf-request at lists.osu.edu You can reach the person managing the list at vwoolf-owner at lists.osu.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of Vwoolf digest..." Today's Topics: 1. A room of one's own sighting (Gretchen Gerzina) 2. Re: BBC Culture on The Hours (Emily Kopley) ---------------------------------------------------------------------- Message: 1 Date: Fri, 11 Aug 2023 17:41:48 -0400 From: Gretchen Gerzina > To: > Subject: [Vwoolf] A room of one's own sighting Message-ID: > Content-Type: text/plain; charset="utf-8" Here?s another decorating article based on Virginia Woolf: https://urldefense.com/v3/__https://www.houseandgarden.co.uk/article/rethinking-the-idea-of-a-room-of-ones-own__;!!KGKeukY!wzSkrxir1T55rwciUY8R9WK3rLJvN-MvLEG2vJHV7tPn0UlH8m2B38Fx5F_jGtf9lpuywu6KqQZLHvE$ Also, The Guardian is doing an article on Sussex?s Charleston Farmhouse?now with an in-town venue?in the Saturday edition. Gretchen Holbrook Gerzina -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Message: 2 Date: Fri, 11 Aug 2023 20:02:30 -0400 From: Emily Kopley > To: mhussey at verizon.net Cc: vwoolf at lists.osu.edu Subject: Re: [Vwoolf] BBC Culture on The Hours Message-ID: > Content-Type: text/plain; charset="utf-8" Hi Mark and All, This seems an opportune moment to mention a book I recently read and loved, Anna Solomon's novel *The Book of V *(2020), which is explicitly indebted to both the biblical Book of Esther ("V" is for Vashti) and to *The Hours*: it traces three related stories, each featuring a a pair of women, in three time periods (era of the Book of Esther, 1970s DC, contemporary Brooklyn). Solomon's Acknowledgments begin, "This book would not exist without two books that came first: the original *Book of Esther, *in all its bawdy splendor, and *The Hours, *whose structure helped inspire me own..*.." *Allusions to *The Hours* (or to MD or both) strengthen the link. The book is smart and witty and psychologically astute. In free indirect discourse blending realism with occasional magical realism, it explores how texts sometimes serve purposes other than those intended, how we seek and craft the narratives that we want, when and how truth matters, and how one can hold multiple and changing identities. It's also really fun. Best, Emily On Fri, Aug 11, 2023 at 11:57?AM Mark Hussey via Vwoolf < vwoolf at lists.osu.edu > wrote: > Dear Matt, Thanks so much for these fascinating thoughts?really > eye-opening for me! (One question I have been thinking a little about > it why that particular novel broke out in the way it did, when it > did). I really appreciate the time you have > > Dear Matt, > > Thanks so much for these fascinating thoughts?really eye-opening for me! > (One question I have been thinking a little about it why that > particular novel broke out in the way it did, when it did). I really > appreciate the time you have taken to send these thoughts. > > > > All the best, > > Mark > > > > *From:* Vwoolf > *On Behalf Of *Matthew Cheney > via Vwoolf > *Sent:* Friday, August 11, 2023 11:19 AM > *To:* vwoolf at lists.osu.edu > *Subject:* Re: [Vwoolf] BBC Culture on The Hours > > > > Thanks for these great reflections. The Hours as a novel brought me > back to Woolf and helped solidify my interest in her work as something > more than literary history. I was in my early 20s when the novel was > released, and had done serious reading > > Thanks for these great reflections. *The Hours* as a novel brought me > back to Woolf and helped solidify my interest in her work as something > more than literary history. I was in my early 20s when the novel was > released, and had done serious reading and study of Woolf in my > college years, but had drifted away and developed in my own mind a > sense of her as not especially relevant to the current era. (Relevancy > being very important to me in my early 20s, still not quite having > escaped the deep narcissism of > adolescence.) *The Hours* was a book I read primarily because it was > by Michael Cunningham, and Woolf and *Mrs. Dalloway* were nice added bonuses. > > > > Cunningham's earlier novel *A Home at the End of the World* was very > important to me, a book I read in my first year of college in New York > City. I hadn't loved *Flesh and Blood*, his follow-up novel, which > felt too commercial to me then (how I, at that age, defined > "commercial", I hardly remember), but *The Hours* was short, involved > Woolf, and was available at the local library, so I happily gave it a > shot. And was blown away. Really, few books have affected me as > quickly and deeply. (Another of the joys of youth!) I found the > structure engaging, but even more so the sentences, which just seemed > perfect to me. I was far enough away from my Woolf studies that I > didn't nitpick, but rather threw myself into the imaginative, imagined > world. It was one of those lucky moments of reading exactly the right > book at exactly the right time. Its aesthetic and emotional structures > enraptured me. I was just out of New York, AIDS was very much on my > mind, life felt terribly uncertain, and the mix of Cunningham's mind and words with a fictive Woolf was the perfect recipe. > > > > What I remember most from the reception of the book then is how > shocked I was that Cunningham hit the mainstream and won the Pulitzer. > *Flesh and > Blood* may have gotten some attention (I remember it being in quite a > few bookstores), but openly gay fiction was still pretty marginalized, > and Cunningham was seen (or so I remember) as an exciting gay novelist > more than as an exciting novelist. I had bought my cherished copy of > *A Home at the End of the World* at A Different Light bookstore, not > Barnes & Noble. Cunningham's publisher clearly saw him as someone well > positioned to break out of the niche, but as obvious as it feels in > retrospect, a novel like *The Hours* didn't quite seem like it had > huge potential for bestsellerdom. I remember a thrill when it won the > Pulitzer because it felt like a vindication of my own taste (ha!) but > more importantly a recognition of a writer who came from a world I > recognized, a writer I had followed because of his association with > and attachment to that world. I hurried to the nearest bookstore after > the announcement of the Pulitzer because I wanted to get a hardcover > copy of my own, both as a memento of the moment and as a way to thank the bookstore for having a copy in stock. > > > > The book's unexpected popularity opened up all sorts of opportunities > for conversation, too ? I remember a colleague of mine loving *The > Hours* and asking me what else to read and I suggested *A Home at the > End of the World*. She read that next and it really changed her > perspective on people who were not, like her, heterosexual, white > married women. (That had been her way into *The Hours*, and it began > the process of thinking more broadly for her, as she explained it to > me, at least.) So for me the importance of *The Hours* is less as a > Woolfian novel than as part of the gay male literary world of the > 1990s. It then rekindled my interest in Woolf, and allowed a greater > sense of Woolf's work as having power for that present moment. I went > back to *Mrs. Dalloway* renewed. For a while, I even taught a high > school class using both books, but ultimately decided they were better on their own, for me at least. > > > > I haven't watched the movie in ages, but I loved it when it came out, > mostly I think because of that sense of recognition ? something that > had been part of my own small experience was now getting worldwide > attention. I found the performances powerful (despite Nicole Kidman's > nose!), the adaptation sensitive, the somewhat gauzy respectability of > it all a plus more than a minus because it felt so strangely affirming > to watch what we might think of as a prestige picture about this subject, these people ? > remember, this is before even *Brokeback Mountain*. It's only 10 years > since *Philadelphia*. I remember coming out of the theatre after first > watching the film and just feeling overwhelmed in all sorts of ways, > partly from the story and from seeing a cherished book adapted not > terribly, but also from a sense of ... I just watched *that* in the > same movie theatre where I have seen big action movies. Also, we were > only a couple years out from 9/11 and I'm sure the representation of > NYC in the film got emotionally intertwined with that for me. > (Interesting to think of the book as pre-9/11, the movie as post-. I > don't know if it makes any difference, but I've not thought of them > that way before, and it's relevant for anything set in the city.) For > all their pathos, the novel and then the movie made me feel hopeful for a better future for both literature and life. > > > > Cheers, > > Matt Cheney > > > > On Fri, Aug 11, 2023 at 9:23?AM Mark Hussey via Vwoolf < > vwoolf at lists.osu.edu > wrote: > > Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries > posts, I?m still hoping for more responses to my question about The > Hours?? On Thursday, August 10, 2023, 02: 02: 38 PM EDT, Pat Laurence > wrote: > > Thanks Pat and Trudi. And much as I am enjoying the cozy mysteries > posts, I?m still hoping for more responses to my question about The Hours?? > > > > On Thursday, August 10, 2023, 02:02:38 PM EDT, Pat Laurence < > pat.laurence at gmail.com > wrote: > > > > > > I meant to add that observations on Woolf conferences are, of course, > dated in the review. > > > > On Thu, Aug 10, 2023 at 1:59?PM Pat Laurence > > wrote: > > Following up on the Lillian Crawford review, here's mine of the > Cunningham *novel, **The Hours*, that appeared in *English Literature > in Translation* (2000) in which I assert--that despite certain > breakthroughs--he does not "get the rhythm right." > > > > Michael Cunningham, *The Hours (*New York: Farrar, Strauss, Giroux, > 1998) > > > > Michael Cunningham?s *The Hours* is a novel about reading: a homage to > Virginia Woolf. It is one of many books to come out in the past few > years in which a writer or critic reflects not only on the process of > reading itself but also rambles among the works of a particularly-loved author: > Harold Bloom?s *Shakespeare: the Invention of the Human*; Alain de > Botton?s *How Proust* *Can Change Your Life*, * Not a Novel*; Stephen > Marlowe?s *The Lighthouse at the End of the World *(involving Edgar > Allen Poe). Now in Michael Cunningham?s novel, we have a fictional > exploration of Virginia Woolf?s *Mrs. Dalloway* that was called *The > Hours* among other titles in an earlier stage of the project. The idea > is a fascinating one and in Cunningham?s writing the experience of reading turns in upon itself. > It is a postmodern critical and fictional turn described by the French > literary critic, Gerard Genette: > > > > The text is that Moebius strip in which the inner and outer sides, the > signifying and the signified sides, the side of writing and the side > of reading, ceaselessly turn and cross over, in which writing is > constantly read, in which reading is constantly written and > transcribed. The critic must also enter the interplay of this strange > reversible circuit and thus become, as Proust says, and like every > true reader, ?one?s own reader.? 1 > > > > We are in a hall of mirrors as we read ourselves reading Cunningham > reading Woolf. We ?participate? as readers (and writers!) of this > novel in new ways. > > > > Why are so many writers and critics preoccupied with writing about the > process of reading? Perhaps the images on the computer screen have > already darkened our reading sky as we intellectually venture into the > Internet rather than ride the well-worn magic carpet. Are we as a > culture already nostalgic about the demise of THE BOOK? Browse through > any popular periodical, and you will find that the number of articles > and images of technology far outnumber discussions or, indeed, images > of books. Perhaps then writers and critics turn to the authors they > have read and loved to pay tribute or to find inspiration and > material. Perhaps they are preserving authors from the threat of being > unread as ?story? takes new forms in hypertext, and on the Internet, > CD-ROMs, television, and books on tape. > > > > Michael Cunningham has written of his own introduction to reading > Virginia Woolf. He remembers he ?was in high school, where a very > rough, difficult, slightly crazed girl with teased hair and long > fingernails, who used to hang around behind the gym and smoke > cigarettes, proclaimed her to be a genius.? Admitting that he was not particularly ?bookish,? Cunningham found *Mrs. > Dalloway* in the local bookstore ?and the book just nailed me; I?ve > thought about it almost constantly ever since? (PW 11/2/98). > > > > It?s refreshing to me as a Virginia Woolf scholar to read a male > reader reading Woolf: a male reader, a novelist, a male-homosexual > reader-writer reading Woolf. In my attendance at the annual Virginia > Woolf Society Conference over the past nine years, I have always been > struck by the small number of men who attend or deliver papers. Is > Virginia Woolf a gendered novelist? Do only women read and like her? I > remember mentioning to a Dean in my college that I was writing a book > about Virginia Woolf. He looked at me patiently and said, ?yes, my > wife reads Virginia Woolf.? Hmmm. But perhaps this is changing, and it > is interesting that some of the male readers who may be drawn to Woolf > and the sexually-liberated Bloomsberries are homosexual. Cunningham > has also written, *Home at the End of the World*, a well-received > novel which presents in alternating voices, the stories of two boys > from Cleveland (one, gay) and their families, reflecting new > formations of gender and desire. It is this exploration of gender and > desire as well as Woolf that motivates Cunningham?s Pulitzer > prize-winning novel. Through reading Woolf and reinventing (and > sometimes > parroting) some of her characters and stories, Michael Cunningham > writes about new kinds of heterosexual friendship as well as > heterosexual and homosexual romance. It is this that belongs to him. > > > > But this is also a book about translation: ?It is New York City. It is > the end of the twentieth century.? Cunningham translates the story of > a 1920?s London society hostess, Mrs. Dalloway, into an American context in 1990. *Mrs. > Dalloway* is now Woolf?s hottest novel given Eileen Atkin?s film > version starring Vanessa Redgrave last year. In her *Diary*, Woolf > announces ?I want to criticize the social system, & to show it at > work? (D 2, 243-44) as well as sketch the society ladies she knew, > like Sybil Colefax and Lady Ottoline Morrell whose lives were shaped > by giving parties. They were women who like Clarissa ?could feel > nothing for the Albanians, or was it the Armenians? but she loved her roses (didn?t that help the Armenians?)? > (p.182). She worried instead about the flowers, the silver, her dress, > and most importantly, the ?art? of the guest list. For Mrs. Dalloway > is Woolf?s exploration of the ?party consciousness? just as her other > books explore other states of mind. Woolf ?deconstructs? the socialite > wife of Parlimentarian, Richard Dalloway. She ?digs tunnels behind her characters? > and shows us that Mrs. Dalloway is a woman with a youthful past as > Clarissa, a beautiful vivacious young woman in love with both the > intense Peter and the scintillating Sally. Clarissa, it should be > noted, is one of the few married women in Woolf?s novels with a first name (i.e. Mrs. > Ramsay). She is a woman who finds that ?death? happens into the middle > of her party. She overhears one of her guests, Dr. William Bradshaw, > the psychiatrist, tell the story of the sad, shell-shocked Septimus, > returned soldier from World War I, who has jumped to his death from a > window that afternoon. And so, both the party and death--?What a lark! What a plunge!? > announces Mrs. Dalloway on the first page of the novel--structures the > novel. > > > > Cunningham also uses this structure of the party and the death in his > novel. In fact, the structure, the themes, the characters, the author > as character, phrasings, and attempts at Woolf?s writing rhythm could > all be said to be derived?if we attend to slippery ?origins.? But > deconstructionists have taught us that such pursuits are futile. Let?s > observe instead how successful Cunningham is in achieving his own > effect intertwined as he is with Woolf. > > > > In his novel, he skillfully intertwines three stories all of which > happen on a single day, each told from a different woman?s point of > view. First, in Cunningham?s novel, there is the story of Woolf > herself trying desperately to work on her manuscript of *Mrs. > Dalloway* in 1923 as she deals with the distractions of a visit from > her sister Vanessa and her husband Leonard?s work on the Hogarth > Press, a press they acquired in 1915 as part of Virginia?s therapy. > The second tale, takes Woolf?s legendary character, Mrs. Brown, from a 1923 article, ?Mr. Bennett and Mrs. Brown,? > in which Woolf queries how she, as a modernist author, is to describe > a dowdy woman whom she observes in the corner of a railway car. It is > an important essay in which Woolf sets out modernist principles for > the development of ?character.? Here she questions the Edwardian > authors, John Galsworthy, Arnold Bennett and H. G. Wells, who will > describe the legendary Mrs. Brown according to ?realist? modes?where > she resides, how much income she earns--what is she like from the > ?outside.? Challenging this mode of character development, Woolf will > advance the modernist platform, and her interest in interiority. She > will be interested in what Mrs. Brown thinks and feels, or as > described in another novel, ?what is unsaid.? Since this is a review > that is not only about Cunningham reading Woolf but I, as a critic and > scholar, reading Woolf and reading Cunningham reading Woolf, you may > very well say, ?leave your knowledge of Mrs. Brown out of this review.? But how can I? > > > > The traces of Woolf?s Mrs. Brown and Woolf?s larger fictional > questions are present in my mind as I read Cunningham. How do we > describe and develop ?character? in fiction. I read and observe > Cunningham?s transformation of Mrs. Brown from a frumpily dressed > 1920?s Englishwoman in the corner of a railway car to a 1990?s > American housewife, mother of a young son, Laura Brown. The > translation of British themes and times, England in 1921 with > shell-shocked soldiers struggling with insanity just after the war, to > the America of the 1990?s experiencing an Aids epidemic and the > fallout from the women?s liberation movement of the 1960?s. The story > of Laura Brown, the depressed housewife, is the best of Cunningham?s > three. Here he hits his OWN stride. The plot is simple. Mrs. Brown is > an unfulfilled housewife with a young child who adores her (much like > James with Mrs. Ramsay in *To the Lighthouse*), pregnant with another > child, living in Los Angeles. On this particular morning in 1923, we > find her planning a small party, a birthday party, and attempting to > make a proper cake. Delightfully (for all literary mothers with such > fantasies), she escapes her unsuccessful baking day to go off to a hotel to rent a room (no. 19 where Doris Lessing also places her suicidal housewife) for a few hours to read (can you guess?) *Mrs. > Dalloway*. The wickedness of modern brainy moms: an illicit day in > June spent in a hotel room reading Woolf. As Mrs. Dalloway says in > Woolf?s novel, ?It is very very dangerous to live even one day.? And > one of the messages of this novel is that reading can sometimes save one from danger. > > > > For in the third story in Cunningham?s novel that artfully intertwines > with the second, is about Richard, the young son of Laura Brown. He > has watched her every unhappy mood, thought and action with unnatural > attention and love, and he grows up to become a writer born of his > mother, the reader. He is now dying of Aids. One of his best friends > is Clarissa Vaughan, a woman of about fifty, a lesbian who lives in > Greenwich Village, with whom he has shared intimacy of a certain sort > in youth. He is modelled on Peter in Woolf?s novel but there is a homosexual reversal in the plot. > Judith Butler?s challenge to the ?heterosexual matrix? of literature > is actualized in Cunningham?s new glance at relationships. The > happiness of the traditional marriage plot (Laura Brown and her > husband) is reconsidered; homosexual relationships become more > central. Clarissa, a lesbian in Cunningham?s novel is planning a party > for Richard who has just received a literary prize. But the party > never happens for this Richard like Septimus in Woolf?s novel plunges > out of a window to his death, unable to deal with his deteriorating > physical condition. Is there an implied connection implied between > Laura Brown?s depression, thoughts of suicide, and her son?s plunge to > his death? In this novel, the party, a metaphor for the continuing > celebration of life, does not prevail as it does in Woolf?s novel. The > party never happens; death does. And herein lies the difference between Woolf and Cunningham?s vision. > > > > His novel is the underside of Woolf?s: he teases out the homosexual > subtext that Woolf critics have observed. He plays upon the knowledge > of Woolf?s brief physical relationship with Vita SackvilleWest which > began in > 1925 just when *Mrs. Dalloway* was published. Though Clarissa makes a > heterosexual choice in Woolf?s novel, Cunningham?s Clarissa and > Richard make another, questioning and creating new forms of romance > and relationship, culturally and fictionally. > > > > But another reader, not the scholarly reader, but the ?common reader? > might say to this reviewer: I?ve never really read Woolf. Or I tried > to read *To the* *Lighthouse* in college but nothing ever seems to > happen or didn?t Woolf commit suicide or wasn?t she a lesbian or I > don?t know who Mrs. Brown is or I?ve only seen the movie. Such a > reader might say, ?I like Michael Cunningham?s novel because he helps > me to read Woolf.? Woolf is now so burdened with the cult of > personality haunting most authors today: her manic-depressive > patterns, her notorious suicide, walking in a trance into the River > Ouse with her walking stick. Death in the middle of the river of her > words. Perhaps for these readers?for this essay is about different > readers?Michael Cunningham has done a service. We read a version of Woolf through reading Michael Cunningham. > > > > But for those of us who do read and love Woolf, Cunningham can be > clever, yes; imaginative, yes; slick, yes: a writer of ambition. Given > that he has created three ingenious plots and taken his characters and > inspiration from Woolf, what might we now say about his writing style > and presentation of mind on the page, Woolf?s great gifts to the twentieth-century novel. > Cunningham himself mentions in interviews that he greatly admires her > style and has ambitions to achieve it in his own writing, and > reviewers, in turn, praise his ?poetic? style comparing it to Woolf?s. > Let?s compare parallel scenes to illuminate the differences. > Interestingly, as someone who knows Woolf?s novel well, one feels the > ghostly presence of Woolf throughout, as if Cunningham has Mrs. > Dalloway open before him as he pens his shadow novel. Let?s compare > Cunningham?s passage about Clarissa on 8th Street & 5 th Avenue in New > York with Woolf?s Clarissa crossing Victoria Street in > London: > > > > She straightens her shoulders as she stands at the corner of Eighth > Street and Fifth Avenue, waiting for the light. There she is, thinks > Willie Bass, who passes her some mornings just about here. The old > beauty, the old hippie, hair still long and defiantly gray, out on her > morning rounds in jeans and a man?s cotton shirt, some sort of ethnic slippers (India? > Central America?) on her feet. She still has a certain sexiness; a > certain bohemian, good-witch sort of charm; and yet this morning she > makes a tragic sight, standing so straight in her big shirt and exotic > shoes, resisting the pull of gravity, a female mammoth already up to > its knees in the tar, taking a rest between efforts, standing bulky > and proud, almost nonchalant, pretending to contemplate the tender > grasses waiting on the far bank when it is beginning to know for > certain the it will remain here, trapped and alone, after dark, when > the jackals come out. She waits patiently for the light. (Cunningham, > p.13) > > > > > > > > > > Woolf?s Clarissa: > > > > She stiffened a little on the kerb, waiting for Durtnall?s van to > pass. A charming woman, Scrope Purvis thought her (knowing her as one > does know people who live next door to one in Westminster); a touch of > the bird about her, of the jay, blue-green, light, vivacious, though > she was over fifty, and grown very white since her illness. There she > perched, never seeing him, waiting to cross, very upright. > > For having lived in Westminster?how many years now? Over twenty,--one > feels even in the midst of the traffic, or waking at night, Clarissa > was positive, a particular hush, or solemnity; an indescribable pause; > a suspense (but that might be her heart, affected, they said, by > influenza) before Big Ben Strikes. There! (Woolf p. 4) > > > > Woolf?s sentences here pass through time, minds, and emotion as she > collapses the partitions of the mind, boundaries between narrator and > characters, speech and thought, indeed, what is outward and what is inward. > She weaves in and out of different kinds of consciousness: from third > person narration to Scope Purvis?s mind, to the narrator?s brilliant > metaphor that merges narrator and character, to Clarissa?s mind. > Deftly, she describes Clarissa with ?a touch of the bird about her, of the jay.? > She is never physically described; indeed Clarissa like many of > Woolf?s characters does not seem to have a body. On the other hand, > note the leaden adjectives in Cunningham?s description: his Clarissa > ?treads? the ground in ethnic slippers, ?a female mammoth,? with a > slick ?good-witch sort of charm.? Mired in literal, cliched > adjectives, Cunningham barely touches the flight of Woolf?s mind, > sentences and metaphors. And herein lies the difference. > > > > Woolf said of her own writing of a morning: ?style is a very simple > matter; it is all rhythm. Once you get that, you can?t use the wrong words? > (*Letters* III, p.242). Those who know the pulses of Woolf?s > scintillating, dancing sentences and expressions of mind and heart on > the page know that Cunningham--despite his accomplishments in this > novel--does not get the rhythm right. > > > > 1 Gerard Genette, *Figures of Literary Discourse*. Trans. Alan Sheridan. > New York: Columbia > > UP, 1982, p.70. > > > > Patricia Laurence, > > Professor Emerita > > English Department > > City College of New York > > *English Literature in Translation* (2000) > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > On Thu, Aug 10, 2023 at 1:29?PM Neverow, Vara S. via Vwoolf < > vwoolf at lists.osu.edu > wrote: > > Online ones would be more fun?. !!! Vara Neverow (she/her/hers) > Professor, English Department and Women?s and Gender Studies Program > Managing Editor, Virginia Woolf Miscellany Southern Connecticut State > University New Haven, CT 06515 203-392-6717 > > Online ones would be more fun?.!!! > > > > Vara Neverow > > (she/her/hers) > > Professor, English Department and Women?s and Gender Studies Program > > Managing Editor, Virginia Woolf Miscellany > > Southern Connecticut State University > > New Haven, CT 06515 > > 203-392-6717 > > neverowv1 at southernct.edu > > > > I acknowledge that Southern Connecticut State University was built on > traditional territory of the indigenous peoples and nations of the > Paugusett and Quinnepiac peoples. > ------------------------------ > > *From:* Vwoolf > on behalf of Mark Hussey via > Vwoolf > > *Sent:* Thursday, August 10, 2023 1:27:26 PM > *To:* vwoolf at lists.osu.edu > > > *Subject:* [Vwoolf] BBC Culture on The Hours > > > > I am seeing refs to this article pop up in various places, and > wondered what people think of the headline?s accuracy: did The Hours > (I guess they really mean Nicole Kidman?s portrayal of VW in the film) > really ?change how > > I am seeing refs to this article pop up in various places, and > wondered what people think of the headline?s accuracy: did *The Hours* > (I guess they really mean Nicole Kidman?s portrayal of VW in the film) > really ?change how we see? VW? Offline responses welcome! > > > > > https://urldefense.com/v3/__https://www.bbc.com/culture/article/202308 > 08-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;! > !KGKeukY!wlQNqyXHlLz29kbdqjo3jiX7PBsABKTAtYtTJFYuoMJLJ2DHntZ9k9HJz1NYb > HkgQeOMTO02PFhZxwllQReqYmLVVA$ > 808-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__; > !!KGKeukY!wlQNqyXHlLz29kbdqjo3jiX7PBsABKTAtYtTJFYuoMJLJ2DHntZ9k9HJz1NY > bHkgQeOMTO02PFhZxwllQReqYmLVVA$> > 08-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;! > !KGKeukY!w5PVwvRZFQykXOrinAgSOKgcVuep8KtG_uyBIN2_DYpnUfd9xGQ1QtQAvolGG > nzW_TN93bZ4PxNdejQl3hc9Zg$ > 08-the-hours-at-25-the-book-that-changed-how-we-see-virginia-woolf__;! > !KGKeukY!w5PVwvRZFQykXOrinAgSOKgcVuep8KtG_uyBIN2_DYpnUfd9xGQ1QtQAvolGG > nzW_TN93bZ4PxNdejQl3hc9Zg$>> > > > > _______________________________________________ > Vwoolf mailing list > Vwoolf at lists.osu.edu > https://lists.osu.edu/mailman/listinfo/vwoolf > > > _______________________________________________ > Vwoolf mailing list > Vwoolf at lists.osu.edu > https://lists.osu.edu/mailman/listinfo/vwoolf > > > _______________________________________________ > Vwoolf mailing list > Vwoolf at lists.osu.edu > https://lists.osu.edu/mailman/listinfo/vwoolf > > -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Subject: Digest Footer _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf ------------------------------ End of Vwoolf Digest, Vol 135, Issue 19 *************************************** _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf From mhussey at verizon.net Mon Aug 14 15:30:50 2023 From: mhussey at verizon.net (mhussey at verizon.net) Date: Mon, 14 Aug 2023 15:30:50 -0400 Subject: [Vwoolf] A Mrs Dalloway challenge References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> Message-ID: <000b01d9cee5$d5f27690$81d763b0$@verizon.net> In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as "a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she is only a shadow." (etc.). Showalter's citation is to an article by Bailey titled 'Into the Waves' supposedly in the TLS of 13 May 1973. As I have been unable to track this down in the TLS, the London Times, or any other database, I am offering a nice book (of my choosing) to anyone who can locate the actual source of this quotation! If it actually exists, that is. Mark Hussey -------------- next part -------------- An HTML attachment was scrubbed... URL: From stuart.n.clarke at btinternet.com Mon Aug 14 15:45:12 2023 From: stuart.n.clarke at btinternet.com (Stuart N. Clarke) Date: Mon, 14 Aug 2023 20:45:12 +0100 Subject: [Vwoolf] A Mrs Dalloway challenge In-Reply-To: <000b01d9cee5$d5f27690$81d763b0$@verizon.net> References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> <000b01d9cee5$d5f27690$81d763b0$@verizon.net> Message-ID: Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:30 PM To: vwoolf at lists.osu.edu Subject: [Vwoolf] A Mrs Dalloway challenge In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she is only a shadow?? (etc.). Showalter?s citation is to an article by Bailey titled ?Into the Waves? supposedly in the TLS of 13 May 1973. As I have been unable to track this down in the TLS, the London Times, or any other database, I am offering a nice book (of my choosing) to anyone who can locate the actual source of this quotation! If it actually exists, that is? Mark Hussey -------------------------------------------------------------------------------- _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Mon Aug 14 15:55:51 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Mon, 14 Aug 2023 19:55:51 +0000 Subject: [Vwoolf] A Mrs Dalloway challenge In-Reply-To: References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> <000b01d9cee5$d5f27690$81d763b0$@verizon.net> Message-ID: And now Mark will select a nice book ? Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. ________________________________ From: Vwoolf on behalf of Stuart N. Clarke via Vwoolf Sent: Monday, August 14, 2023 3:45:12 PM To: mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] A Mrs Dalloway challenge Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:?30 PM To: vwoolf@?lists.?osu.?edu Subject: [Vwoolf] A Mrs Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:30 PM To: vwoolf at lists.osu.edu Subject: [Vwoolf] A Mrs Dalloway challenge In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she is only a shadow?? (etc.). Showalter?s citation is to an article by Bailey titled ?Into the Waves? supposedly in the TLS of 13 May 1973. As I have been unable to track this down in the TLS, the London Times, or any other database, I am offering a nice book (of my choosing) to anyone who can locate the actual source of this quotation! If it actually exists, that is? Mark Hussey ________________________________ _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From stuart.n.clarke at btinternet.com Mon Aug 14 16:15:22 2023 From: stuart.n.clarke at btinternet.com (Stuart N. Clarke) Date: Mon, 14 Aug 2023 21:15:22 +0100 Subject: [Vwoolf] A Mrs Dalloway challenge In-Reply-To: References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net><000b01d9cee5$d5f27690$81d763b0$@verizon.net> Message-ID: <479814D667734822A1CE8402647E4D9E@StuartHP> What about ?Domestic Industries in Upper Brabant in the Second Half of the Middle Ages?? Stuart From: Neverow, Vara S. Sent: Monday, August 14, 2023 8:55 PM To: Stuart N. Clarke ; mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] A Mrs Dalloway challenge And now Mark will select a nice book ? Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. -------------------------------------------------------------------------------- From: Vwoolf on behalf of Stuart N. Clarke via Vwoolf Sent: Monday, August 14, 2023 3:45:12 PM To: mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] A Mrs Dalloway challenge Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:?30 PM To: vwoolf@?lists.?osu.?edu Subject: [Vwoolf] A Mrs Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:30 PM To: vwoolf at lists.osu.edu Subject: [Vwoolf] A Mrs Dalloway challenge In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she is only a shadow?? (etc.). Showalter?s citation is to an article by Bailey titled ?Into the Waves? supposedly in the TLS of 13 May 1973. As I have been unable to track this down in the TLS, the London Times, or any other database, I am offering a nice book (of my choosing) to anyone who can locate the actual source of this quotation! If it actually exists, that is? Mark Hussey -------------------------------------------------------------------------------- _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From mhussey at verizon.net Mon Aug 14 19:04:40 2023 From: mhussey at verizon.net (Mark Hussey) Date: Mon, 14 Aug 2023 23:04:40 +0000 (UTC) Subject: [Vwoolf] A Mrs Dalloway challenge In-Reply-To: References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> <000b01d9cee5$d5f27690$81d763b0$@verizon.net> Message-ID: <841244991.4523577.1692054280139@mail.yahoo.com> Ha ha? brilliant, Stuart! Of course, being you it will be a challenge choosing your prize but I?ll be in touch! It?s only taken 30 years to catch that error?. On Monday, August 14, 2023, 03:45:16 PM EDT, Stuart N. Clarke wrote: Hallo there!? It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called.Stuart?From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:30 PMTo: vwoolf at lists.osu.edu Subject: [Vwoolf] A Mrs Dalloway challenge?In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she is only a shadow?? (etc.). Showalter?s citation is to an article by Bailey titled ?Into the Waves? supposedly in the TLS of 13 May 1973. As I have been unable to track this down in the TLS, the London Times, or any other database, I am offering a nice book (of my choosing) to anyone who can locate the actual source of this quotation! If it actually exists, that is? ? Mark Hussey _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From smhall123 at yahoo.co.uk Tue Aug 15 06:29:29 2023 From: smhall123 at yahoo.co.uk (Sarah M. Hall) Date: Tue, 15 Aug 2023 10:29:29 +0000 (UTC) Subject: [Vwoolf] A Mrs Dalloway challenge In-Reply-To: <479814D667734822A1CE8402647E4D9E@StuartHP> References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> <000b01d9cee5$d5f27690$81d763b0$@verizon.net> <479814D667734822A1CE8402647E4D9E@StuartHP> Message-ID: <1853537590.5267711.1692095369955@mail.yahoo.com> Or one of these from the Diagram Prize 2022 shortlist? Frankenstein was a Vegetarian: Essays on Food Choice, Identity, and Symbolism Jane Austen and the Buddha: Teachers of Enlightenment The Many Lives of Scary Clowns: Essays on Pennywise, Twisty, the Joker, Krusty and More RuPedagogies of Realness: Essays on Teaching and Learning With RuPaul's Drag Race Smuggling Jesus Back into the Church What Nudism Exposes: An Unconventional History of Postwar Canada More ideas here: https://urldefense.com/v3/__https://en.wikipedia.org/wiki/Bookseller/Diagram_Prize_for_Oddest_Title_of_the_Year__;!!KGKeukY!33x1shmJ5THwS4-7tYRN8uKbx7UeO3SBvWjABeoW6VNLs18hLbBmkWCHY2lm-YxMoBnojkUlpDikY0-Eda923iop$ Sarah Sarah M. Hall Executive Council, Virginia Woolf Society of GB Web: virginiawoolfsociety.org.uk Facebook: @VWSGB Twitter: @VirginiaWoolfGB Instagram: @virginiawoolfsociety On Monday, 14 August 2023 at 21:15:40 BST, Stuart N. Clarke via Vwoolf wrote: What about ?Domestic Industries in Upper Brabant in the Second Half of the Middle Ages?? Stuart From: Neverow, Vara S. Sent: Monday, August 14, 2023 8:?55 PM To: Stuart N. Clarke ; mhussey@?verizon.?net ; vwoolf@?lists.?osu.?edu Subject: Re: [Vwoolf]What about ?Domestic Industries in Upper Brabant in the Second Half of the Middle Ages???Stuart?From: Neverow, Vara S. Sent: Monday, August 14, 2023 8:55 PMTo: Stuart N. Clarke ; mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] A Mrs Dalloway challenge?And now Mark will select a nice book ??Vara Neverow(she/her/hers)Professor, English Department and Women?s and Gender Studies ProgramManaging Editor, Virginia Woolf Miscellany?Southern Connecticut State University New Haven, CT 06515 203-392-6717neverowv1 at southernct.edu?I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples.From: Vwoolf on behalf of Stuart N. Clarke via Vwoolf Sent: Monday, August 14, 2023 3:45:12 PM To: mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] A Mrs Dalloway challenge ?Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:?30 PM To: vwoolf@?lists.?osu.?edu Subject: [Vwoolf] A Mrs Hallo there!? It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called.Stuart?From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:30 PMTo: vwoolf at lists.osu.edu Subject: [Vwoolf] A Mrs Dalloway challenge?In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she is only a shadow?? (etc.). Showalter?s citation is to an article by Bailey titled ?Into the Waves? supposedly in the TLS of 13 May 1973. As I have been unable to track this down in the TLS, the London Times, or any other database, I am offering a nice book (of my choosing) to anyone who can locate the actual source of this quotation! If it actually exists, that is? ? Mark Hussey _______________________________________________ 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From mefoleyuk at gmail.com Tue Aug 15 07:41:51 2023 From: mefoleyuk at gmail.com (Mary Ellen Foley) Date: Tue, 15 Aug 2023 13:41:51 +0200 Subject: [Vwoolf] A Mrs Dalloway challenge In-Reply-To: <1853537590.5267711.1692095369955@mail.yahoo.com> References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> <000b01d9cee5$d5f27690$81d763b0$@verizon.net> <479814D667734822A1CE8402647E4D9E@StuartHP> <1853537590.5267711.1692095369955@mail.yahoo.com> Message-ID: > What about ?Domestic Industries in Upper Brabant in the Second Half of the Middle Ages?? That REALLY got a laugh here, since my father-in-law is the author of the two massive volumes that make up *Ceramic Industries of Medieval Nubia. * Mary Ellen On Tue, Aug 15, 2023 at 12:30?PM Sarah M. Hall via Vwoolf < vwoolf at lists.osu.edu> wrote: > Or one of these from the Diagram Prize 2022 shortlist? Frankenstein was a > Vegetarian: Essays on Food Choice, Identity, and Symbolism Jane Austen and > the Buddha: Teachers of Enlightenment The Many Lives of Scary Clowns: > Essays on Pennywise, > Or one of these from the Diagram Prize 2022 shortlist? > > *Frankenstein was a Vegetarian: Essays on Food Choice, Identity, and > Symbolism* > > *Jane Austen and the Buddha: Teachers of Enlightenment* > > *The Many Lives of Scary Clowns: Essays on Pennywise, Twisty, the Joker, > Krusty and More* > > *RuPedagogies of Realness: Essays on Teaching and Learning With RuPaul's > Drag Race* > > *Smuggling Jesus Back into the Church* > > *What Nudism Exposes: An Unconventional History of Postwar Canada* > > > More ideas here: > https://urldefense.com/v3/__https://en.wikipedia.org/wiki/Bookseller/Diagram_Prize_for_Oddest_Title_of_the_Year__;!!KGKeukY!xp38V77GjcpShUCfo-6-tPnx7FjsTpl00LlYcjRvfYu3AXlsc2aWQvjyE6tSjxnwzs84pPcM5tejMlgPDgT5IQ$ > > > Sarah > > Sarah M. Hall > Executive Council, Virginia Woolf Society of GB > Web: virginiawoolfsociety.org.uk > Facebook: @VWSGB > Twitter: @VirginiaWoolfGB > Instagram: @virginiawoolfsociety > > > On Monday, 14 August 2023 at 21:15:40 BST, Stuart N. Clarke via Vwoolf < > vwoolf at lists.osu.edu> wrote: > > > What about ?Domestic Industries in Upper Brabant in the Second Half of the > Middle Ages?? Stuart From: Neverow, Vara S. Sent: Monday, August 14, 2023 > 8: 55 PM To: Stuart N. Clarke ; mhussey@ verizon. net ; vwoolf@ lists. > osu. edu Subject: Re: [Vwoolf] > What about ?Domestic Industries in Upper Brabant in the Second Half of the > Middle Ages?? > > Stuart > > *From:* Neverow, Vara S. > *Sent:* Monday, August 14, 2023 8:55 PM > *To:* Stuart N. Clarke ; mhussey at verizon.net ; vwoolf at lists.osu.edu > *Subject:* Re: [Vwoolf] A Mrs Dalloway challenge > > And now Mark will select a nice book ? > > Vara Neverow > (she/her/hers) > Professor, English Department and Women?s and Gender Studies Program > Managing Editor, Virginia Woolf Miscellany > Southern Connecticut State University > New Haven, CT 06515 > 203-392-6717 > neverowv1 at southernct.edu > > I acknowledge that Southern Connecticut State University was built on > traditional territory of the indigenous peoples and nations of the > Paugusett and Quinnepiac peoples. > ------------------------------ > *From:* Vwoolf on > behalf of Stuart N. Clarke via Vwoolf > *Sent:* Monday, August 14, 2023 3:45:12 PM > *To:* mhussey at verizon.net ; vwoolf at lists.osu.edu < > vwoolf at lists.osu.edu> > *Subject:* Re: [Vwoolf] A Mrs Dalloway challenge > > Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs > Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey > via Vwoolf Sent: Monday, August 14, 2023 8: 30 PM To: vwoolf@ lists. osu. > edu Subject: [Vwoolf] A Mrs > Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs > Dalloway?s Party?: ?Into the Waves?, it?s called. > Stuart > > *From:* Mark Hussey via Vwoolf > *Sent:* Monday, August 14, 2023 8:30 PM > *To:* vwoolf at lists.osu.edu > *Subject:* [Vwoolf] A Mrs Dalloway challenge > > In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter > cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, > vain, repressed lesbian who has dabbled in culture, but for the greater > part of the novel she > > In her Penguin (1992) edition intro to *Mrs Dalloway*, Elaine Showalter > cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, > vain, repressed lesbian who has dabbled in culture, but for the greater > part of the novel she is only a shadow?? (etc.). Showalter?s citation is to > an article by Bailey titled ?Into the Waves? supposedly in the *TLS* of > 13 May 1973. As I have been unable to track this down in the TLS, the > London Times, or any other database, I am offering a nice book (of my > choosing) to anyone who can locate the actual source of this quotation! If > it actually exists, that is? > > > > Mark Hussey > ------------------------------ > _______________________________________________ > 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From Drew.Shannon at msj.edu Tue Aug 15 08:03:52 2023 From: Drew.Shannon at msj.edu (Shannon, Drew [School of Arts & Humanities]) Date: Tue, 15 Aug 2023 12:03:52 +0000 Subject: [Vwoolf] A Mrs Dalloway challenge In-Reply-To: <1853537590.5267711.1692095369955@mail.yahoo.com> References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> <000b01d9cee5$d5f27690$81d763b0$@verizon.net> <479814D667734822A1CE8402647E4D9E@StuartHP> <1853537590.5267711.1692095369955@mail.yahoo.com> Message-ID: <2298bad5c47249a9a9f49a675ffc56c1@MSJEMAIL13.msj.edu> My favorite, a customer special order when I worked at Barnes & Noble in graduate school: Knitting with Dog Hair: Better a Sweater from a Dog You Know and Love Than from a Sheep You?ll Never Meet. [https://urldefense.com/v3/__https://m.media-amazon.com/images/I/51bY21VdKkL._SX382_BO1,204,203,200_.jpg__;!!KGKeukY!0tA8spUb0S0XW347bcsyqSv5kr0XMzoqskFpcDNy-bDtfrOB2IYjS9UmCEAoqeE_mr4bdI7j77ISl4u6-wo5wvrUCP0$ ] [cid:image003.jpg at 01D54305.D6DA8400] Drew Shannon, Ph.D. Associate Professor of English Department of Liberal Arts Mount St. Joseph University 5701 Delhi Road | Cincinnati, OH 45233-1672 513-244-4541 | Drew.Shannon at msj.edu ?I meant to write about death, only life came breaking in as usual.? ? Virginia Woolf, Diary, 17 February 1922 Please consider the environment before printing this email. From: Vwoolf On Behalf Of Sarah M. Hall via Vwoolf Sent: Tuesday, August 15, 2023 6:29 AM To: Neverow, Vara S. ; mhussey at verizon.net; vwoolf at lists.osu.edu; Stuart N. Clarke Subject: Re: [Vwoolf] A Mrs Dalloway challenge Or one of these from the Diagram Prize 2022 shortlist? Frankenstein was a Vegetarian: Essays on Food Choice, Identity, and Symbolism Jane Austen and the Buddha: Teachers of Enlightenment The Many Lives of Scary Clowns: Essays on Pennywise, Or one of these from the Diagram Prize 2022 shortlist? Frankenstein was a Vegetarian: Essays on Food Choice, Identity, and Symbolism Jane Austen and the Buddha: Teachers of Enlightenment The Many Lives of Scary Clowns: Essays on Pennywise, Twisty, the Joker, Krusty and More RuPedagogies of Realness: Essays on Teaching and Learning With RuPaul's Drag Race Smuggling Jesus Back into the Church What Nudism Exposes: An Unconventional History of Postwar Canada More ideas here: https://urldefense.com/v3/__https://en.wikipedia.org/wiki/Bookseller/Diagram_Prize_for_Oddest_Title_of_the_Year__;!!KGKeukY!0tA8spUb0S0XW347bcsyqSv5kr0XMzoqskFpcDNy-bDtfrOB2IYjS9UmCEAoqeE_mr4bdI7j77ISl4u6-wo5nYkSe8o$ Sarah Sarah M. Hall Executive Council, Virginia Woolf Society of GB Web: virginiawoolfsociety.org.uk Facebook: @VWSGB Twitter: @VirginiaWoolfGB Instagram: @virginiawoolfsociety On Monday, 14 August 2023 at 21:15:40 BST, Stuart N. Clarke via Vwoolf > wrote: What about ?Domestic Industries in Upper Brabant in the Second Half of the Middle Ages?? Stuart From: Neverow, Vara S. Sent: Monday, August 14, 2023 8:?55 PM To: Stuart N. Clarke ; mhussey@?verizon.?net ; vwoolf@?lists.?osu.?edu Subject: Re: [Vwoolf] What about ?Domestic Industries in Upper Brabant in the Second Half of the Middle Ages?? Stuart From: Neverow, Vara S. Sent: Monday, August 14, 2023 8:55 PM To: Stuart N. Clarke ; mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] A Mrs Dalloway challenge And now Mark will select a nice book ? Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. ________________________________ From: Vwoolf > on behalf of Stuart N. Clarke via Vwoolf > Sent: Monday, August 14, 2023 3:45:12 PM To: mhussey at verizon.net >; vwoolf at lists.osu.edu > Subject: Re: [Vwoolf] A Mrs Dalloway challenge Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:?30 PM To: vwoolf@?lists.?osu.?edu Subject: [Vwoolf] A Mrs Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:30 PM To: vwoolf at lists.osu.edu Subject: [Vwoolf] A Mrs Dalloway challenge In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she is only a shadow?? (etc.). Showalter?s citation is to an article by Bailey titled ?Into the Waves? supposedly in the TLS of 13 May 1973. As I have been unable to track this down in the TLS, the London Times, or any other database, I am offering a nice book (of my choosing) to anyone who can locate the actual source of this quotation! If it actually exists, that is? Mark Hussey ________________________________ _______________________________________________ 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image002.jpg Type: image/jpeg Size: 8719 bytes Desc: image002.jpg URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image003.jpg Type: image/jpeg Size: 34092 bytes Desc: image003.jpg URL: From cfroula at northwestern.edu Tue Aug 15 09:01:03 2023 From: cfroula at northwestern.edu (Christine Froula) Date: Tue, 15 Aug 2023 09:01:03 -0400 Subject: [Vwoolf] A Mrs Dalloway challenge In-Reply-To: References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> <000b01d9cee5$d5f27690$81d763b0$@verizon.net> <479814D667734822A1CE8402647E4D9E@StuartHP> <1853537590.5267711.1692095369955@mail.yahoo.com> Message-ID: <8191900e-4aaf-bba2-6b8d-585807a0b772@northwestern.edu> Proust! thnx Stuart!--Christine On 8/15/2023 7:41 AM, Mary Ellen Foley via Vwoolf wrote: > > What about ?Domestic Industries in Upper Brabant in the Second Half > of the Middle Ages?? That REALLY got a laugh here, since my > father-in-law is the author of the two massive volumes that make up > Ceramic Industries of Medieval Nubia. Mary > > What about ?Domestic Industries in Upper Brabant in the Second Half > of the Middle Ages?? > > That REALLY got a laugh here, since my father-in-law is the author of > the two massive volumes that make up /Ceramic Industries of Medieval > Nubia. / > > Mary Ellen > > On Tue, Aug 15, 2023 at 12:30?PM Sarah M. Hall via Vwoolf > wrote: > > Or one of these from the Diagram Prize 2022 shortlist? > Frankenstein was a Vegetarian: Essays on Food Choice, Identity, > and Symbolism Jane Austen and the Buddha: Teachers of > Enlightenment The Many Lives of Scary Clowns: Essays on Pennywise, > Or one of these from the Diagram Prize 2022 shortlist? > > /Frankenstein was a Vegetarian: Essays on Food Choice, > Identity, and Symbolism/ > / > / > /Jane Austen and the Buddha: Teachers of Enlightenment/ > / > / > /The Many Lives of Scary Clowns: Essays on Pennywise, Twisty, > the Joker, Krusty and More/ > / > / > /RuPedagogies of Realness: Essays on Teaching and Learning > With RuPaul's Drag Race/ > / > / > /Smuggling Jesus Back into the Church/ > / > / > /What Nudism Exposes: An Unconventional History of Postwar Canada/ > > > More ideas here: > https://urldefense.com/v3/__https://en.wikipedia.org/wiki/Bookseller/Diagram_Prize_for_Oddest_Title_of_the_Year__;!!KGKeukY!x8ZNhEPGAMND9fA7v7rbxP4eFFQvZI0ghlqhn-B7Y3JPfplkBKByyQLeZ_3eNwoxbM1zszJLJAgmknOwVibZrxpLpMw$ > > > Sarah > > Sarah M. Hall > Executive Council, Virginia Woolf Society of GB > Web: virginiawoolfsociety.org.uk > > Facebook: @VWSGB > Twitter: @VirginiaWoolfGB > Instagram: @virginiawoolfsociety > > > On Monday, 14 August 2023 at 21:15:40 BST, Stuart N. Clarke via > Vwoolf wrote: > > > What about ?Domestic Industries in Upper Brabant in the Second > Half of the Middle Ages?? Stuart From: Neverow, Vara S. Sent: > Monday, August 14, 2023 8:?55 PM To: Stuart N. Clarke ; > mhussey@?verizon.?net ; vwoolf@?lists.?osu.?edu Subject: Re: [Vwoolf] > What about ?Domestic Industries in Upper Brabant in the Second > Half of the Middle Ages?? > Stuart > *From:* Neverow, Vara S. > *Sent:* Monday, August 14, 2023 8:55 PM > *To:* Stuart N. Clarke ; mhussey at verizon.net ; vwoolf at lists.osu.edu > *Subject:* Re: [Vwoolf] A Mrs Dalloway challenge > And now Mark will select a nice book ? > Vara Neverow > (she/her/hers) > Professor, English Department and Women?s and Gender Studies Program > Managing Editor, Virginia Woolf Miscellany > Southern Connecticut State University > New Haven, CT 06515 > 203-392-6717 > neverowv1 at southernct.edu > I acknowledge that Southern Connecticut State University was built > on traditional territory of the indigenous peoples and nations of > the Paugusett and Quinnepiac peoples. > ------------------------------------------------------------------------ > *From:* Vwoolf > on behalf > of Stuart N. Clarke via Vwoolf > *Sent:* Monday, August 14, 2023 3:45:12 PM > *To:* mhussey at verizon.net ; > vwoolf at lists.osu.edu > *Subject:* Re: [Vwoolf] A Mrs Dalloway challenge > Hallo there! It?s in ?The Observer? with that date ? a review of > ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart > From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:?30 > PM To: vwoolf@?lists.?osu.?edu Subject: [Vwoolf] A Mrs > Hallo there!? It?s in ?The Observer? with that date ? a review of > ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. > Stuart > *From:* Mark Hussey via Vwoolf > *Sent:* Monday, August 14, 2023 8:30 PM > *To:* vwoolf at lists.osu.edu > *Subject:* [Vwoolf] A Mrs Dalloway challenge > In her Penguin (1992) edition intro to Mrs Dalloway, Elaine > Showalter cites a description of Clarissa by novelist Paul Bailey > as ?a snobbish, vain, repressed lesbian who has dabbled in > culture, but for the greater part of the novel she > > In her Penguin (1992) edition intro to /Mrs Dalloway/, Elaine > Showalter cites a description of Clarissa by novelist Paul Bailey > as ?a snobbish, vain, repressed lesbian who has dabbled in > culture, but for the greater part of the novel she is only a > shadow?? (etc.). Showalter?s citation is to an article by Bailey > titled ?Into the Waves? supposedly in the /TLS/ of 13 May 1973. As > I have been unable to track this down in the TLS, the London > Times, or any other database, I am offering a nice book (of my > choosing) to anyone who can locate the actual source of this > quotation! If it actually exists, that is? > > Mark Hussey > > ------------------------------------------------------------------------ > _______________________________________________ > 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 > > > > _______________________________________________ > Vwoolf mailing list > Vwoolf at lists.osu.edu > https://urldefense.com/v3/__https://lists.osu.edu/mailman/listinfo/vwoolf__;!!Dq0X2DkFhyF93HkjWTBQKhk!TX7iesKWIbAC1qdlA2eOvRN95KkVqoVc5vDPXygVhcOroZEPPTaPuUhaIrrxZD97qDi2Z88_gnK36TwnKH3mRE1bug$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From cfroula at northwestern.edu Tue Aug 15 09:01:58 2023 From: cfroula at northwestern.edu (Christine Froula) Date: Tue, 15 Aug 2023 09:01:58 -0400 Subject: [Vwoolf] A Mrs Dalloway challenge In-Reply-To: References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> <000b01d9cee5$d5f27690$81d763b0$@verizon.net> <479814D667734822A1CE8402647E4D9E@StuartHP> <1853537590.5267711.1692095369955@mail.yahoo.com> Message-ID: <97f70ed5-6ce7-70d9-7e38-65d838e03aff@northwestern.edu> and Ibsen of course! HG! On 8/15/2023 7:41 AM, Mary Ellen Foley via Vwoolf wrote: > > What about ?Domestic Industries in Upper Brabant in the Second Half > of the Middle Ages?? That REALLY got a laugh here, since my > father-in-law is the author of the two massive volumes that make up > Ceramic Industries of Medieval Nubia. Mary > > What about ?Domestic Industries in Upper Brabant in the Second Half > of the Middle Ages?? > > That REALLY got a laugh here, since my father-in-law is the author of > the two massive volumes that make up /Ceramic Industries of Medieval > Nubia. / > > Mary Ellen > > On Tue, Aug 15, 2023 at 12:30?PM Sarah M. Hall via Vwoolf > wrote: > > Or one of these from the Diagram Prize 2022 shortlist? > Frankenstein was a Vegetarian: Essays on Food Choice, Identity, > and Symbolism Jane Austen and the Buddha: Teachers of > Enlightenment The Many Lives of Scary Clowns: Essays on Pennywise, > Or one of these from the Diagram Prize 2022 shortlist? > > /Frankenstein was a Vegetarian: Essays on Food Choice, > Identity, and Symbolism/ > / > / > /Jane Austen and the Buddha: Teachers of Enlightenment/ > / > / > /The Many Lives of Scary Clowns: Essays on Pennywise, Twisty, > the Joker, Krusty and More/ > / > / > /RuPedagogies of Realness: Essays on Teaching and Learning > With RuPaul's Drag Race/ > / > / > /Smuggling Jesus Back into the Church/ > / > / > /What Nudism Exposes: An Unconventional History of Postwar Canada/ > > > More ideas here: > https://urldefense.com/v3/__https://en.wikipedia.org/wiki/Bookseller/Diagram_Prize_for_Oddest_Title_of_the_Year__;!!KGKeukY!1s5lCpMSGBW1wxieEQXLUNXSVpGsFEk35QwjM3YwzcaObpwGrSCARUk7ZWnm8OdybGcbcnboVbBhokD2n4jATmOfplY$ > > > Sarah > > Sarah M. Hall > Executive Council, Virginia Woolf Society of GB > Web: virginiawoolfsociety.org.uk > > Facebook: @VWSGB > Twitter: @VirginiaWoolfGB > Instagram: @virginiawoolfsociety > > > On Monday, 14 August 2023 at 21:15:40 BST, Stuart N. Clarke via > Vwoolf wrote: > > > What about ?Domestic Industries in Upper Brabant in the Second > Half of the Middle Ages?? Stuart From: Neverow, Vara S. Sent: > Monday, August 14, 2023 8:?55 PM To: Stuart N. Clarke ; > mhussey@?verizon.?net ; vwoolf@?lists.?osu.?edu Subject: Re: [Vwoolf] > What about ?Domestic Industries in Upper Brabant in the Second > Half of the Middle Ages?? > Stuart > *From:* Neverow, Vara S. > *Sent:* Monday, August 14, 2023 8:55 PM > *To:* Stuart N. Clarke ; mhussey at verizon.net ; vwoolf at lists.osu.edu > *Subject:* Re: [Vwoolf] A Mrs Dalloway challenge > And now Mark will select a nice book ? > Vara Neverow > (she/her/hers) > Professor, English Department and Women?s and Gender Studies Program > Managing Editor, Virginia Woolf Miscellany > Southern Connecticut State University > New Haven, CT 06515 > 203-392-6717 > neverowv1 at southernct.edu > I acknowledge that Southern Connecticut State University was built > on traditional territory of the indigenous peoples and nations of > the Paugusett and Quinnepiac peoples. > ------------------------------------------------------------------------ > *From:* Vwoolf > on behalf > of Stuart N. Clarke via Vwoolf > *Sent:* Monday, August 14, 2023 3:45:12 PM > *To:* mhussey at verizon.net ; > vwoolf at lists.osu.edu > *Subject:* Re: [Vwoolf] A Mrs Dalloway challenge > Hallo there! It?s in ?The Observer? with that date ? a review of > ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart > From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:?30 > PM To: vwoolf@?lists.?osu.?edu Subject: [Vwoolf] A Mrs > Hallo there!? It?s in ?The Observer? with that date ? a review of > ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. > Stuart > *From:* Mark Hussey via Vwoolf > *Sent:* Monday, August 14, 2023 8:30 PM > *To:* vwoolf at lists.osu.edu > *Subject:* [Vwoolf] A Mrs Dalloway challenge > In her Penguin (1992) edition intro to Mrs Dalloway, Elaine > Showalter cites a description of Clarissa by novelist Paul Bailey > as ?a snobbish, vain, repressed lesbian who has dabbled in > culture, but for the greater part of the novel she > > In her Penguin (1992) edition intro to /Mrs Dalloway/, Elaine > Showalter cites a description of Clarissa by novelist Paul Bailey > as ?a snobbish, vain, repressed lesbian who has dabbled in > culture, but for the greater part of the novel she is only a > shadow?? (etc.). Showalter?s citation is to an article by Bailey > titled ?Into the Waves? supposedly in the /TLS/ of 13 May 1973. As > I have been unable to track this down in the TLS, the London > Times, or any other database, I am offering a nice book (of my > choosing) to anyone who can locate the actual source of this > quotation! If it actually exists, that is? > > Mark Hussey > > ------------------------------------------------------------------------ > _______________________________________________ > 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 > > > > _______________________________________________ > Vwoolf mailing list > Vwoolf at lists.osu.edu > https://urldefense.com/v3/__https://lists.osu.edu/mailman/listinfo/vwoolf__;!!Dq0X2DkFhyF93HkjWTBQKhk!TX7iesKWIbAC1qdlA2eOvRN95KkVqoVc5vDPXygVhcOroZEPPTaPuUhaIrrxZD97qDi2Z88_gnK36TwnKH3mRE1bug$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From stuart.n.clarke at btinternet.com Tue Aug 15 09:13:28 2023 From: stuart.n.clarke at btinternet.com (Stuart N. Clarke) Date: Tue, 15 Aug 2023 14:13:28 +0100 Subject: [Vwoolf] "Too Naked For the Nazis" In-Reply-To: <1853537590.5267711.1692095369955@mail.yahoo.com> References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> <000b01d9cee5$d5f27690$81d763b0$@verizon.net> <479814D667734822A1CE8402647E4D9E@StuartHP> <1853537590.5267711.1692095369955@mail.yahoo.com> Message-ID: My partner has the 2015 winner. The irony is that one of the Bettys (there were a number) became a reporter, and at the Nuremberg Trials ?learnt from an American guard about Goering?s suicide a few minutes before the execution and didn?t believe it. She had been handed a sensational scoop ... and lost the chance of a lifetime. Journalists never forgave her. She took to drink out of despair?, allegedly (p. 194). Stuart From: Sarah M. Hall Sent: Tuesday, August 15, 2023 11:29 AM To: Neverow, Vara S. ; mhussey at verizon.net ; vwoolf at lists.osu.edu ; Stuart N. Clarke Subject: Re: [Vwoolf] A Mrs Dalloway challenge Or one of these from the Diagram Prize 2022 shortlist? Frankenstein was a Vegetarian: Essays on Food Choice, Identity, and Symbolism Jane Austen and the Buddha: Teachers of Enlightenment The Many Lives of Scary Clowns: Essays on Pennywise, Twisty, the Joker, Krusty and More RuPedagogies of Realness: Essays on Teaching and Learning With RuPaul's Drag Race Smuggling Jesus Back into the Church What Nudism Exposes: An Unconventional History of Postwar Canada More ideas here: https://urldefense.com/v3/__https://en.wikipedia.org/wiki/Bookseller/Diagram_Prize_for_Oddest_Title_of_the_Year__;!!KGKeukY!2L3zQRDhAfGNL0R4dgZr4TI10vr8FGFTMsOrDXwf9Cm5JJAYsquMvk1Y0Fq_z49yqDRjgwYqUaDaoKg2vm9cXvQEfELO91PyVQ$ Sarah Sarah M. Hall Executive Council, Virginia Woolf Society of GB Web: virginiawoolfsociety.org.uk Facebook: @VWSGB Twitter: @VirginiaWoolfGB Instagram: @virginiawoolfsociety On Monday, 14 August 2023 at 21:15:40 BST, Stuart N. Clarke via Vwoolf wrote: What about ?Domestic Industries in Upper Brabant in the Second Half of the Middle Ages?? Stuart From: Neverow, Vara S. Sent: Monday, August 14, 2023 8:?55 PM To: Stuart N. Clarke ; mhussey@?verizon.?net ; vwoolf@?lists.?osu.?edu Subject: Re: [Vwoolf] What about ?Domestic Industries in Upper Brabant in the Second Half of the Middle Ages?? Stuart From: Neverow, Vara S. Sent: Monday, August 14, 2023 8:55 PM To: Stuart N. Clarke ; mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] A Mrs Dalloway challenge And now Mark will select a nice book ? Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. -------------------------------------------------------------------------------- From: Vwoolf on behalf of Stuart N. Clarke via Vwoolf Sent: Monday, August 14, 2023 3:45:12 PM To: mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] A Mrs Dalloway challenge Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:?30 PM To: vwoolf@?lists.?osu.?edu Subject: [Vwoolf] A Mrs Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:30 PM To: vwoolf at lists.osu.edu Subject: [Vwoolf] A Mrs Dalloway challenge In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she is only a shadow?? (etc.). Showalter?s citation is to an article by Bailey titled ?Into the Waves? supposedly in the TLS of 13 May 1973. As I have been unable to track this down in the TLS, the London Times, or any other database, I am offering a nice book (of my choosing) to anyone who can locate the actual source of this quotation! If it actually exists, that is? Mark Hussey -------------------------------------------------------------------------------- _______________________________________________ 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From mhussey at verizon.net Tue Aug 15 10:03:09 2023 From: mhussey at verizon.net (Mark Hussey) Date: Tue, 15 Aug 2023 14:03:09 +0000 (UTC) Subject: [Vwoolf] "Too Naked For the Nazis" In-Reply-To: References: <000b01d9cee5$d5f27690$81d763b0$.ref@verizon.net> <000b01d9cee5$d5f27690$81d763b0$@verizon.net> <479814D667734822A1CE8402647E4D9E@StuartHP> <1853537590.5267711.1692095369955@mail.yahoo.com> Message-ID: <1337940019.4737348.1692108189312@mail.yahoo.com> Given what I have unleashed, anything Frankenstein related seems appropriate. Sent from the all new AOL app for iOS On Tuesday, August 15, 2023, 9:15 AM, Stuart N. Clarke via Vwoolf wrote: My partner has the 2015 winner. The irony is that one of the Bettys (there were a number) became a reporter, and at the Nuremberg Trials ?learnt from an American guard about Goering?s suicide a few minutes before the execution and didn?t believe#yiv6778695944 #yiv6778695944pfptBannerbn1exgz {display:block !important;visibility:visible !important;background-color:#CFD3D7 !important;max-width:none !important;max-height:none !important;}#yiv6778695944 .yiv6778695944pfptPrimaryButtonbn1exgz:hover, #yiv6778695944 .yiv6778695944pfptPrimaryButtonbn1exgz:focus {background-color:#adb0b4 !important;}#yiv6778695944 .yiv6778695944pfptPrimaryButtonbn1exgz:active {background-color:#8c8e91 !important;}My partner has the 2015 winner.? The irony is that one of the Bettys (there were a number) became a reporter, and at the Nuremberg Trials ?learnt from an American guard about Goering?s suicide a few minutes before the execution and didn?t believe it.? She had been handed a sensational scoop ... and lost the chance of a lifetime.? Journalists never forgave her.? She took to drink out of despair?, allegedly (p. 194).?Stuart?From: Sarah M. Hall Sent: Tuesday, August 15, 2023 11:29 AMTo: Neverow, Vara S. ; mhussey at verizon.net ; vwoolf at lists.osu.edu ; Stuart N. Clarke Subject: Re: [Vwoolf] A Mrs Dalloway challenge?Or one of these from the Diagram Prize 2022 shortlist?? Frankenstein was a Vegetarian: Essays on Food Choice, Identity, and Symbolism Jane Austen and the Buddha: Teachers of Enlightenment The Many Lives of Scary Clowns: Essays on Pennywise, Twisty, the Joker, Krusty and More RuPedagogies of Realness: Essays on Teaching and Learning With RuPaul's Drag Race Smuggling Jesus Back into the Church What Nudism Exposes: An Unconventional History of Postwar Canada ?More ideas here: https://urldefense.com/v3/__https://en.wikipedia.org/wiki/Bookseller/Diagram_Prize_for_Oddest_Title_of_the_Year__;!!KGKeukY!yvP_ib3bk1NpuUaO7BEUuBQKG9zCkfPX9CxqsARwtxhahSo1qT7SAneOb7oeXh14uWB8JjVvW_FXZXF2wEY8Xg$ ?Sarah ?Sarah M. Hall Executive Council, Virginia Woolf Society of GB Web: virginiawoolfsociety.org.uk Facebook: @VWSGB Twitter: @VirginiaWoolfGB Instagram: @virginiawoolfsociety??On Monday, 14 August 2023 at 21:15:40 BST, Stuart N. Clarke via Vwoolf wrote: ??What about ?Domestic Industries in Upper Brabant in the Second Half of the Middle Ages?? Stuart From: Neverow, Vara S. Sent: Monday, August 14, 2023 8:?55 PM To: Stuart N. Clarke ; mhussey@?verizon.?net ; vwoolf@?lists.?osu.?edu Subject: Re: [Vwoolf] What about ?Domestic Industries in Upper Brabant in the Second Half of the Middle Ages???Stuart?From: Neverow, Vara S. Sent: Monday, August 14, 2023 8:55 PMTo: Stuart N. Clarke ; mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] A Mrs Dalloway challenge?And now Mark will select a nice book ??Vara Neverow(she/her/hers)Professor, English Department and Women?s and Gender Studies ProgramManaging Editor, Virginia Woolf Miscellany?Southern Connecticut State University New Haven, CT 06515 203-392-6717neverowv1 at southernct.edu?I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples.From: Vwoolf on behalf of Stuart N. Clarke via Vwoolf Sent: Monday, August 14, 2023 3:45:12 PM To: mhussey at verizon.net ; vwoolf at lists.osu.edu Subject: Re: [Vwoolf] A Mrs Dalloway challenge ?Hallo there! It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called. Stuart From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:?30 PM To: vwoolf@?lists.?osu.?edu Subject: [Vwoolf] A Mrs Hallo there!? It?s in ?The Observer? with that date ? a review of ?Mrs Dalloway?s Party?: ?Into the Waves?, it?s called.Stuart?From: Mark Hussey via Vwoolf Sent: Monday, August 14, 2023 8:30 PMTo: vwoolf at lists.osu.edu Subject: [Vwoolf] A Mrs Dalloway challenge?In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she In her Penguin (1992) edition intro to Mrs Dalloway, Elaine Showalter cites a description of Clarissa by novelist Paul Bailey as ?a snobbish, vain, repressed lesbian who has dabbled in culture, but for the greater part of the novel she is only a shadow?? (etc.). Showalter?s citation is to an article by Bailey titled ?Into the Waves? supposedly in the TLS of 13 May 1973. As I have been unable to track this down in the TLS, the London Times, or any other database, I am offering a nice book (of my choosing) to anyone who can locate the actual source of this quotation! If it actually exists, that is? ? Mark Hussey _______________________________________________ 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From fernald at fordham.edu Wed Aug 16 09:41:18 2023 From: fernald at fordham.edu (Anne Fernald) Date: Wed, 16 Aug 2023 09:41:18 -0400 Subject: [Vwoolf] Ox Woolf handbook in paper Message-ID: Dear Woolfians, I?m very happy to share that the Oxford Handbook to Virginia Woolf will very soon be out in paperback. That brings the price down to $50, a bargain, in my view, for this massive tome. Yours, Anne https://urldefense.com/v3/__https://global.oup.com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us__;!!KGKeukY!0yljcVC0v5bub6Drw8T0qAU6vQhfwqZ6vrxLBxCNx4uOy3PjZxraXmgHA9EwRvaE2GxBTenmASxX0KCF1f8zs0M$ -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: From mhussey at verizon.net Wed Aug 16 11:57:11 2023 From: mhussey at verizon.net (mhussey at verizon.net) Date: Wed, 16 Aug 2023 11:57:11 -0400 Subject: [Vwoolf] Ox Woolf handbook in paper In-Reply-To: References: Message-ID: <004901d9d05a$51ea8ba0$f5bfa2e0$@verizon.net> Great news that it is going to be more affordable, because it is such a rich resource! From: Vwoolf On Behalf Of Anne Fernald via Vwoolf Sent: Wednesday, August 16, 2023 9:41 AM To: vwoolf listserve Subject: [Vwoolf] Ox Woolf handbook in paper Dear Woolfians, I?m very happy to share that the Oxford Handbook to Virginia Woolf will very soon be out in paperback. That brings the price down to $50, a bargain, in my view, for this massive tome. Yours, Anne https:?//global.?oup.?com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us-- Dear Woolfians, I?m very happy to share that the Oxford Handbook to Virginia Woolf will very soon be out in paperback. That brings the price down to $50, a bargain, in my view, for this massive tome. Yours, Anne https://urldefense.com/v3/__https://global.oup.com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald__;!!KGKeukY!2a6rA_9MzjUXeS_QBVAyF9QhDD1P6dS_ob7gUglMD7HOIfGTNmqyCLf8IdTMxs2KDNLIcP1_8BD_81fmuGwRvw$ &lang=en&cc=us -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: From anastasiasf at gmail.com Wed Aug 16 16:11:27 2023 From: anastasiasf at gmail.com (Anastasia H) Date: Wed, 16 Aug 2023 13:11:27 -0700 Subject: [Vwoolf] Ox Woolf handbook in paper In-Reply-To: References: Message-ID: Excellent news, indeed! On Wed, Aug 16, 2023 at 6:42?AM Anne Fernald via Vwoolf < vwoolf at lists.osu.edu> wrote: > Dear Woolfians, I?m very happy to share that the Oxford Handbook to > Virginia Woolf will very soon be out in paperback. That brings the price > down to $50, a bargain, in my view, for this massive tome. Yours, Anne > https: //global. oup. > com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us-- > > Dear Woolfians, > > I?m very happy to share that the Oxford Handbook to Virginia Woolf will > very soon be out in paperback. That brings the price down to $50, a > bargain, in my view, for this massive tome. > > Yours, > Anne > > > https://urldefense.com/v3/__https://global.oup.com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us__;!!KGKeukY!0F3bPkBUVbjoLfLPTtCOeTMJnZTBNG5Xi6ie6JKpf2sjGeGmtfCRQc5eQ7YMtIfmfvOVChdMAzUuRT06bnxmYfO8$ > > > -- > Sent from Gmail Mobile > _______________________________________________ > Vwoolf mailing list > Vwoolf at lists.osu.edu > https://lists.osu.edu/mailman/listinfo/vwoolf > -------------- next part -------------- An HTML attachment was scrubbed... URL: From millsj7 at gmail.com Wed Aug 16 17:42:00 2023 From: millsj7 at gmail.com (Jean Mills) Date: Wed, 16 Aug 2023 17:42:00 -0400 Subject: [Vwoolf] Ox Woolf handbook in paper In-Reply-To: References: Message-ID: Awesome. Thanks, Anne for making it all happen. - Jean On Wed, Aug 16, 2023 at 4:11?PM Anastasia H via Vwoolf wrote: > Excellent news, indeed! On Wed, Aug 16, 2023 at 6: 42 AM Anne Fernald via > Vwoolf wrote: Dear Woolfians, I?m very happy to > share that the Oxford Handbook to Virginia Woolf will very soon be out in > paperback. That > Excellent news, indeed! > > On Wed, Aug 16, 2023 at 6:42?AM Anne Fernald via Vwoolf < > vwoolf at lists.osu.edu> wrote: > >> Dear Woolfians, I?m very happy to share that the Oxford Handbook to >> Virginia Woolf will very soon be out in paperback. That brings the price >> down to $50, a bargain, in my view, for this massive tome. Yours, Anne >> https: //global. oup. >> com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us-- >> >> Dear Woolfians, >> >> I?m very happy to share that the Oxford Handbook to Virginia Woolf will >> very soon be out in paperback. That brings the price down to $50, a >> bargain, in my view, for this massive tome. >> >> Yours, >> Anne >> >> >> https://urldefense.com/v3/__https://global.oup.com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us__;!!KGKeukY!xbDi3wMmeuYmMPqVKmvClURuGY-kExhq1y7Ob40K9WDsWcm6LxZgr-vF1qPZhkvcShviGlA12cvvfZdGUBs$ >> >> >> -- >> Sent from Gmail Mobile >> _______________________________________________ >> 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 > -- Jean Mills (she, her, hers) Associate Professor & Chair The Department of English John Jay College/CUNY 524 West 59th Street, Room 7.63.03 New York, NY 10019 Selected Publications: "Feminist Theory" in *The Oxford Handbook of Virginia Woolf*, ed. by Anne Fernald, Oxford University Press, 2021. https://urldefense.com/v3/__https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780198811589.001.0001/oxfordhb-9780198811589__;!!KGKeukY!xbDi3wMmeuYmMPqVKmvClURuGY-kExhq1y7Ob40K9WDsWcm6LxZgr-vF1qPZhkvcShviGlA12cvvDvoaDZg$ *Nancy Cunard: Perfect Stranger *by Jane Marcus; Edited and with an Introduction and Afterword by Jean Mills. Clemson University Press, Fall, 2020 https://urldefense.com/v3/__https://libraries.clemson.edu/press/books/nancy-cunard-perfect-stranger/__;!!KGKeukY!xbDi3wMmeuYmMPqVKmvClURuGY-kExhq1y7Ob40K9WDsWcm6LxZgr-vF1qPZhkvcShviGlA12cvvfN8p8pA$ "'With every nerve in my body I stand for peace': Jane Ellen Harrison and the Heresy of War" in *Reconsidering Peace and Patriotism during the First World War *(Palgrave/Macmillan, 2017) https://urldefense.com/v3/__http://www.palgrave.com/de/book/9783319513003__;!!KGKeukY!xbDi3wMmeuYmMPqVKmvClURuGY-kExhq1y7Ob40K9WDsWcm6LxZgr-vF1qPZhkvcShviGlA12cvvGCslD8I$ *Virginia Woolf, Jane Ellen Harrison, and the Spirit of Modernist Classicism *(The Ohio State University Press, 2014) https://urldefense.com/v3/__https://ohiostatepress.org/Books/Book*20Pages/Mills*20Virginia.html__;JSU!!KGKeukY!xbDi3wMmeuYmMPqVKmvClURuGY-kExhq1y7Ob40K9WDsWcm6LxZgr-vF1qPZhkvcShviGlA12cvvL0tYaRs$ Associate Editor, *Feminist Modernist Studies* 212.237.8706 JEMILLS at JJAY.CUNY.EDU -------------- next part -------------- An HTML attachment was scrubbed... URL: From sparks at clemson.edu Wed Aug 16 17:59:11 2023 From: sparks at clemson.edu (Elisa Sparks) Date: Wed, 16 Aug 2023 21:59:11 +0000 Subject: [Vwoolf] Ox Woolf handbook in paper In-Reply-To: References: Message-ID: <70E95E4E-4DF7-45F2-B5DD-5640832D2312@clemson.edu> after a summer of travelling and gardening, i am settling back down to Woolf work by reading through the OxHand essay by essay. i paid for the hardback and feel i am receiving full value, tho i'm glad it will soon be available to a wider audience. Elisa Sent from my iPhone On Aug 16, 2023, at 2:42 PM, Jean Mills via Vwoolf wrote: ? Awesome. Thanks, Anne for making it all happen. - Jean On Wed, Aug 16, 2023 at 4:?11 PM Anastasia H via Vwoolf wrote: Excellent news, indeed! On Wed, Aug 16, 2023 at 6: 42 AM Anne Fernald via Vwoolf > wrote: Excellent news, indeed! On Wed, Aug 16, 2023 at 6:?42 AM Anne Fernald via Vwoolf wrote: Dear Woolfians, I?m very happy to share that the Oxford Handbook to Virginia Woolf will very soon be out in paperback. That Excellent news, indeed! On Wed, Aug 16, 2023 at 6:42?AM Anne Fernald via Vwoolf > wrote: Dear Woolfians, I?m very happy to share that the Oxford Handbook to Virginia Woolf will very soon be out in paperback. That brings the price down to $50, a bargain, in my view, for this massive tome. Yours, Anne https:?//global.?oup.?com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us-- Dear Woolfians, I?m very happy to share that the Oxford Handbook to Virginia Woolf will very soon be out in paperback. That brings the price down to $50, a bargain, in my view, for this massive tome. Yours, Anne https://urldefense.com/v3/__https://global.oup.com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us__;!!KGKeukY!z1cl2-AtrF7fL0QCe9UrA6TFnOSfwSbQe940PmdKHfofODd9Qn5Knjzwx42COCLI9Twu3kaKLSmUcLlEQmudKA$ -- Sent from Gmail Mobile _______________________________________________ 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 -- Jean Mills (she, her, hers) Associate Professor & Chair The Department of English John Jay College/CUNY 524 West 59th Street, Room 7.63.03 New York, NY 10019 Selected Publications: "Feminist Theory" in The Oxford Handbook of Virginia Woolf, ed. by Anne Fernald, Oxford University Press, 2021. https://urldefense.com/v3/__https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780198811589.001.0001/oxfordhb-9780198811589__;!!KGKeukY!z1cl2-AtrF7fL0QCe9UrA6TFnOSfwSbQe940PmdKHfofODd9Qn5Knjzwx42COCLI9Twu3kaKLSmUcLlOSP9P9A$ Nancy Cunard: Perfect Stranger by Jane Marcus; Edited and with an Introduction and Afterword by Jean Mills. Clemson University Press, Fall, 2020 https://urldefense.com/v3/__https://libraries.clemson.edu/press/books/nancy-cunard-perfect-stranger/__;!!KGKeukY!z1cl2-AtrF7fL0QCe9UrA6TFnOSfwSbQe940PmdKHfofODd9Qn5Knjzwx42COCLI9Twu3kaKLSmUcLnq0IvADw$ "'With every nerve in my body I stand for peace': Jane Ellen Harrison and the Heresy of War" in Reconsidering Peace and Patriotism during the First World War (Palgrave/Macmillan, 2017) https://urldefense.com/v3/__http://www.palgrave.com/de/book/9783319513003__;!!KGKeukY!z1cl2-AtrF7fL0QCe9UrA6TFnOSfwSbQe940PmdKHfofODd9Qn5Knjzwx42COCLI9Twu3kaKLSmUcLl1iGVDng$ Virginia Woolf, Jane Ellen Harrison, and the Spirit of Modernist Classicism (The Ohio State University Press, 2014) https://urldefense.com/v3/__https://ohiostatepress.org/Books/Book*20Pages/Mills*20Virginia.html__;JSU!!KGKeukY!z1cl2-AtrF7fL0QCe9UrA6TFnOSfwSbQe940PmdKHfofODd9Qn5Knjzwx42COCLI9Twu3kaKLSmUcLkzULI7hg$ Associate Editor, Feminist Modernist Studies 212.237.8706 JEMILLS at JJAY.CUNY.EDU _______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From smhall123 at yahoo.co.uk Thu Aug 17 03:42:20 2023 From: smhall123 at yahoo.co.uk (Sarah M. Hall) Date: Thu, 17 Aug 2023 07:42:20 +0000 (UTC) Subject: [Vwoolf] Ox Woolf handbook in paper In-Reply-To: References: Message-ID: <1313360773.814206.1692258140240@mail.yahoo.com> Thanks, Anne, this will make it affordable for a whole new audience. In Britain it will be available from 24 August, price ?40 (Blackwell's proudly offer 1p off). Sarah Sarah M. HallVirginia Woolf Society of GB? Sent from Yahoo Mail on Android On Wed, Aug 16, 2023 at 2:41 PM, Anne Fernald via Vwoolf wrote: Dear Woolfians, I?m very happy to share that the Oxford Handbook to Virginia Woolf will very soon be out in paperback. That brings the price down to $50, a bargain, in my view, for this massive tome. Yours, Anne https:?//global.?oup.?com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us--Dear Woolfians, I?m very happy to share that the Oxford Handbook to Virginia Woolf will very soon be out in paperback. That brings the price down to $50, a bargain, in my view, for this massive tome.? Yours,Anne https://urldefense.com/v3/__https://global.oup.com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us__;!!KGKeukY!wVl6HxrWVBqPGk7kqPGP8d6VWi5xVlu9Wf5B4H-7nD0wnJCYd_3w1s6pr9Qx4eMg5J7Weu5G9Kh8o-jb7SLtOtM6$ -- Sent from Gmail Mobile_______________________________________________ Vwoolf mailing list Vwoolf at lists.osu.edu https://lists.osu.edu/mailman/listinfo/vwoolf -------------- next part -------------- An HTML attachment was scrubbed... URL: From mefoleyuk at gmail.com Thu Aug 17 06:51:29 2023 From: mefoleyuk at gmail.com (Mary Ellen Foley) Date: Thu, 17 Aug 2023 12:51:29 +0200 Subject: [Vwoolf] Ox Woolf handbook in paper In-Reply-To: <1313360773.814206.1692258140240@mail.yahoo.com> References: <1313360773.814206.1692258140240@mail.yahoo.com> Message-ID: And the Kindle edition is ?91.67 ? go figure! Much lower production cost and no shipping cost, yet they?re charging more than twice as much? I will never understand the publishing industry. Thank you, Anne, very much indeed, for providing an affordable option!! (Here in Sweden, the paperback isn?t available til 1 Nov, and will cost 585 kr, or just over ?42 at today?s rate.) Not long to wait now! Mary Ellen On Thu, 17 Aug 2023 at 09:42, Sarah M. Hall via Vwoolf wrote: > Thanks, Anne, this will make it affordable for a whole new audience. In > Britain it will be available from 24 August, price ?40 (Blackwell's proudly > offer 1p off). Sarah Sarah M. Hall Virginia Woolf Society of GB Sent from > Yahoo Mail on Android > Thanks, Anne, this will make it affordable for a whole new audience. > > In Britain it will be available from 24 August, price ?40 (Blackwell's > proudly offer 1p off). > > Sarah > > Sarah M. Hall > Virginia Woolf Society of GB > > > Sent from Yahoo Mail on Android > > > > > On Wed, Aug 16, 2023 at 2:41 PM, Anne Fernald via Vwoolf > wrote: > Dear Woolfians, I?m very happy to share that the Oxford Handbook to > Virginia Woolf will very soon be out in paperback. That brings the price > down to $50, a bargain, in my view, for this massive tome. Yours, Anne > https: //global. oup. > com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us-- > > Dear Woolfians, > > I?m very happy to share that the Oxford Handbook to Virginia Woolf will > very soon be out in paperback. That brings the price down to $50, a > bargain, in my view, for this massive tome. > > Yours, > Anne > > > https://urldefense.com/v3/__https://global.oup.com/academic/product/the-oxford-handbook-of-virginia-woolf-9780198885511?q=Fernald&lang=en&cc=us__;!!KGKeukY!yH_AhTgu3Ic_y7_Tgsot9ng99RW7NfVVikhwVrst_DbasCecI0lvPRhXL-eIbsz0ukzATFBQdaujWiFy2ui8Sw$ > > > -- > Sent from Gmail Mobile > _______________________________________________ > 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From sbarkway at btinternet.com Thu Aug 17 17:24:36 2023 From: sbarkway at btinternet.com (sbarkway at btinternet.com) Date: Thu, 17 Aug 2023 22:24:36 +0100 Subject: [Vwoolf] Uncollected Letters of Virginia Woolf Message-ID: <00c401d9d151$39764a30$ac62de90$@btinternet.com> As some of you will know, Stuart Clarke and Stephen Barkway are searching for letters from Virginia Woolf that did not make it into the six-volume collection of her letters (Hogarth Press/Harcourt Brace Jovanovich, 1975-80). These additional letters will be published by Edinburgh University Press. We're hoping to have almost finished by the end of the year, and to submit the 'manuscript' next summer. We have been allowed to include the 'new' letters in 'Congenial Spirits'. The book will be a substantial tome. If any of you have any such letters, or copies of them, or know where they are, then we should love to hear from you. Many of the letters have been published in whole or in part, in auction catalogues, books and articles (e.g. 'Some [Nineteen] New Woolf Letters', ed. Joanne Trautmann Banks, Modern Fiction Studies 30:2 (Summer 1984): 175-202; in the Virginia Woolf Miscellany (43 & 55); Woolf Studies Annual (1, 7 & 8) and almost every issue of the 'Virginia Woolf Bulletin'), but of course we are hunting for copies of the originals. We have checked all the institutions with substantial Woolf holdings, those who are mentioned as owners in the six volumes, and those listed in the annual 'Woolf Studies Annual' under 'Guide to Library Special Collections. There may be obscure (from a Woolfian point of view) institutions that have the odd letter and that we are not aware of. For example, if it had not been for Beth Rigel Daugherty, we probably would not have known that Penn State University holds a letter. We are frustrated that we have by no means managed to track down all the letters on the two lists of 'too lates' (1980; available on the VW CD-ROM, Berg M43 (search for "Nigel")) and 'too too lates' (1984), compiled by Nigel Nicolson and Joanne Trautmann. For example, what happened to the letters owned by Roger Fry's daughter, Pamela Diamand? We realise that the minute the book goes to press, another letter or letters will pop up, but we are seeking help from you, in the hope that there will not be too many. Stephen and Stuart stuart.n.clarke at btinternet.com sbarkway at btinternet.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From sparks at clemson.edu Thu Aug 17 18:27:28 2023 From: sparks at clemson.edu (Elisa Sparks) Date: Thu, 17 Aug 2023 22:27:28 +0000 Subject: [Vwoolf] Drop-in next Friday, Aug 25th Message-ID: <9AADBF89-BECF-4818-8CCC-DD5A5024E642@clemson.edu> Dear All? I was reading Caroline Pollentier?s intriguing essay on Woolf?s life writings in Anne Fernald?s Oxford Handbook, and was delighted by her citation of an October 1935 (typed) letter to Julian Bell in which Woolf anticipated the eventual possibility of Facetime, if not the entire social apparatus of Zoom: ?Oh dear how I wish television were now installed and I could switch on and see you, instead of tap tapping, which curtails my ideas and castrates my style? (Fernald 66; VW L5 432). So let us celebrate Woolf?s imagination of the future we now live in and switch on and see each other?how about Friday August 25th at 11:00 PST (2:00 pm EST; 7:00 GMT). Here?s the invite link: https://urldefense.com/v3/__https://clemson.zoom.us/j/91321737039?pwd=d3VRUStBd2ZZMkkyYlFPN0VLaEMrZz09__;!!KGKeukY!0Gcm0kmXL_9YYS4XutVJLJaAZKs7DCSB-mMfnL-nog1l4zIkdJfja_Yr__einGy3P0bl5Lcu6FvADqVoiaAqMsAkzNkEa64$ Fondly, Elisa -------------- next part -------------- An HTML attachment was scrubbed... URL: From luca.pinelli94 at gmail.com Fri Aug 18 03:19:34 2023 From: luca.pinelli94 at gmail.com (Luca Pinelli) Date: Fri, 18 Aug 2023 09:19:34 +0200 Subject: [Vwoolf] =?utf-8?q?Gis=C3=A8le_Freund=27s_photographs_of_Woolf_-_?= =?utf-8?q?copyright_owner?= Message-ID: Hello everyone! I'm exploring the possibility of including one of Gis?le Freund's photographs of Woolf (and Beauvoir) in a scholarly article but I'm having a hard time identifying the copyright owner, probably because I don't really know how these things work... I don't suppose somebody could help me? A related question would be whether I'd be able to put the two photographs (Freund's photo of Woolf and her photo of Beauvoir) together in the same file, side by side, as I need only one image for the publication (they need a sort of horizontal thumbnail as it's an open-access, digital-only journal). Would that be possible at all? Thank you very much for any help you can provide. Best, Luca -------------- next part -------------- An HTML attachment was scrubbed... URL: From sbarkway at btinternet.com Fri Aug 18 05:26:44 2023 From: sbarkway at btinternet.com (sbarkway at btinternet.com) Date: Fri, 18 Aug 2023 10:26:44 +0100 Subject: [Vwoolf] =?utf-8?q?Gis=C3=A8le_Freund=27s_photographs_of_Woolf_-_?= =?utf-8?q?copyright_owner?= In-Reply-To: References: Message-ID: <01f501d9d1b6$1ac1ecb0$5045c610$@btinternet.com> Dear Luca This is what I found out from the Wilipedia page for Freund: Rights and permissions[ edit] Freund's estate is managed through l'Institut M?moires de l'?dition contemporaine (IMEC), Paris, France. You will need to contact IMEC in Paris for consent. Hope this helps, Stephen From: Vwoolf On Behalf Of Luca Pinelli via Vwoolf Sent: Friday, August 18, 2023 8:20 AM To: vwoolf at lists.osu.edu Subject: [Vwoolf] Gis?le Freund's photographs of Woolf - copyright owner Hello everyone! I'm exploring the possibility of including one of Gis?le Freund's photographs of Woolf (and Beauvoir) in a scholarly article but I'm having a hard time identifying the copyright owner, probably because I don't Hello everyone! I'm exploring the possibility of including one of Gis?le Freund's photographs of Woolf (and Beauvoir) in a scholarly article but I'm having a hard time identifying the copyright owner, probably because I don't really know how these things work... I don't suppose somebody could help me? A related question would be whether I'd be able to put the two photographs (Freund's photo of Woolf and her photo of Beauvoir) together in the same file, side by side, as I need only one image for the publication (they need a sort of horizontal thumbnail as it's an open-access, digital-only journal). Would that be possible at all? Thank you very much for any help you can provide. Best, Luca -------------- next part -------------- An HTML attachment was scrubbed... URL: From M.Humm at uel.ac.uk Fri Aug 18 05:47:24 2023 From: M.Humm at uel.ac.uk (Maggie Humm) Date: Fri, 18 Aug 2023 09:47:24 +0000 Subject: [Vwoolf] =?utf-8?q?Gis=C3=A8le_Freund=27s_photographs_of_Woolf_-_?= =?utf-8?q?copyright_owner?= In-Reply-To: References: Message-ID: Hi Luca Thanks to the Houghton Library?s wonderful policy there is no charge now for Woolf permissions. You would need to cite the Library. Their Freund photographs are not digitised (like the albums) but were in Box 2 in Woolf?s archive in separate folders. See my Snapshots of Bloomsbury pp. 163-165 for citations and the images. I am reproducing these again next year in Bloomsbury Photographs, Yale University Press 2024 Archives usually do not permit any cropping or rearrangements of photographs so you would need to publish both photographs separately I imagine. Best of luck! Maggie Emeritus Professor Maggie Humm Vice-Chair, Virginia Woolf Society of Great Britain: https://urldefense.com/v3/__http://www.virginiawoolfsociety.org.uk/__;!!KGKeukY!zzIPS8vUnbvir1zPKLHs3TM45r1L4puR3yUkPQPwsWSn4Ba1raDXywXsBGaRFZQyCrzBfxbMBeOLpk3yJdHr$ Author of Talland House https://urldefense.com/v3/__https://amzn.to/2UJZ7zF__;!!KGKeukY!zzIPS8vUnbvir1zPKLHs3TM45r1L4puR3yUkPQPwsWSn4Ba1raDXywXsBGaRFZQyCrzBfxbMBeOLpqj-0GBb$ 2021 Next Generation Indie Book Awards Finalist in Historical (Fiction - Post 1900s)/2021 Eric Hoffer Award Grand Prize Short List Jan 2023 Radical Woman Gwen John & Rodin https://urldefense.com/v3/__http://www.eerpublishing.com/humm-radical-woman-gwen-john---rodin.html__;!!KGKeukY!zzIPS8vUnbvir1zPKLHs3TM45r1L4puR3yUkPQPwsWSn4Ba1raDXywXsBGaRFZQyCrzBfxbMBeOLplBrycOp$ shortlisted [cid:image001.png at 01D9D1C0.72E0EE50] Page Turner Awards 2022 Website: https://urldefense.com/v3/__http://www.maggiehumm.net/__;!!KGKeukY!zzIPS8vUnbvir1zPKLHs3TM45r1L4puR3yUkPQPwsWSn4Ba1raDXywXsBGaRFZQyCrzBfxbMBeOLptdzcTHP$ From: Vwoolf On Behalf Of Luca Pinelli via Vwoolf Sent: Friday, August 18, 2023 8:20 AM To: vwoolf at lists.osu.edu Subject: [Vwoolf] Gis?le Freund's photographs of Woolf - copyright owner Hello everyone! I'm exploring the possibility of including one of Gis?le Freund's photographs of Woolf (and Beauvoir) in a scholarly article but I'm having a hard time identifying the copyright owner, probably because I don't This email is from an external source. Ensure you trust the sender before opening any attachments or clicking on any links. ________________________________ Hello everyone! I'm exploring the possibility of including one of Gis?le Freund's photographs of Woolf (and Beauvoir) in a scholarly article but I'm having a hard time identifying the copyright owner, probably because I don't really know how these things work... I don't suppose somebody could help me? A related question would be whether I'd be able to put the two photographs (Freund's photo of Woolf and her photo of Beauvoir) together in the same file, side by side, as I need only one image for the publication (they need a sort of horizontal thumbnail as it's an open-access, digital-only journal). Would that be possible at all? Thank you very much for any help you can provide. Best, Luca The information transmitted in this e-mail and its contents is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. If you are not the intended addressee you are prohibited from storing, copying or using the information in any way. This email has been checked for viruses and malware but no liability is accepted by UEL for any damage caused by any virus or malware that may be transmitted by this email. -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.png Type: image/png Size: 13350 bytes Desc: image001.png URL: -------------- next part -------------- A non-text attachment was scrubbed... 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Date: Sun, 20 Aug 2023 02:20:11 +0000 Subject: [Vwoolf] Google Alert--Fashion, Charleston, and the "Bloomsbury Set" Message-ID: Greetings, A webpage about fashion and design ... and Charleston. https://urldefense.com/v3/__https://vigourtimes.com/fashions-love-affair-with-charleston-how-the-bloomsbury-sets-country-home-paints-a-vibrant-picture/__;!!KGKeukY!y87Y0DEw7MJoAQswzJlDTokAbH-4dbeviVSWVxB8-epefJ_3XEA8YbvIoyhz6bAhwqO62_LVL6kL01fk5GC3YInCTgwt$ [https://urldefense.com/v3/__https://i.guim.co.uk/img/media/bff151b6c5f978c1fe1b16f8725bbd150a8a421a/0_534_2100_1260/master/2100.jpg__;!!KGKeukY!y87Y0DEw7MJoAQswzJlDTokAbH-4dbeviVSWVxB8-epefJ_3XEA8YbvIoyhz6bAhwqO62_LVL6kL01fk5GC3YO4HiSDU$ ] Fashion's Love Affair with Charleston: How the Bloomsbury Set's Country Home Paints a Vibrant Picture - VigourTimes Nestled in the heart of the Sussex Downs, at the end of a quiet and muddy country lane, lies Charleston - the most stylish and fashionable house in all of vigourtimes.com Vara Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) -------------- next part -------------- An HTML attachment was scrubbed... URL: From kllevenback at att.net Tue Aug 22 11:40:08 2023 From: kllevenback at att.net (Kllevenback) Date: Tue, 22 Aug 2023 11:40:08 -0400 Subject: [Vwoolf] Woolf sighting: Fwd: H-Net Reviews Spitzer, Jennifer. Secret Sharers: The Intimate Rivalries of Modernism and Psychoanalysis. New York: Fordham University Press, 2023. References: <279F7EA4-0BF7-4F64-8642-F31A1D9DAA5F@si.edu> Message-ID: <27ECF373-13C6-4C8A-9B92-41F8B6919073@att.net> An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Fri Aug 25 00:48:44 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Fri, 25 Aug 2023 04:48:44 +0000 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Message-ID: Dear Woolfians, The final version of Issue 100 of the Virginia Woolf Miscellany is now available on WordPress. This version is longer than the previous draft that was posted in early August. It includes more contributions as well as a short bibliography of recent publications and also has a number of different illustrations. Should you wish to glance at the updated overview of the issue in this email rather than on the webpage, it is included below. The summary provides more information about the issue than the previous one. Please contact me if you have any questions about contributing to the Miscellany or acquiring copies of the Miscellany. Best wishes, Vara Virginia Woolf Miscellany, Issue 100, Spring/Summer 2023 Special Topic: The Evolution of the Virginia Woolf Miscellany This issue of the Miscellany is dedicated to the special topic ?The Evolution of the Virginia Woolf Miscellany.? To access the final version of the issue, click here. (If you downloaded the earlier iteration of the issue, please discard it?this final version is different and includes additional contributions.) To view the Table of Contents, go to page 25. This special theme, which focuses on the origins, history, and impact of the Miscellany, was edited by J. J. Wilson (the founding editor of the Miscellany), Vara Neverow (the current editor), and Alec Pollak (the guest editor). The ?To the Readers? section (pages 1-5) offers each editor?s introductory statement. The contributors to this special topic, in the order of their work, are Morris Beja (who discusses the founding of the Virginia Woolf Society and notes its early and ongoing affiliation with the Miscellany), Diane F. Gillespie, Peter Stansky, Sandra Inskeep-Fox, Katherine C. Hill-Miller, Maggie Humm, Beth Rigel Daugherty, Karen Levenback, Rebecca McNeer, Emily Kopley, Joel Hawkes, JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, Lesley Higgins, Arpi Sarafian, Rowena Kennedy-Epstein, AnneMarie Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and Robert McDowell (see pages 26-47). These contributions provide a rich and varied range of perspectives including historical details, insights about the benefits provided by the Miscellany, many different personal recollections and reflections, several engaging teaching techniques, and a poem. Remembering Suzanne Bellamy The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), an artist and sculptor and feminist whose invaluable work has inspired the Woolfian community (pages 11-22). Calls for Papers The Call for Papers for the 33rd Annual Conference on Virginia Woolf: Woolf, Modernity, Technology, which will be hosted by J. Ashley Foster and held at California State University?Fresno, can be accessed on page 6. Calls for papers for future issues of the Miscellany can be viewed on pages 23 and 24: ?Issue 102, Spring 2024: Special Topic on Twenty-First-Century Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and Patriarchy; ?Issue 103, Fall 2024: Special Topic on Virginia Woolf and George Eliot; ?Issue 104, Spring 2025: Special Topic on Virginia Woolf and D. H, Lawrence; ?Issue 105, Fall 2025: Special Topic on Virginia Woolf and Failure. Also of interest are the Clemson University Press?s Call for Annotated Woolf (page 6) and the advertisements for rare books?Jon S. Richardson?s Rare Books (page 7), Honey & Wax Booksellers (page 8), and Second Wind Books (page 24). Furthermore, included in this issue is one of Farrah Alkhadra's drawings of snails that illustrated Woolf and Ecologies, the 32 Annual Conference on Virginia Woolf, and were crafted for call for papers, the webpage, and the programs. Farrah Alkhadra's work can be viewed on Instagram, and the reader can access a link to an article that focuses on her work while she pursued her degree at FGCU (see page 40). The 2023 Angelica Garnett Undergraduate Essay Prize The essays submitted by Eleanor Clark, the winner of the 2023 Angelica Garnett Undergraduate Essay Prize, and Saskia May and Jasmine Woodcock, the runners-up for the prize, are included in this issue (see pages 47-54). Eleanor Clark?s essay is titled ??Breaking the Silence??: Talking, Speaking, and the Dissipation of Meaning in Virginia Woolf?s Novels? (47-49); Saskia May?s is ?Abandoned, Domestic Objects ?continuing without us? in Ecological Landscapes in Virginia Woolf?s ?Solid Objects? (49-51), and Jasmine Woodcock?s is ?Predicting the Present: Orlando Is Trans*? (51-53). ?Truly Miscellaneous? Contributions The ?Truly Miscellaneous? section of this issue features C?cile Wajsbrot?s ?Outside? (54-56), Rhonda Mayne?s ?Mrs. Papworth: The Working-Class Woman in Virginia Woolf?s Novel Jacob?s Room? (56-57), Ane Thun Knutsen?s ?Virginia Woolf and the Letterpress? (57-59), Rasha Alijararwa?s ?The Power of Silence: Understanding Women?s Resistance in Woolf?s To the Lighthouse? (59-62), and Megan Pollard?s ?A Deliberate Failure: Politics, Form, and Woolf Between the Wars? (62-66). Book Reviews and Publications The book reviewers for this issue are Charles Andrews, who reviewed the edited collection Virginia Woolf: Primary and Critical Sources (2021) (66-68); Lisa Tyler, who reviewed Virginia Woolf?s Mythic Method by Amy C. Smith (2022) (68-69); Sayaka Okumura, who reviewed the edited collection The Ediburgh Companion to Virginia Woolf and Contemporary Global Literature (2022) (69-71); Ria Banerjee, who reviewed The Sensuous Pedagogies of Virginia Woolf and D. H. Lawrence, by Benjamin D. Hagen (2020) (71-72), Mark Hussey, who reviewed Feminism from Literary Modernism to the Multimedia Present (2022) (72-73), and Linda Camarasana, who reviewed England?s Lane by Emma Woolf (2018) (73-74). Page 74 also includes a list of recent publications relating to Woolf and Bloomsbury, including book-length works, articles, chapters, translations, and theses. The Society Column The Society Column, written by Benjamin Hagen, the President of the International Virginia Woolf Society, starts on page 76 and continues onto page 75. Also on page 75 is the list of the IVWS officers, the members-at-large, and the archival liaison. The information in the Society Column ranges from a report on Woolf panels at the 2023 MLA Convention and the upcoming 2024 Convention to the CFP for the Louisville Conference on Literature since 1900, the publication of Woolf Studies Annual 29, the 32nd Conference on Virginia Woolf with the topic Woolf and Ecologies held at Florida Gulf Coast University in June 2023, hosted by Laci Mattison, with a second virtual reprise of the conference?Woolf and Ecologies II?hosted by the IVWS with Derek Ryan as the organizer this fall. Also mentioned is the 33rd Conference on Virginia Woolf, to be hosted by J. Ashley Foster at Fresno State University?California in June 2024. And the column includes a reference to a link to Kabe Wilson?s film to ?Looking for Virginia: An Artist?s Journey Through 100 Archives.? Other information included the previous and upcoming Woolf Salon Projects, the special online event for the Angelica Garnett Undergraduate Prize, and the 2022 IVWS Fall Lecture with Beth Rigel Daugherty. Submitting Contributions Contributions to the Miscellany can include scholarly work, reviews of relevant exhibitions, films, and performances, short poetry, photographs, and other forms of artwork. The submission should be sent to Vara Neverow. Similarly, if you are interested in proposing a special topic for the Miscellany, please contact Vara Neverow. Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) -------------- next part -------------- An HTML attachment was scrubbed... URL: From mhussey at verizon.net Fri Aug 25 10:02:33 2023 From: mhussey at verizon.net (mhussey at verizon.net) Date: Fri, 25 Aug 2023 10:02:33 -0400 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress In-Reply-To: References: Message-ID: <004e01d9d75c$cbfa4580$63eed080$@verizon.net> Congratulations Vara. VWM is such an incredibly rich resource, to say nothing of the fascinating story of Woolf studies it tells from the early 1970s to today! From: Neverow, Vara S. Sent: Friday, August 25, 2023 12:49 AM To: vwoolf listerve Subject: Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Dear Woolfians, The final version of Issue 100 of the Virginia Woolf Miscellany is now available on WordPress. This version is longer than the previous draft that was posted in early August. It includes more contributions as well as a short bibliography of recent publications and also has a number of different illustrations. Should you wish to glance at the updated overview of the issue in this email rather than on the webpage, it is included below. The summary provides more information about the issue than the previous one. Please contact me if you have any questions about contributing to the Miscellany or acquiring copies of the Miscellany. Best wishes, Vara Virginia Woolf Miscellany, Issue 100, Spring/Summer 2023 Special Topic: The Evolution of the Virginia Woolf Miscellany This issue of the Miscellany is dedicated to the special topic ?The Evolution of the Virginia Woolf Miscellany.? To access the final version of the issue, click here. (If you downloaded the earlier iteration of the issue, please discard it?this final version is different and includes additional contributions.) To view the Table of Contents, go to page 25. This special theme, which focuses on the origins, history, and impact of the Miscellany, was edited by J. J. Wilson (the founding editor of the Miscellany), Vara Neverow (the current editor), and Alec Pollak (the guest editor). The ?To the Readers? section (pages 1-5) offers each editor?s introductory statement. The contributors to this special topic, in the order of their work, are Morris Beja (who discusses the founding of the Virginia Woolf Society and notes its early and ongoing affiliation with the Miscellany), Diane F. Gillespie, Peter Stansky, Sandra Inskeep-Fox, Katherine C. Hill-Miller, Maggie Humm, Beth Rigel Daugherty, Karen Levenback, Rebecca McNeer, Emily Kopley, Joel Hawkes, JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, Lesley Higgins, Arpi Sarafian, Rowena Kennedy-Epstein, AnneMarie Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and Robert McDowell (see pages 26-47). These contributions provide a rich and varied range of perspectives including historical details, insights about the benefits provided by the Miscellany, many different personal recollections and reflections, several engaging teaching techniques, and a poem. Remembering Suzanne Bellamy The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), an artist and sculptor and feminist whose invaluable work has inspired the Woolfian community (pages 11-22). Calls for Papers The Call for Papers for the 33rd Annual Conference on Virginia Woolf: Woolf, Modernity, Technology, which will be hosted by J. Ashley Foster and held at California State University?Fresno, can be accessed on page 6. Calls for papers for future issues of the Miscellany can be viewed on pages 23 and 24: ?Issue 102, Spring 2024: Special Topic on Twenty-First-Century Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and Patriarchy; ?Issue 103, Fall 2024: Special Topic on Virginia Woolf and George Eliot; ?Issue 104, Spring 2025: Special Topic on Virginia Woolf and D. H, Lawrence; ?Issue 105, Fall 2025: Special Topic on Virginia Woolf and Failure. Also of interest are the Clemson University Press?s Call for Annotated Woolf (page 6) and the advertisements for rare books? Jon S. Richardson?s Rare Books (page 7), Honey & Wax Booksellers (page 8), and Second Wind Books (page 24). Furthermore, included in this issue is one of Farrah Alkhadra's drawings of snails that illustrated Woolf and Ecologies, the 32 Annual Conference on Virginia Woolf, and were crafted for call for papers, the webpage, and the programs. Farrah Alkhadra's work can be viewed on Instagram , and the reader can access a link to an article that focuses on her work while she pursued her degree at FGCU (see page 40). The 2023 Angelica Garnett Undergraduate Essay Prize The essays submitted by Eleanor Clark, the winner of the 2023 Angelica Garnett Undergraduate Essay Prize, and Saskia May and Jasmine Woodcock, the runners-up for the prize, are included in this issue (see pages 47-54). Eleanor Clark?s essay is titled ??Breaking the Silence??: Talking, Speaking, and the Dissipation of Meaning in Virginia Woolf?s Novels? (47-49); Saskia May?s is ?Abandoned, Domestic Objects ?continuing without us? in Ecological Landscapes in Virginia Woolf?s ?Solid Objects? (49-51), and Jasmine Woodcock?s is ?Predicting the Present: Orlando Is Trans*? (51-53). ?Truly Miscellaneous? Contributions The ?Truly Miscellaneous? section of this issue features C?cile Wajsbrot?s ?Outside? (54-56), Rhonda Mayne?s ?Mrs. Papworth: The Working-Class Woman in Virginia Woolf?s Novel Jacob?s Room? (56-57), Ane Thun Knutsen?s ?Virginia Woolf and the Letterpress? (57-59), Rasha Alijararwa?s ?The Power of Silence: Understanding Women?s Resistance in Woolf?s To the Lighthouse? (59-62), and Megan Pollard?s ?A Deliberate Failure: Politics, Form, and Woolf Between the Wars? (62-66). Book Reviews and Publications The book reviewers for this issue are Charles Andrews, who reviewed the edited collection Virginia Woolf: Primary and Critical Sources (2021) (66-68); Lisa Tyler, who reviewed Virginia Woolf?s Mythic Method by Amy C. Smith (2022) (68-69); Sayaka Okumura, who reviewed the edited collection The Ediburgh Companion to Virginia Woolf and Contemporary Global Literature (2022) (69-71); Ria Banerjee, who reviewed The Sensuous Pedagogies of Virginia Woolf and D. H. Lawrence, by Benjamin D. Hagen (2020) (71-72), Mark Hussey, who reviewed Feminism from Literary Modernism to the Multimedia Present (2022) (72-73), and Linda Camarasana, who reviewed England?s Lane by Emma Woolf (2018) (73-74). Page 74 also includes a list of recent publications relating to Woolf and Bloomsbury, including book-length works, articles, chapters, translations, and theses. The Society Column The Society Column, written by Benjamin Hagen, the President of the International Virginia Woolf Society, starts on page 76 and continues onto page 75. Also on page 75 is the list of the IVWS officers, the members-at-large, and the archival liaison. The information in the Society Column ranges from a report on Woolf panels at the 2023 MLA Convention and the upcoming 2024 Convention to the CFP for the Louisville Conference on Literature since 1900, the publication of Woolf Studies Annual 29, the 32nd Conference on Virginia Woolf with the topic Woolf and Ecologies held at Florida Gulf Coast University in June 2023, hosted by Laci Mattison, with a second virtual reprise of the conference?Woolf and Ecologies II?hosted by the IVWS with Derek Ryan as the organizer this fall. Also mentioned is the 33rd Conference on Virginia Woolf, to be hosted by J. Ashley Foster at Fresno State University?California in June 2024. And the column includes a reference to a link to Kabe Wilson?s film to ? Looking for Virginia: An Artist?s Journey Through 100 Archives.? Other information included the previous and upcoming Woolf Salon Projects, the special online event for the Angelica Garnett Undergraduate Prize, and the 2022 IVWS Fall Lecture with Beth Rigel Daugherty. Submitting Contributions Contributions to the Miscellany can include scholarly work, reviews of relevant exhibitions, films, and performances, short poetry, photographs, and other forms of artwork. The submission should be sent to Vara Neverow. Similarly, if you are interested in proposing a special topic for the Miscellany, please contact Vara Neverow. Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Fri Aug 25 10:06:43 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Fri, 25 Aug 2023 14:06:43 +0000 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress In-Reply-To: <004e01d9d75c$cbfa4580$63eed080$@verizon.net> References: <004e01d9d75c$cbfa4580$63eed080$@verizon.net> Message-ID: Thank you! it is a labor of love to create an issue and a joy to share. With gratitude, Vara Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. ________________________________ From: mhussey at verizon.net Sent: Friday, August 25, 2023 10:02:33 AM To: Neverow, Vara S. ; 'vwoolf listerve' Subject: RE: Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Congratulations Vara. VWM is such an incredibly rich resource, to say nothing of the fascinating story of Woolf studies it tells from the early 1970s to today! From: Neverow, Vara S. Sent: Friday, August 25, 2023 12:49 AM To: vwoolf listerve Subject: Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Dear Woolfians, The final version of Issue 100 of the Virginia Woolf Miscellany is now available on WordPress. This version is longer than the previous draft that was posted in early August. It includes more contributions as well as a short bibliography of recent publications and also has a number of different illustrations. Should you wish to glance at the updated overview of the issue in this email rather than on the webpage, it is included below. The summary provides more information about the issue than the previous one. Please contact me if you have any questions about contributing to the Miscellany or acquiring copies of the Miscellany. Best wishes, Vara Virginia Woolf Miscellany, Issue 100, Spring/Summer 2023 Special Topic: The Evolution of the Virginia Woolf Miscellany This issue of the Miscellany is dedicated to the special topic ?The Evolution of the Virginia Woolf Miscellany.? To access the final version of the issue, click here. (If you downloaded the earlier iteration of the issue, please discard it?this final version is different and includes additional contributions.) To view the Table of Contents, go to page 25. This special theme, which focuses on the origins, history, and impact of the Miscellany, was edited by J. J. Wilson (the founding editor of the Miscellany), Vara Neverow (the current editor), and Alec Pollak (the guest editor). The ?To the Readers? section (pages 1-5) offers each editor?s introductory statement. The contributors to this special topic, in the order of their work, are Morris Beja (who discusses the founding of the Virginia Woolf Society and notes its early and ongoing affiliation with the Miscellany), Diane F. Gillespie, Peter Stansky, Sandra Inskeep-Fox, Katherine C. Hill-Miller, Maggie Humm, Beth Rigel Daugherty, Karen Levenback, Rebecca McNeer, Emily Kopley, Joel Hawkes, JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, Lesley Higgins, Arpi Sarafian, Rowena Kennedy-Epstein, AnneMarie Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and Robert McDowell (see pages 26-47). These contributions provide a rich and varied range of perspectives including historical details, insights about the benefits provided by the Miscellany, many different personal recollections and reflections, several engaging teaching techniques, and a poem. Remembering Suzanne Bellamy The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), an artist and sculptor and feminist whose invaluable work has inspired the Woolfian community (pages 11-22). Calls for Papers The Call for Papers for the 33rd Annual Conference on Virginia Woolf: Woolf, Modernity, Technology, which will be hosted by J. Ashley Foster and held at California State University?Fresno, can be accessed on page 6. Calls for papers for future issues of the Miscellany can be viewed on pages 23 and 24: ?Issue 102, Spring 2024: Special Topic on Twenty-First-Century Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and Patriarchy; ?Issue 103, Fall 2024: Special Topic on Virginia Woolf and George Eliot; ?Issue 104, Spring 2025: Special Topic on Virginia Woolf and D. H, Lawrence; ?Issue 105, Fall 2025: Special Topic on Virginia Woolf and Failure. Also of interest are the Clemson University Press?s Call for Annotated Woolf (page 6) and the advertisements for rare books?Jon S. Richardson?s Rare Books (page 7), Honey & Wax Booksellers (page 8), and Second Wind Books (page 24). Furthermore, included in this issue is one of Farrah Alkhadra's drawings of snails that illustrated Woolf and Ecologies, the 32 Annual Conference on Virginia Woolf, and were crafted for call for papers, the webpage, and the programs. Farrah Alkhadra's work can be viewed on Instagram, and the reader can access a link to an article that focuses on her work while she pursued her degree at FGCU (see page 40). The 2023 Angelica Garnett Undergraduate Essay Prize The essays submitted by Eleanor Clark, the winner of the 2023 Angelica Garnett Undergraduate Essay Prize, and Saskia May and Jasmine Woodcock, the runners-up for the prize, are included in this issue (see pages 47-54). Eleanor Clark?s essay is titled ??Breaking the Silence??: Talking, Speaking, and the Dissipation of Meaning in Virginia Woolf?s Novels? (47-49); Saskia May?s is ?Abandoned, Domestic Objects ?continuing without us? in Ecological Landscapes in Virginia Woolf?s ?Solid Objects? (49-51), and Jasmine Woodcock?s is ?Predicting the Present: Orlando Is Trans*? (51-53). ?Truly Miscellaneous? Contributions The ?Truly Miscellaneous? section of this issue features C?cile Wajsbrot?s ?Outside? (54-56), Rhonda Mayne?s ?Mrs. Papworth: The Working-Class Woman in Virginia Woolf?s Novel Jacob?s Room? (56-57), Ane Thun Knutsen?s ?Virginia Woolf and the Letterpress? (57-59), Rasha Alijararwa?s ?The Power of Silence: Understanding Women?s Resistance in Woolf?s To the Lighthouse? (59-62), and Megan Pollard?s ?A Deliberate Failure: Politics, Form, and Woolf Between the Wars? (62-66). Book Reviews and Publications The book reviewers for this issue are Charles Andrews, who reviewed the edited collection Virginia Woolf: Primary and Critical Sources (2021) (66-68); Lisa Tyler, who reviewed Virginia Woolf?s Mythic Method by Amy C. Smith (2022) (68-69); Sayaka Okumura, who reviewed the edited collection The Ediburgh Companion to Virginia Woolf and Contemporary Global Literature (2022) (69-71); Ria Banerjee, who reviewed The Sensuous Pedagogies of Virginia Woolf and D. H. Lawrence, by Benjamin D. Hagen (2020) (71-72), Mark Hussey, who reviewed Feminism from Literary Modernism to the Multimedia Present (2022) (72-73), and Linda Camarasana, who reviewed England?s Lane by Emma Woolf (2018) (73-74). Page 74 also includes a list of recent publications relating to Woolf and Bloomsbury, including book-length works, articles, chapters, translations, and theses. The Society Column The Society Column, written by Benjamin Hagen, the President of the International Virginia Woolf Society, starts on page 76 and continues onto page 75. Also on page 75 is the list of the IVWS officers, the members-at-large, and the archival liaison. The information in the Society Column ranges from a report on Woolf panels at the 2023 MLA Convention and the upcoming 2024 Convention to the CFP for the Louisville Conference on Literature since 1900, the publication of Woolf Studies Annual 29, the 32nd Conference on Virginia Woolf with the topic Woolf and Ecologies held at Florida Gulf Coast University in June 2023, hosted by Laci Mattison, with a second virtual reprise of the conference?Woolf and Ecologies II?hosted by the IVWS with Derek Ryan as the organizer this fall. Also mentioned is the 33rd Conference on Virginia Woolf, to be hosted by J. Ashley Foster at Fresno State University?California in June 2024. And the column includes a reference to a link to Kabe Wilson?s film to ?Looking for Virginia: An Artist?s Journey Through 100 Archives.? Other information included the previous and upcoming Woolf Salon Projects, the special online event for the Angelica Garnett Undergraduate Prize, and the 2022 IVWS Fall Lecture with Beth Rigel Daugherty. Submitting Contributions Contributions to the Miscellany can include scholarly work, reviews of relevant exhibitions, films, and performances, short poetry, photographs, and other forms of artwork. The submission should be sent to Vara Neverow. Similarly, if you are interested in proposing a special topic for the Miscellany, please contact Vara Neverow. Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) -------------- next part -------------- An HTML attachment was scrubbed... URL: From danelljones at bresnan.net Fri Aug 25 15:00:36 2023 From: danelljones at bresnan.net (danelljones at bresnan.net) Date: Fri, 25 Aug 2023 13:00:36 -0600 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress In-Reply-To: <004e01d9d75c$cbfa4580$63eed080$@verizon.net> References: <004e01d9d75c$cbfa4580$63eed080$@verizon.net> Message-ID: <032401d9d786$70005600$50010200$@bresnan.net> I second Mark?s congratulations, Vera. And a deeply felt thank you. It is easy to take for granted this wonderful resource that has appeared so regularly over the years. But how fortunately we all are! Thank you for this labor of love that teaches and entertains us all. Danell From: Vwoolf On Behalf Of Mark Hussey via Vwoolf Sent: Friday, August 25, 2023 8:03 AM To: 'Neverow, Vara S.' ; 'vwoolf listerve' Subject: Re: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Congratulations Vara. VWM is such an incredibly rich resource, to say nothing of the fascinating story of Woolf studies it tells from the early 1970s to today! From: Neverow, Vara S. Sent: Friday, August 25, Congratulations Vara. VWM is such an incredibly rich resource, to say nothing of the fascinating story of Woolf studies it tells from the early 1970s to today! From: Neverow, Vara S. > Sent: Friday, August 25, 2023 12:49 AM To: vwoolf listerve > Subject: Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Dear Woolfians, The final version of Issue 100 of the Virginia Woolf Miscellany is now available on WordPress. This version is longer than the previous draft that was posted in early August. It includes more contributions as well as a short bibliography of recent publications and also has a number of different illustrations. Should you wish to glance at the updated overview of the issue in this email rather than on the webpage, it is included below. The summary provides more information about the issue than the previous one. Please contact me if you have any questions about contributing to the Miscellany or acquiring copies of the Miscellany. Best wishes, Vara Virginia Woolf Miscellany, Issue 100, Spring/Summer 2023 Special Topic: The Evolution of the Virginia Woolf Miscellany This issue of the Miscellany is dedicated to the special topic ?The Evolution of the Virginia Woolf Miscellany.? To access the final version of the issue, click here. (If you downloaded the earlier iteration of the issue, please discard it?this final version is different and includes additional contributions.) To view the Table of Contents, go to page 25. This special theme, which focuses on the origins, history, and impact of the Miscellany, was edited by J. J. Wilson (the founding editor of the Miscellany), Vara Neverow (the current editor), and Alec Pollak (the guest editor). The ?To the Readers? section (pages 1-5) offers each editor?s introductory statement. The contributors to this special topic, in the order of their work, are Morris Beja (who discusses the founding of the Virginia Woolf Society and notes its early and ongoing affiliation with the Miscellany), Diane F. Gillespie, Peter Stansky, Sandra Inskeep-Fox, Katherine C. Hill-Miller, Maggie Humm, Beth Rigel Daugherty, Karen Levenback, Rebecca McNeer, Emily Kopley, Joel Hawkes, JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, Lesley Higgins, Arpi Sarafian, Rowena Kennedy-Epstein, AnneMarie Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and Robert McDowell (see pages 26-47). These contributions provide a rich and varied range of perspectives including historical details, insights about the benefits provided by the Miscellany, many different personal recollections and reflections, several engaging teaching techniques, and a poem. Remembering Suzanne Bellamy The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), an artist and sculptor and feminist whose invaluable work has inspired the Woolfian community (pages 11-22). Calls for Papers The Call for Papers for the 33rd Annual Conference on Virginia Woolf: Woolf, Modernity, Technology, which will be hosted by J. Ashley Foster and held at California State University?Fresno, can be accessed on page 6. Calls for papers for future issues of the Miscellany can be viewed on pages 23 and 24: ?Issue 102, Spring 2024: Special Topic on Twenty-First-Century Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and Patriarchy; ?Issue 103, Fall 2024: Special Topic on Virginia Woolf and George Eliot; ?Issue 104, Spring 2025: Special Topic on Virginia Woolf and D. H, Lawrence; ?Issue 105, Fall 2025: Special Topic on Virginia Woolf and Failure. Also of interest are the Clemson University Press?s Call for Annotated Woolf (page 6) and the advertisements for rare books? Jon S. Richardson?s Rare Books (page 7), Honey & Wax Booksellers (page 8), and Second Wind Books (page 24). Furthermore, included in this issue is one of Farrah Alkhadra's drawings of snails that illustrated Woolf and Ecologies, the 32 Annual Conference on Virginia Woolf, and were crafted for call for papers, the webpage, and the programs. Farrah Alkhadra's work can be viewed on Instagram , and the reader can access a link to an article that focuses on her work while she pursued her degree at FGCU (see page 40). The 2023 Angelica Garnett Undergraduate Essay Prize The essays submitted by Eleanor Clark, the winner of the 2023 Angelica Garnett Undergraduate Essay Prize, and Saskia May and Jasmine Woodcock, the runners-up for the prize, are included in this issue (see pages 47-54). Eleanor Clark?s essay is titled ??Breaking the Silence??: Talking, Speaking, and the Dissipation of Meaning in Virginia Woolf?s Novels? (47-49); Saskia May?s is ?Abandoned, Domestic Objects ?continuing without us? in Ecological Landscapes in Virginia Woolf?s ?Solid Objects? (49-51), and Jasmine Woodcock?s is ?Predicting the Present: Orlando Is Trans*? (51-53). ?Truly Miscellaneous? Contributions The ?Truly Miscellaneous? section of this issue features C?cile Wajsbrot?s ?Outside? (54-56), Rhonda Mayne?s ?Mrs. Papworth: The Working-Class Woman in Virginia Woolf?s Novel Jacob?s Room? (56-57), Ane Thun Knutsen?s ?Virginia Woolf and the Letterpress? (57-59), Rasha Alijararwa?s ?The Power of Silence: Understanding Women?s Resistance in Woolf?s To the Lighthouse? (59-62), and Megan Pollard?s ?A Deliberate Failure: Politics, Form, and Woolf Between the Wars? (62-66). Book Reviews and Publications The book reviewers for this issue are Charles Andrews, who reviewed the edited collection Virginia Woolf: Primary and Critical Sources (2021) (66-68); Lisa Tyler, who reviewed Virginia Woolf?s Mythic Method by Amy C. Smith (2022) (68-69); Sayaka Okumura, who reviewed the edited collection The Ediburgh Companion to Virginia Woolf and Contemporary Global Literature (2022) (69-71); Ria Banerjee, who reviewed The Sensuous Pedagogies of Virginia Woolf and D. H. Lawrence, by Benjamin D. Hagen (2020) (71-72), Mark Hussey, who reviewed Feminism from Literary Modernism to the Multimedia Present (2022) (72-73), and Linda Camarasana, who reviewed England?s Lane by Emma Woolf (2018) (73-74). Page 74 also includes a list of recent publications relating to Woolf and Bloomsbury, including book-length works, articles, chapters, translations, and theses. The Society Column The Society Column, written by Benjamin Hagen, the President of the International Virginia Woolf Society, starts on page 76 and continues onto page 75. Also on page 75 is the list of the IVWS officers, the members-at-large, and the archival liaison. The information in the Society Column ranges from a report on Woolf panels at the 2023 MLA Convention and the upcoming 2024 Convention to the CFP for the Louisville Conference on Literature since 1900, the publication of Woolf Studies Annual 29, the 32nd Conference on Virginia Woolf with the topic Woolf and Ecologies held at Florida Gulf Coast University in June 2023, hosted by Laci Mattison, with a second virtual reprise of the conference?Woolf and Ecologies II?hosted by the IVWS with Derek Ryan as the organizer this fall. Also mentioned is the 33rd Conference on Virginia Woolf, to be hosted by J. Ashley Foster at Fresno State University?California in June 2024. And the column includes a reference to a link to Kabe Wilson?s film to ? Looking for Virginia: An Artist?s Journey Through 100 Archives.? Other information included the previous and upcoming Woolf Salon Projects, the special online event for the Angelica Garnett Undergraduate Prize, and the 2022 IVWS Fall Lecture with Beth Rigel Daugherty. Submitting Contributions Contributions to the Miscellany can include scholarly work, reviews of relevant exhibitions, films, and performances, short poetry, photographs, and other forms of artwork. The submission should be sent to Vara Neverow. Similarly, if you are interested in proposing a special topic for the Miscellany, please contact Vara Neverow. Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) -------------- next part -------------- An HTML attachment was scrubbed... URL: From Michael.Schrimper at colorado.edu Fri Aug 25 16:34:35 2023 From: Michael.Schrimper at colorado.edu (Michael Schrimper) Date: Fri, 25 Aug 2023 13:34:35 -0700 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress In-Reply-To: <032401d9d786$70005600$50010200$@bresnan.net> References: <004e01d9d75c$cbfa4580$63eed080$@verizon.net> <032401d9d786$70005600$50010200$@bresnan.net> Message-ID: Congratulations Vara. I always find something rich and substantive in the pages of the Miscellany. The small serifed black font on the pale gold pages holds much in aesthetic and intellectual power. Your editorship deepens Woolf scholarship and helps cultivate our sense of community. It is ultimately much greater than an editorship, really a central positive force, vision, spirit. With gratitude, Michael On Friday, August 25, 2023, Danell Jones via Vwoolf wrote: > I second Mark?s congratulations, Vera. And a deeply felt thank you. It is > easy to take for granted this wonderful resource that has appeared so > regularly over the years. But how fortunately we all are! Thank you for > this labor of love that > > I second Mark?s congratulations, Vera. And a deeply felt thank you. It is > easy to take for granted this wonderful resource that has appeared so > regularly over the years. But how fortunately we all are! Thank you for > this labor of love that teaches and entertains us all. > > > > Danell > > > > *From:* Vwoolf *On > Behalf Of *Mark Hussey via Vwoolf > *Sent:* Friday, August 25, 2023 8:03 AM > *To:* 'Neverow, Vara S.' ; 'vwoolf listerve' < > vwoolf at lists.osu.edu> > *Subject:* Re: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the > final draft is now on WordPress > > > > Congratulations Vara. VWM is such an incredibly rich resource, to say > nothing of the fascinating story of Woolf studies it tells from the early > 1970s to today! From: Neverow, Vara S. Sent: > Friday, August 25, > > Congratulations Vara. VWM is such an incredibly rich resource, to say > nothing of the fascinating story of Woolf studies it tells from the early > 1970s to today! > > > > *From:* Neverow, Vara S. > *Sent:* Friday, August 25, 2023 12:49 AM > *To:* vwoolf listerve > *Subject:* Issue 100 of the Virginia Woolf Miscellany--the final draft is > now on WordPress > > > > Dear Woolfians, > > > > The final version of Issue 100 of the *Virginia Woolf Miscellany* > is > now available on WordPress. > > > > This version is longer than the previous draft that was posted in early > August. It includes more contributions as well as a short bibliography of > recent publications and also has a number of different illustrations. > > > > Should you wish to glance at the updated overview of the issue in this > email rather than on the webpage, it is included below. The summary > provides more information about the issue than the previous one. > > > > Please contact me if you have any questions about contributing to the > *Miscellany *or acquiring copies of the *Miscellany*. > > > > Best wishes, > > Vara > > > Virginia Woolf Miscellany, Issue 100, Spring/Summer 2023 > > *Special Topic: The Evolution of the* *Virginia Woolf Miscellany* > > This issue of the *Miscellany* is dedicated to the special topic ?The > Evolution of the *Virginia Woolf Miscellany*.? To access the final > version of the issue, click here > . > (If you downloaded the earlier iteration of the issue, please discard > it?this final version is different and includes additional contributions.) > > To view the Table of Contents, go to page 25. > > This special theme, which focuses on the origins, history, and impact of > the *Miscellany*, was edited by J. J. Wilson (the founding editor of the > *Miscellany*), Vara Neverow (the current editor), and Alec Pollak (the > guest editor). The ?To the Readers? section (pages 1-5) offers each > editor?s introductory statement. > > The contributors to this special topic, in the order of their work, are > Morris Beja (who discusses the founding of the Virginia Woolf Society and > notes its early and ongoing affiliation with the *Miscellany*), Diane F. > Gillespie, Peter Stansky, Sandra Inskeep-Fox, Katherine C. Hill-Miller, > Maggie Humm, Beth Rigel Daugherty, Karen Levenback, Rebecca McNeer, Emily > Kopley, Joel Hawkes, JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, > Lesley Higgins, Arpi Sarafian, Rowena Kennedy-Epstein, AnneMarie > Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and Robert > McDowell (see pages 26-47). > > These contributions provide a rich and varied range of perspectives > including historical details, insights about the benefits provided by the > *Miscellany,* many different personal recollections and reflections, > several engaging teaching techniques, and a poem. > > *Remembering Suzanne Bellamy* > > The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), > an artist and sculptor and feminist whose invaluable work has inspired the > Woolfian community (pages 11-22). > > *Calls for Papers* > > The Call for Papers for the 33rd Annual Conference on Virginia Woolf: *Woolf, > Modernity, Technology*, which will be hosted by J. Ashley Foster and held > at California State University?Fresno, can be accessed on page 6. > > Calls for papers for future issues of the *Miscellany* can be viewed on > pages 23 and 24: > > ?*Issue 102, Spring 2024*: Special Topic on Twenty-First-Century > Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and > Patriarchy; > > ?*Issue 103, Fall 2024*: Special Topic on Virginia Woolf and George Eliot; > > ?*Issue 104, Spring 2025*: Special Topic on Virginia Woolf and D. H, > Lawrence; > > ?*Issue 105, Fall 2025*: Special Topic on Virginia Woolf and Failure. > > Also of interest are the Clemson University Press?s Call for Annotated > Woolf (page 6) and the advertisements for rare books?Jon S. Richardson?s > Rare Books > > (page 7), Honey & Wax Booksellers > > (page 8), and Second Wind Books > > (page 24). > > Furthermore, included in this issue is one of Farrah Alkhadra's drawings > of snails that illustrated Woolf and Ecologies, the 32 Annual Conference on > Virginia Woolf, and were crafted for call for papers, the webpage, and the > programs. Farrah Alkhadra's work can be viewed on Instagram > , > and the reader can access a link to an article > > that focuses on her work while she pursued her degree at FGCU (see page 40). > > *The 2023 Angelica Garnett Undergraduate Essay Prize* > > The essays submitted by Eleanor Clark, the winner of the 2023 Angelica > Garnett Undergraduate Essay Prize, and Saskia May and Jasmine Woodcock, the > runners-up for the prize, are included in this issue (see pages 47-54). > > Eleanor Clark?s essay is titled ??Breaking the Silence??: Talking, > Speaking, and the Dissipation of Meaning in Virginia Woolf?s Novels? > (47-49); Saskia May?s is ?Abandoned, Domestic Objects ?continuing without > us? in Ecological Landscapes in Virginia Woolf?s ?Solid Objects? (49-51), > and Jasmine Woodcock?s is ?Predicting the Present: Orlando Is Trans**? * > (51-53). > > *?Truly Miscellaneous? Contributions* > > The ?Truly Miscellaneous? section of this issue features C?cile Wajsbrot?s > ?Outside? (54-56), Rhonda Mayne?s ?Mrs. Papworth: The Working-Class Woman > in Virginia Woolf?s Novel *Jacob?s Room*? (56-57), Ane Thun Knutsen?s > ?Virginia Woolf and the Letterpress? (57-59), Rasha Alijararwa?s ?The Power > of Silence: Understanding Women?s Resistance in Woolf?s *To the > Lighthouse*? (59-62), and Megan Pollard?s ?A Deliberate Failure: > Politics, Form, and Woolf Between the Wars? (62-66). > > *Book Reviews and Publications* > > The book reviewers for this issue are Charles Andrews, who reviewed the > edited collection *Virginia Woolf: Primary and Critical Sources* (2021) > (66-68); Lisa Tyler, who reviewed *Virginia Woolf?s Mythic Method* by Amy > C. Smith (2022) (68-69); Sayaka Okumura, who reviewed the edited collection > *The Ediburgh Companion to Virginia Woolf and Contemporary Global > Literature* (2022) (69-71); Ria Banerjee, who reviewed *The Sensuous > Pedagogies of Virginia Woolf and D. H. Lawrence*, by Benjamin D. Hagen > (2020) (71-72), Mark Hussey, who reviewed *Feminism from Literary > Modernism to the Multimedia Present* (2022) (72-73), and Linda > Camarasana, who reviewed *England?s Lane* by Emma Woolf (2018) (73-74). > > Page 74 also includes a list of recent publications relating to Woolf and > Bloomsbury, including book-length works, articles, chapters, translations, > and theses. > > *The Society Column* > > The *Society Column*, written by Benjamin Hagen, the President of the > International Virginia Woolf Society, starts on page 76 and continues onto > page 75. Also on page 75 is the list of the IVWS officers, the > members-at-large, and the archival liaison. > > The information in the *Society Column* ranges from a report on Woolf > panels at the 2023 MLA Convention and the upcoming 2024 Convention to the > CFP for the Louisville Conference on Literature since 1900, the publication > of *Woolf Studies Annual* 29, the 32nd Conference on Virginia Woolf with > the topic Woolf and Ecologies held at Florida Gulf Coast University in June > 2023, hosted by Laci Mattison, with a second virtual reprise of the > conference?Woolf and Ecologies II?hosted by the IVWS with Derek Ryan as the > organizer this fall. Also mentioned is the 33rd Conference on Virginia > Woolf, to be hosted by J. Ashley Foster at Fresno State > University?California in June 2024. And the column includes a reference to > a link to Kabe Wilson?s film to ?Looking for Virginia: An Artist?s > Journey Through 100 Archives > .? > Other information included the previous and upcoming Woolf Salon Projects, > the special online event for the Angelica Garnett Undergraduate Prize, and > the 2022 IVWS Fall Lecture with Beth Rigel Daugherty. > > *Submitting Contributions* > > Contributions to the *Miscellany* can include scholarly work, reviews of > relevant exhibitions, films, and performances, short poetry, photographs, > and other forms of artwork. The submission should be sent to Vara Neverow > . Similarly, if you are interested in proposing > a special topic for the *Miscellany*, please contact Vara Neverow > . > > > > Vara Neverow > > (she/her/hers) > Professor, English Department > > Editor, *Virginia Woolf Miscellany* > Southern Connecticut State University > New Haven, CT 06515 > 203-392-6717 > neverowv1 at southernct.edu > > > > *I acknowledge that Southern Connecticut **State **University was built > on traditional territory of the indigenous peoples and nations of the > Paugussett and Quinnipiac peoples.* > > > > *Recent Publications:* > > Lead editor, *Virginia Woolf: Critical and Primary Sources *(Bloomsbury, > 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume > One, 1975-1984, *Virginia Woolf: Critical and Primary Sources* (Bloomsbury, > 2020); Co-editor, *The Edinburgh Companion to Virginia Woolf and > Contemporary Global Literature* (Edinburgh, 2020; with Jeanne Dubino, > Paulina Paj?k, Catherine Hollis, and Celiese Lypka) > > > > > > Vara Neverow > > (she/her/hers) > Professor, English Department > > Editor, *Virginia Woolf Miscellany* > Southern Connecticut State University > New Haven, CT 06515 > 203-392-6717 > neverowv1 at southernct.edu > > > > *I acknowledge that Southern Connecticut **State University was built on > traditional territory of the indigenous peoples and nations of the > Paugussett and Quinnipiac peoples.* > > > > *Recent Publications:* > > Lead editor, *Virginia Woolf: Critical and Primary Sources *(Bloomsbury, > 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume > One, 1975-1984, *Virginia Woolf: Critical and Primary Sources* (Bloomsbury, > 2020); Co-editor, *The Edinburgh Companion to Virginia Woolf and > Contemporary Global Literature* (Edinburgh, 2020; with Jeanne Dubino, > Paulina Paj?k, Catherine Hollis, and Celiese Lypka) > > > -- Michael R. Schrimper Ph.D. Candidate, Department of English University of Colorado Boulder Traditional Territories of the Cheyenne, Arapaho and Ute Nations https://urldefense.com/v3/__https://www.colorado.edu/english/michael-schrimper__;!!KGKeukY!z_pxjHUyLFsuEDCh6o4smN_HDkkFAslOE6LCovlw9wQFc7hfEsAcmPuuJubhjLFjDGypQV56ZVw7bpJlpzFPmS3rmLbe0xYF3EE$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Fri Aug 25 20:02:00 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Sat, 26 Aug 2023 00:02:00 +0000 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress In-Reply-To: <032401d9d786$70005600$50010200$@bresnan.net> References: <004e01d9d75c$cbfa4580$63eed080$@verizon.net> <032401d9d786$70005600$50010200$@bresnan.net> Message-ID: Thank you, Danell! Your kind and inspiring words are much appreciated. And we must also thank J. J. Wilson and the other founding colleagues who created the Miscellany at Sonoma State University (then College), which hosted the publication for 30 years and offered innumerable invaluable resources while establishing the welcoming and inclusive environment that the Miscellany continues to offer as it evolves. Looking back over those issues is deeply inspiring. It is truly an honor to be thanked for making the Miscellany available. Vara Vara Neverow (she/her/hers) Professor, English Department and Women?s and Gender Studies Program Managing Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugusett and Quinnepiac peoples. ________________________________ From: danelljones at bresnan.net Sent: Friday, August 25, 2023 3:00:36 PM To: mhussey at verizon.net ; Neverow, Vara S. ; 'vwoolf listerve' Subject: RE: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress You don't often get email from danelljones at bresnan.net. Learn why this is important I second Mark?s congratulations, Vera. And a deeply felt thank you. It is easy to take for granted this wonderful resource that has appeared so regularly over the years. But how fortunately we all are! Thank you for this labor of love that teaches and entertains us all. Danell From: Vwoolf On Behalf Of Mark Hussey via Vwoolf Sent: Friday, August 25, 2023 8:03 AM To: 'Neverow, Vara S.' ; 'vwoolf listerve' Subject: Re: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Congratulations Vara. VWM is such an incredibly rich resource, to say nothing of the fascinating story of Woolf studies it tells from the early 1970s to today! From: Neverow, Vara S. Sent: Friday, August 25, Congratulations Vara. VWM is such an incredibly rich resource, to say nothing of the fascinating story of Woolf studies it tells from the early 1970s to today! From: Neverow, Vara S. > Sent: Friday, August 25, 2023 12:49 AM To: vwoolf listerve > Subject: Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Dear Woolfians, The final version of Issue 100 of the Virginia Woolf Miscellany is now available on WordPress. This version is longer than the previous draft that was posted in early August. It includes more contributions as well as a short bibliography of recent publications and also has a number of different illustrations. Should you wish to glance at the updated overview of the issue in this email rather than on the webpage, it is included below. The summary provides more information about the issue than the previous one. Please contact me if you have any questions about contributing to the Miscellany or acquiring copies of the Miscellany. Best wishes, Vara Virginia Woolf Miscellany, Issue 100, Spring/Summer 2023 Special Topic: The Evolution of the Virginia Woolf Miscellany This issue of the Miscellany is dedicated to the special topic ?The Evolution of the Virginia Woolf Miscellany.? To access the final version of the issue, click here. (If you downloaded the earlier iteration of the issue, please discard it?this final version is different and includes additional contributions.) To view the Table of Contents, go to page 25. This special theme, which focuses on the origins, history, and impact of the Miscellany, was edited by J. J. Wilson (the founding editor of the Miscellany), Vara Neverow (the current editor), and Alec Pollak (the guest editor). The ?To the Readers? section (pages 1-5) offers each editor?s introductory statement. The contributors to this special topic, in the order of their work, are Morris Beja (who discusses the founding of the Virginia Woolf Society and notes its early and ongoing affiliation with the Miscellany), Diane F. Gillespie, Peter Stansky, Sandra Inskeep-Fox, Katherine C. Hill-Miller, Maggie Humm, Beth Rigel Daugherty, Karen Levenback, Rebecca McNeer, Emily Kopley, Joel Hawkes, JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, Lesley Higgins, Arpi Sarafian, Rowena Kennedy-Epstein, AnneMarie Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and Robert McDowell (see pages 26-47). These contributions provide a rich and varied range of perspectives including historical details, insights about the benefits provided by the Miscellany, many different personal recollections and reflections, several engaging teaching techniques, and a poem. Remembering Suzanne Bellamy The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), an artist and sculptor and feminist whose invaluable work has inspired the Woolfian community (pages 11-22). Calls for Papers The Call for Papers for the 33rd Annual Conference on Virginia Woolf: Woolf, Modernity, Technology, which will be hosted by J. Ashley Foster and held at California State University?Fresno, can be accessed on page 6. Calls for papers for future issues of the Miscellany can be viewed on pages 23 and 24: ?Issue 102, Spring 2024: Special Topic on Twenty-First-Century Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and Patriarchy; ?Issue 103, Fall 2024: Special Topic on Virginia Woolf and George Eliot; ?Issue 104, Spring 2025: Special Topic on Virginia Woolf and D. H, Lawrence; ?Issue 105, Fall 2025: Special Topic on Virginia Woolf and Failure. Also of interest are the Clemson University Press?s Call for Annotated Woolf (page 6) and the advertisements for rare books?Jon S. Richardson?s Rare Books (page 7), Honey & Wax Booksellers (page 8), and Second Wind Books (page 24). Furthermore, included in this issue is one of Farrah Alkhadra's drawings of snails that illustrated Woolf and Ecologies, the 32 Annual Conference on Virginia Woolf, and were crafted for call for papers, the webpage, and the programs. Farrah Alkhadra's work can be viewed on Instagram, and the reader can access a link to an article that focuses on her work while she pursued her degree at FGCU (see page 40). The 2023 Angelica Garnett Undergraduate Essay Prize The essays submitted by Eleanor Clark, the winner of the 2023 Angelica Garnett Undergraduate Essay Prize, and Saskia May and Jasmine Woodcock, the runners-up for the prize, are included in this issue (see pages 47-54). Eleanor Clark?s essay is titled ??Breaking the Silence??: Talking, Speaking, and the Dissipation of Meaning in Virginia Woolf?s Novels? (47-49); Saskia May?s is ?Abandoned, Domestic Objects ?continuing without us? in Ecological Landscapes in Virginia Woolf?s ?Solid Objects? (49-51), and Jasmine Woodcock?s is ?Predicting the Present: Orlando Is Trans*? (51-53). ?Truly Miscellaneous? Contributions The ?Truly Miscellaneous? section of this issue features C?cile Wajsbrot?s ?Outside? (54-56), Rhonda Mayne?s ?Mrs. Papworth: The Working-Class Woman in Virginia Woolf?s Novel Jacob?s Room? (56-57), Ane Thun Knutsen?s ?Virginia Woolf and the Letterpress? (57-59), Rasha Alijararwa?s ?The Power of Silence: Understanding Women?s Resistance in Woolf?s To the Lighthouse? (59-62), and Megan Pollard?s ?A Deliberate Failure: Politics, Form, and Woolf Between the Wars? (62-66). Book Reviews and Publications The book reviewers for this issue are Charles Andrews, who reviewed the edited collection Virginia Woolf: Primary and Critical Sources (2021) (66-68); Lisa Tyler, who reviewed Virginia Woolf?s Mythic Method by Amy C. Smith (2022) (68-69); Sayaka Okumura, who reviewed the edited collection The Ediburgh Companion to Virginia Woolf and Contemporary Global Literature (2022) (69-71); Ria Banerjee, who reviewed The Sensuous Pedagogies of Virginia Woolf and D. H. Lawrence, by Benjamin D. Hagen (2020) (71-72), Mark Hussey, who reviewed Feminism from Literary Modernism to the Multimedia Present (2022) (72-73), and Linda Camarasana, who reviewed England?s Lane by Emma Woolf (2018) (73-74). Page 74 also includes a list of recent publications relating to Woolf and Bloomsbury, including book-length works, articles, chapters, translations, and theses. The Society Column The Society Column, written by Benjamin Hagen, the President of the International Virginia Woolf Society, starts on page 76 and continues onto page 75. Also on page 75 is the list of the IVWS officers, the members-at-large, and the archival liaison. The information in the Society Column ranges from a report on Woolf panels at the 2023 MLA Convention and the upcoming 2024 Convention to the CFP for the Louisville Conference on Literature since 1900, the publication of Woolf Studies Annual 29, the 32nd Conference on Virginia Woolf with the topic Woolf and Ecologies held at Florida Gulf Coast University in June 2023, hosted by Laci Mattison, with a second virtual reprise of the conference?Woolf and Ecologies II?hosted by the IVWS with Derek Ryan as the organizer this fall. Also mentioned is the 33rd Conference on Virginia Woolf, to be hosted by J. Ashley Foster at Fresno State University?California in June 2024. And the column includes a reference to a link to Kabe Wilson?s film to ?Looking for Virginia: An Artist?s Journey Through 100 Archives.? Other information included the previous and upcoming Woolf Salon Projects, the special online event for the Angelica Garnett Undergraduate Prize, and the 2022 IVWS Fall Lecture with Beth Rigel Daugherty. Submitting Contributions Contributions to the Miscellany can include scholarly work, reviews of relevant exhibitions, films, and performances, short poetry, photographs, and other forms of artwork. The submission should be sent to Vara Neverow. Similarly, if you are interested in proposing a special topic for the Miscellany, please contact Vara Neverow. Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) -------------- next part -------------- An HTML attachment was scrubbed... URL: From neverowv1 at southernct.edu Fri Aug 25 20:18:58 2023 From: neverowv1 at southernct.edu (Neverow, Vara S.) Date: Sat, 26 Aug 2023 00:18:58 +0000 Subject: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress In-Reply-To: References: <004e01d9d75c$cbfa4580$63eed080$@verizon.net> <032401d9d786$70005600$50010200$@bresnan.net> Message-ID: Thank you so much, Michael! I deeply appreciate what you have said. You affirm and validate my own love of the Miscellany, and your praise of the visual aesthetics is something I will cherish. I think that what you have said about how the Miscellany offers a broad range of scholarship situated in a welcoming environment of camaraderie truly describes the soul of the journal. I am always fascinated by the contributions to the special topics and am amazed and delighted by the fresh new approaches that are featured in the "truly miscellaneous" section. I am extremely grateful for your encouragement. With thanks (again!), Vara Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) ________________________________ From: Michael Schrimper Sent: Friday, August 25, 2023 4:34 PM To: danelljones at bresnan.net Cc: mhussey at verizon.net ; Neverow, Vara S. ; vwoolf listerve Subject: Re: Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Congratulations Vara. I always find something rich and substantive in the pages of the Miscellany. The small serifed black font on the pale gold pages holds much in aesthetic and intellectual power. Your editorship deepens Woolf scholarship and helps cultivate our sense of community. It is ultimately much greater than an editorship, really a central positive force, vision, spirit. With gratitude, Michael On Friday, August 25, 2023, Danell Jones via Vwoolf > wrote: I second Mark?s congratulations, Vera. And a deeply felt thank you. It is easy to take for granted this wonderful resource that has appeared so regularly over the years. But how fortunately we all are! Thank you for this labor of love that I second Mark?s congratulations, Vera. And a deeply felt thank you. It is easy to take for granted this wonderful resource that has appeared so regularly over the years. But how fortunately we all are! Thank you for this labor of love that teaches and entertains us all. Danell From: Vwoolf > On Behalf Of Mark Hussey via Vwoolf Sent: Friday, August 25, 2023 8:03 AM To: 'Neverow, Vara S.' >; 'vwoolf listerve' > Subject: Re: [Vwoolf] Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Congratulations Vara. VWM is such an incredibly rich resource, to say nothing of the fascinating story of Woolf studies it tells from the early 1970s to today! From: Neverow, Vara S. Sent: Friday, August 25, Congratulations Vara. VWM is such an incredibly rich resource, to say nothing of the fascinating story of Woolf studies it tells from the early 1970s to today! From: Neverow, Vara S. > Sent: Friday, August 25, 2023 12:49 AM To: vwoolf listerve > Subject: Issue 100 of the Virginia Woolf Miscellany--the final draft is now on WordPress Dear Woolfians, The final version of Issue 100 of the Virginia Woolf Miscellany is now available on WordPress. This version is longer than the previous draft that was posted in early August. It includes more contributions as well as a short bibliography of recent publications and also has a number of different illustrations. Should you wish to glance at the updated overview of the issue in this email rather than on the webpage, it is included below. The summary provides more information about the issue than the previous one. Please contact me if you have any questions about contributing to the Miscellany or acquiring copies of the Miscellany. Best wishes, Vara Virginia Woolf Miscellany, Issue 100, Spring/Summer 2023 Special Topic: The Evolution of the Virginia Woolf Miscellany This issue of the Miscellany is dedicated to the special topic ?The Evolution of the Virginia Woolf Miscellany.? To access the final version of the issue, click here. (If you downloaded the earlier iteration of the issue, please discard it?this final version is different and includes additional contributions.) To view the Table of Contents, go to page 25. This special theme, which focuses on the origins, history, and impact of the Miscellany, was edited by J. J. Wilson (the founding editor of the Miscellany), Vara Neverow (the current editor), and Alec Pollak (the guest editor). The ?To the Readers? section (pages 1-5) offers each editor?s introductory statement. The contributors to this special topic, in the order of their work, are Morris Beja (who discusses the founding of the Virginia Woolf Society and notes its early and ongoing affiliation with the Miscellany), Diane F. Gillespie, Peter Stansky, Sandra Inskeep-Fox, Katherine C. Hill-Miller, Maggie Humm, Beth Rigel Daugherty, Karen Levenback, Rebecca McNeer, Emily Kopley, Joel Hawkes, JoAnn Borri, Robert B. Todd, Alex Clarke, Gill Lowe, Lesley Higgins, Arpi Sarafian, Rowena Kennedy-Epstein, AnneMarie Bantzinger, Anne Byrne, Stefano Rozzoni, Mine ?zyurt Kili?, and Robert McDowell (see pages 26-47). These contributions provide a rich and varied range of perspectives including historical details, insights about the benefits provided by the Miscellany, many different personal recollections and reflections, several engaging teaching techniques, and a poem. Remembering Suzanne Bellamy The issue also offers heartfelt tributes to Suzanne Bellamy (1948-2022), an artist and sculptor and feminist whose invaluable work has inspired the Woolfian community (pages 11-22). Calls for Papers The Call for Papers for the 33rd Annual Conference on Virginia Woolf: Woolf, Modernity, Technology, which will be hosted by J. Ashley Foster and held at California State University?Fresno, can be accessed on page 6. Calls for papers for future issues of the Miscellany can be viewed on pages 23 and 24: ?Issue 102, Spring 2024: Special Topic on Twenty-First-Century Perspectives on Virginia Woolf: Feminisms, Genders, Politics, and Patriarchy; ?Issue 103, Fall 2024: Special Topic on Virginia Woolf and George Eliot; ?Issue 104, Spring 2025: Special Topic on Virginia Woolf and D. H, Lawrence; ?Issue 105, Fall 2025: Special Topic on Virginia Woolf and Failure. Also of interest are the Clemson University Press?s Call for Annotated Woolf (page 6) and the advertisements for rare books?Jon S. Richardson?s Rare Books (page 7), Honey & Wax Booksellers (page 8), and Second Wind Books (page 24). Furthermore, included in this issue is one of Farrah Alkhadra's drawings of snails that illustrated Woolf and Ecologies, the 32 Annual Conference on Virginia Woolf, and were crafted for call for papers, the webpage, and the programs. Farrah Alkhadra's work can be viewed on Instagram, and the reader can access a link to an article that focuses on her work while she pursued her degree at FGCU (see page 40). The 2023 Angelica Garnett Undergraduate Essay Prize The essays submitted by Eleanor Clark, the winner of the 2023 Angelica Garnett Undergraduate Essay Prize, and Saskia May and Jasmine Woodcock, the runners-up for the prize, are included in this issue (see pages 47-54). Eleanor Clark?s essay is titled ??Breaking the Silence??: Talking, Speaking, and the Dissipation of Meaning in Virginia Woolf?s Novels? (47-49); Saskia May?s is ?Abandoned, Domestic Objects ?continuing without us? in Ecological Landscapes in Virginia Woolf?s ?Solid Objects? (49-51), and Jasmine Woodcock?s is ?Predicting the Present: Orlando Is Trans*? (51-53). ?Truly Miscellaneous? Contributions The ?Truly Miscellaneous? section of this issue features C?cile Wajsbrot?s ?Outside? (54-56), Rhonda Mayne?s ?Mrs. Papworth: The Working-Class Woman in Virginia Woolf?s Novel Jacob?s Room? (56-57), Ane Thun Knutsen?s ?Virginia Woolf and the Letterpress? (57-59), Rasha Alijararwa?s ?The Power of Silence: Understanding Women?s Resistance in Woolf?s To the Lighthouse? (59-62), and Megan Pollard?s ?A Deliberate Failure: Politics, Form, and Woolf Between the Wars? (62-66). Book Reviews and Publications The book reviewers for this issue are Charles Andrews, who reviewed the edited collection Virginia Woolf: Primary and Critical Sources (2021) (66-68); Lisa Tyler, who reviewed Virginia Woolf?s Mythic Method by Amy C. Smith (2022) (68-69); Sayaka Okumura, who reviewed the edited collection The Ediburgh Companion to Virginia Woolf and Contemporary Global Literature (2022) (69-71); Ria Banerjee, who reviewed The Sensuous Pedagogies of Virginia Woolf and D. H. Lawrence, by Benjamin D. Hagen (2020) (71-72), Mark Hussey, who reviewed Feminism from Literary Modernism to the Multimedia Present (2022) (72-73), and Linda Camarasana, who reviewed England?s Lane by Emma Woolf (2018) (73-74). Page 74 also includes a list of recent publications relating to Woolf and Bloomsbury, including book-length works, articles, chapters, translations, and theses. The Society Column The Society Column, written by Benjamin Hagen, the President of the International Virginia Woolf Society, starts on page 76 and continues onto page 75. Also on page 75 is the list of the IVWS officers, the members-at-large, and the archival liaison. The information in the Society Column ranges from a report on Woolf panels at the 2023 MLA Convention and the upcoming 2024 Convention to the CFP for the Louisville Conference on Literature since 1900, the publication of Woolf Studies Annual 29, the 32nd Conference on Virginia Woolf with the topic Woolf and Ecologies held at Florida Gulf Coast University in June 2023, hosted by Laci Mattison, with a second virtual reprise of the conference?Woolf and Ecologies II?hosted by the IVWS with Derek Ryan as the organizer this fall. Also mentioned is the 33rd Conference on Virginia Woolf, to be hosted by J. Ashley Foster at Fresno State University?California in June 2024. And the column includes a reference to a link to Kabe Wilson?s film to ?Looking for Virginia: An Artist?s Journey Through 100 Archives.? Other information included the previous and upcoming Woolf Salon Projects, the special online event for the Angelica Garnett Undergraduate Prize, and the 2022 IVWS Fall Lecture with Beth Rigel Daugherty. Submitting Contributions Contributions to the Miscellany can include scholarly work, reviews of relevant exhibitions, films, and performances, short poetry, photographs, and other forms of artwork. The submission should be sent to Vara Neverow. Similarly, if you are interested in proposing a special topic for the Miscellany, please contact Vara Neverow. Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) Vara Neverow (she/her/hers) Professor, English Department Editor, Virginia Woolf Miscellany Southern Connecticut State University New Haven, CT 06515 203-392-6717 neverowv1 at southernct.edu I acknowledge that Southern Connecticut State University was built on traditional territory of the indigenous peoples and nations of the Paugussett and Quinnipiac peoples. Recent Publications: Lead editor, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020; with Jeanne Dubino, Kathryn Simpson, and Gill Lowe); Editor, Volume One, 1975-1984, Virginia Woolf: Critical and Primary Sources (Bloomsbury, 2020); Co-editor, The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature (Edinburgh, 2020; with Jeanne Dubino, Paulina Paj?k, Catherine Hollis, and Celiese Lypka) -- Michael R. Schrimper Ph.D. Candidate, Department of English University of Colorado Boulder Traditional Territories of the Cheyenne, Arapaho and Ute Nations https://urldefense.com/v3/__https://www.colorado.edu/english/michael-schrimper__;!!KGKeukY!3ciqOrz6fOHYqr9Y8V5y4zWkwu07bXH_RvEopnq7jUcIo1SsdQY3CMX5tVv1Ymgr2-Wu8ZGS78UFsBriNrv9J3n8wL7Y$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From kllevenback at rcn.com Mon Aug 28 12:17:26 2023 From: kllevenback at rcn.com (Karen Levenback) Date: Mon, 28 Aug 2023 12:17:26 -0400 Subject: [Vwoolf] Woolf[ian] sighting: Jill Lepore Revisits American Myths With an Eye to the Present Message-ID: !-------------------------------------------------------------------| This Message Is From an External Sender This message came from outside your organization. |-------------------------------------------------------------------! https://urldefense.com/v3/__https://www.nytimes.com/2023/08/26/books/review/jill-lepore-the-deadline.html?smid=nytcore-ios-share&referringSource=articleShare__;!!KGKeukY!wt0CeBbyLPjoCSxXG1cnL8kBp4e_6c3D9oIm3yogScAXCGgw2mQfscxge9yaEqzLypx0BhIY7OWCanWVhuzVnvQ$ Jill Lepore Revisits American Myths With an Eye to the Present Sent from my iPad From gill.lowe1 at btopenworld.com Tue Aug 29 10:25:42 2023 From: gill.lowe1 at btopenworld.com (Gill) Date: Tue, 29 Aug 2023 15:25:42 +0100 Subject: [Vwoolf] Frenemies Message-ID: An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Frenemies.jpg Type: image/jpeg Size: 268828 bytes Desc: not available URL: From foster at mail.fresnostate.edu Tue Aug 29 13:04:19 2023 From: foster at mail.fresnostate.edu (J. Ashley Foster) Date: Tue, 29 Aug 2023 10:04:19 -0700 Subject: [Vwoolf] CFP Woolf 2024 Message-ID: Dear Friends, It is with delight that I invite you all to California State University, Fresno, in Fresno, California for the 33rd Annual International Conference on Virginia Woolf: "Woolf, Modernity, Technology." The conference runs from June 6-9, 2024, with pre- and post-conference activities on June 5 and 9 to Yosemite National Park and Sequoia/Kings Canyon. Please find the Call for Papers attached here, and please email foster at csufresno.edu or woolf2024 at mail.fresnostate.edu with any questions. Sincerely, Ashley Foster -- J. Ashley Foster *She/her/hers* Associate Professor of 20th & 21-Century British Literature With Emphasis in Digital Humanities Department of English California State University, Fresno utopias.library.fresnostate.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: WOOLF 2024 CFP POSTER.pdf Type: application/pdf Size: 196687 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: WOOLF 2024 CFP.pdf Type: application/pdf Size: 272684 bytes Desc: not available URL: From foster at mail.fresnostate.edu Wed Aug 30 13:16:46 2023 From: foster at mail.fresnostate.edu (J. Ashley Foster) Date: Wed, 30 Aug 2023 10:16:46 -0700 Subject: [Vwoolf] Fwd: CFP Woolf 2024 In-Reply-To: References: Message-ID: Dear Friends, It is with delight that I invite you all to California State University, Fresno, in Fresno, California for the 33rd Annual International Conference on Virginia Woolf: "Woolf, Modernity, Technology." The conference runs from June 6-9, 2024, with pre- and post-conference activities on June 5 and 9 to Yosemite National Park and Sequoia/Kings Canyon. Please find the Call for Papers attached here, and please email foster at csufresno.edu or woolf2024 at mail.fresnostate.edu with any questions. Sincerely, Ashley Foster -- J. Ashley Foster *She/her/hers* Associate Professor of 20th & 21-Century British Literature With Emphasis in Digital Humanities Department of English California State University, Fresno utopias.library.fresnostate.edu -- J. Ashley Foster *She/her/hers* Associate Professor of 20th & 21-Century British Literature With Emphasis in Digital Humanities Department of English California State University, Fresno utopias.library.fresnostate.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: WOOLF 2024 CFP POSTER.pdf Type: application/pdf Size: 196687 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: WOOLF 2024 CFP.pdf Type: application/pdf Size: 272684 bytes Desc: not available URL: From foster at mail.fresnostate.edu Thu Aug 31 12:52:32 2023 From: foster at mail.fresnostate.edu (J. Ashley Foster) Date: Thu, 31 Aug 2023 09:52:32 -0700 Subject: [Vwoolf] CFP for the 33rd Annual International Conference on Virginia Woolf In-Reply-To: References: Message-ID: Dear Friends, It is with delight that I invite you all to California State University, Fresno, in Fresno, California for the 33rd Annual International Conference on Virginia Woolf: "Woolf, Modernity, Technology." The conference runs from June 6-9, 2024, with pre- and post-conference activities on June 5 and 9 to Yosemite National Park and Sequoia/Kings Canyon. Please find the Call for Papers attached here, and please email foster at csufresno.edu or woolf2024 at mail.fresnostate.edu with any questions. Sincerely, Ashley Foster -- J. Ashley Foster *She/her/hers* Associate Professor of 20th & 21-Century British Literature With Emphasis in Digital Humanities Department of English California State University, Fresno utopias.library.fresnostate.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: WOOLF 2024 CFP POSTER.pdf Type: application/pdf Size: 196687 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: WOOLF 2024 CFP.pdf Type: application/pdf Size: 272684 bytes Desc: not available URL: From foster at mail.fresnostate.edu Thu Aug 31 22:20:33 2023 From: foster at mail.fresnostate.edu (J. Ashley Foster) Date: Thu, 31 Aug 2023 19:20:33 -0700 Subject: [Vwoolf] CFP for the 33rd Annual International Conference on Virginia Woolf Message-ID: Dear Friends, It is with delight that I invite you all to California State University, Fresno, in Fresno, California for the 33rd Annual International Conference on Virginia Woolf: "Woolf, Modernity, Technology." The conference runs from June 6-9, 2024, with pre- and post-conference activities on June 5 and 9 to Yosemite National Park and Sequoia/Kings Canyon. Please find the Call for Papers attached here, and please email foster at csufresno.edu or woolf2024 at mail.fresnostate.edu with any questions. Sincerely, Ashley Foster -- J. Ashley Foster *She/her/hers* Associate Professor of 20th & 21-Century British Literature With Emphasis in Digital Humanities Department of English California State University, Fresno utopias.library.fresnostate.edu -------------- next part -------------- An HTML attachment was scrubbed... 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