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<DIV>I have to correct something I said: I find I misremembered about the number
of copies being produced appearing on books in various countries. I know
I’ve seen something like “x exemplares” – now I can’t find an example! I
was confusing in my mind the deposit ref. (“Dépôt”) with the no. of books
printed.</DIV>
<DIV> </DIV>
<DIV>Stuart</DIV>
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<DIV style="font-color: black"><B>From:</B> <A title=helen@uoregon.edu>Helen
Southworth</A> </DIV>
<DIV><B>Sent:</B> Tuesday, November 24, 2020 1:42 PM</DIV>
<DIV><B>To:</B> <A title=vwoolf@lists.osu.edu>vwoolf@lists.osu.edu</A> ; <A
title=stuart.n.clarke@btinternet.com>Stuart N. Clarke</A> </DIV>
<DIV><B>Subject:</B> Re: [Vwoolf] "The Reception of Virginia Woolf in Europe"
(2002)</DIV></DIV></DIV>
<DIV> </DIV></DIV>
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<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt">Thanks to
Stuart for his provocative response to the <I>Reception of VW in
Europe</I>.<SPAN style="mso-spacerun: yes"> </SPAN>I’ve found it to be a
very useful book, but limited, as Stuart suggests, in part (inevitably) due to
its ambitious scope.<SPAN style="mso-spacerun: yes">
</SPAN><o:p></o:p></P>
<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt"><o:p></o:p> </P>
<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt">Bravo to
Elisa for organizing the Reading conference and for the fine work she is doing
on Italian editions of Woolf’s work. Her work can be found on Instagram
(<a href="https://urldefense.com/v3/__https://www.instagram.com/italianwoolf_project/__;!!KGKeukY!jNXXs7OWRykISkXNGUgYdJcPouLjHMCKxqxvkeLIBGY89kRDKKMlVXcHmLYnnkRC7NE$">https://www.instagram.com/italianwoolf_project/</a>)<o:p></o:p></P>
<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt"><o:p></o:p> </P>
<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt">I just wanted
to mention a couple of other useful sources on French common readers of Woolf:
Beth Daugherty’s collections of fan mail (<I>WSA</I> 2006) has letters from
several French common readers and Robin Majumdar’s <I>VW: The Critical
Heritage</I> has several French reviews.<SPAN style="mso-spacerun: yes">
</SPAN>The recently launched Shakespeare & Co. DH Project shows who borrowed
Woolf’s work from Sylvia Beach’s Paris bookshop. Some readers are
anglophone expats, but many are French speakers.<SPAN
style="mso-spacerun: yes"> </SPAN>I cover some of Woolf’s French readers
(writers, such as de Beauvoir and Cixous, but not necessarily translators of
Woolf) in a chapter of my book on Woolf and Colette.<o:p></o:p></P>
<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt"><BR>I am
currently writing about Woolf and France and have been using the translation
folders at the HPA at the U of Reading.<SPAN style="mso-spacerun: yes">
</SPAN>These record attempts by many (often women, often common readers) to
translate Woolf into French.<SPAN style="mso-spacerun: yes"> </SPAN>What I
have found and hope to present at Elisa’s conference, is that the bigger French
publishing houses often got in the way of these common readers, either finding
alternative translators or arguing against translating Woolf at all!<SPAN
style="mso-spacerun: yes"> </SPAN>I’m also looking at a whole set of
lesser studied French translators (pre Yourcenar) who published translations of
Woolf’s shorter and longer work, often in magazines and under lesser known
imprints.<o:p></o:p></P>
<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt"><o:p></o:p> </P>
<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt">I’d just like
to add that we at MAPP (<a href="https://urldefense.com/v3/__http://www.modernistarchives.com__;!!KGKeukY!jNXXs7OWRykISkXNGUgYdJcPouLjHMCKxqxvkeLIBGY89kRDKKMlVXcHmLYnT9OzoIc$">www.modernistarchives.com</a>) would like to build into our
DH resource ownership information, reader comments, and marginalia, such as that
gathered by <SPAN
style="BACKGROUND-IMAGE: none; BACKGROUND-REPEAT: repeat; BACKGROUND-ATTACHMENT: scroll; BACKGROUND-POSITION: 0% 0%; LINE-HEIGHT: 14pt"><FONT
color=#050505>Lisbeth Larsson</FONT></SPAN> (”naughtily” added, or not!).<SPAN
style="mso-spacerun: yes"> </SPAN>If you have scans of any of this kind of
information and wouldn’t mind having it made available online, please do share
it with us.<SPAN style="mso-spacerun: yes"> </SPAN>We’d be interested
in:<o:p></o:p></P>
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style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt"><o:p></o:p> </P>
<OL style="MARGIN-BOTTOM: 0in">
<OL style="MARGIN-BOTTOM: 0in">
<LI><SPAN
style='FONT-SIZE: 12pt; FONT-FAMILY: calibri; mso-fareast-font-family: calibri; mso-ansi-language: en-us; mso-fareast-language: en-us; mso-bidi-language: ar-sa; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi'>marginalia
in copies of Woolf texts (in any language) or in other Hogarth Press
texts.</SPAN><o:p></o:p>
<LI><SPAN
style='FONT-SIZE: 12pt; FONT-FAMILY: calibri; mso-fareast-font-family: calibri; mso-ansi-language: en-us; mso-fareast-language: en-us; mso-bidi-language: ar-sa; mso-ascii-theme-font: minor-latin; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi'>ownership
information (bookplates, dedications etc) in any Hogarth Press
book<BR></SPAN></LI></OL></OL>
<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt"><o:p></o:p> </P>
<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt">Thanks and
best,<o:p></o:p></P>
<P class=MsoNormal
style="FONT-SIZE: 12pt; FONT-FAMILY: calibri; MARGIN: 0in 0in 0pt">Helen<o:p></o:p></P><BR></DIV>
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<DIV id=divRplyFwdMsg dir=ltr><FONT style="FONT-SIZE: 11pt" color=#000000
face="Calibri, sans-serif"><B>From:</B> Vwoolf
<vwoolf-bounces+helen=uoregon.edu@lists.osu.edu> on behalf of Stuart N.
Clarke via Vwoolf <vwoolf@lists.osu.edu><BR><B>Sent:</B> Tuesday, November
24, 2020 1:27 AM<BR><B>To:</B> vwoolf@lists.osu.edu
<vwoolf@lists.osu.edu><BR><B>Subject:</B> [Vwoolf] "The Reception of
Virginia Woolf in Europe" (2002)</FONT>
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<DIV>Since this book is under reconsideration, here are some thoughts:</DIV>
<DIV> </DIV>
<DIV>(1) I always feel guilty about this book. I read it from cover to
cover. I was intending to review it. But I just couldn’t. I
was overwhelmed by the information: the number of facts, the amount of research,
the sheer volume of stuff. Then, there are 18 chapters by 18 different
people, plus a preface & an intro. How many sentences do you give to
each?</DIV>
<DIV> </DIV>
<DIV>(2) The book is primarily about publishing (translations: which, when,
how), but also politics and culture, and articles and reviews of Woolf
abroad. As a bibliographer, I found this fascinating. But this is only
part of “reception”. Most foreign readers read Woolf in translation
(Holland may be an exception? the Scandinavian countries?), and Woolf is
therefore mediated through these translations. What sort of Woolf is being
“received”? So, translations should be considered in “reception”.</DIV>
<DIV> </DIV>
<DIV>(3) Most languages get one chapter each. German gets two – quite
rightly, since it was two countries. Spanish gets three. Look at the
titles: "'A gaping mouth, but no words': Virginia Woolf Enters the Land of
Butterflies", which shows how difficult it is to stick to Europe, but shouldn’t
this chapter be omitted? The second sounds fine: "The Emerging Voice: A
Review of Spanish Scholarship on Virginia Woolf". The third, "Virginia
Woolf and the Search for Symbolic Mothers in Modern Spanish Fiction: The Case of
'Tres mujeres", is going to struggle to be relevant to the book.</DIV>
<DIV> </DIV>
<DIV>(4) French gets four chapters – utterly disgraceful, not because of their
content but because of what’s left out. Reception doesn’t just mean "Virginia
Woolf among Writers and Critics: The French Intellectual Scene". Is there
just one mention of common readers, just one? These chapters confirm one’s
prejudices about French intellectuals – they only care about
intellectuals. Ordinary people don’t come within their purview. A
Spanish professor wrote: “<SPAN
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color=#050505>In Spain, her books have been largely ignored”. I have 34
translations – are the Spanish publishers such philanthropists that they don’t
care whether Woolf is read or not? It would be so easy in France and many
other countries (esp. ex-dictatorships) to do some preliminary presentation on
readers, for the number of copies printed appears in each book. I want to
see more work like Lisbeth Larsson’s "A Thousand Libraries: Swedish Readings of
'A Room of One's Own'" (in "Translating Virginia Woolf", 2012), where library
copies were inspected for readers’ comments that they had naughtily written in
the books. Leonard Woolf wrote that it is “said from time to time that the
novels have fallen out of fashion and favour and are now read by very
few”. He then gave sales figures to refute this (see his 1968 Foreword to
Leaska’s “To the Lighthouse” book).</FONT></SPAN></DIV>
<DIV><SPAN
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color=#050505></FONT></SPAN> </DIV>
<DIV><SPAN
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color=#050505>(5) To some extent the authors were given their heads. Ten
to one, foreign academics who specialise in Woolf have never read her in their
own language, and, of those who have, ten to one (my maths isn’t very good) they
aren’t interested in reception studies. So, there’s the question of
quality and whom you can choose. (I thought the Greek chapter was
particularly self-serving.) Obviously, some of the authors needed bringing
into line, but could the editors afford to do that? I’m reminded of James
Haule’s intro. to “Editing the Modernist Text” (also 2002): “The present volume
aims at no cutting-edge contribution to the field of editorial theory” (p. 8) –
you can guess what that meant!</FONT></SPAN></DIV>
<DIV><SPAN
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color=#050505></FONT></SPAN> </DIV>
<DIV><SPAN
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color=#050505>(6) Disappointingly, almost none of the 20 authors found that the
92-page section on foreign translations in the Kirkpatrick Bibliography was of
any use.</FONT></SPAN></DIV>
<DIV><SPAN
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color=#050505></FONT></SPAN> </DIV>
<DIV><SPAN
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color=#050505>Stuart</FONT></SPAN></DIV>
<DIV><SPAN
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color=#050505>(Day 252)</FONT></SPAN></DIV>
<DIV><SPAN
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<DIV><SPAN
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color=#050505>PS Sorry for writing “J. Arthur Prufrock” yesterday, instead
of “J. Alfred Prufrock” – not the first time I’ve made that
mistake.</FONT></SPAN></DIV>
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