Virginia Woolf Books

This book was interesting and certainly kept one's attention and raised some interesting issues. The only objections I have are that the logic was inconsistent, the picture of university politics not realistic, and a very, very minor one - its "Columbia" not "Colombia" University.

I really didn't expect to like this book much based on the cover flap synopsis, but I could not have been more wrong. It grabbed me very quickly and kept me glued throughout to the last page. Even though the author was bold enough to set up overt clues early in the book about what would happen, I couldn't predict any of the twists and turns in the story. It was like being in the ring with a professional boxer, with blows landing at will from every angle. Unbelievable effort for a first novel. I am definitely looking forward to T.K. Kenyon's future work.

Rabid, by T.K. Kenyon, was released by Kunati, Inc. in Spring, 2007. It is an amazing book!
One word for this book: riveting. No, two words: riveting, compelling...actually, Rabid would take more words than I even know to use, and I'm a wordsmyth myself. I could not put it down.
T.K. Kenyon's Rabid is an amazing story. Masterfully woven plotlines and an absolute commitment to truth and utter refusal to play the complacency game left me feeling as if I had gone on an "explore" with the author. Kenyon has the gift of pulling the reader in to the world of her characters. She manages to make an untouchable character like Leila a sympathetic one.
I look forward to Kenyon's next novel. Can't wait.

I bought this book on a recommendation from a well-read friend, and after recently reading "Special Topics in Calamity Physics," "Saturday," and "Never Let Me Go," this book was exactly what I needed. At first blush, with its delightfully raunchy characters and turbo-charged pace, "Rabid" seems like a here-today, forgotten-tomorrow mass-market thriller you'd pick up in the front of an airport bookstore. However, this intelligent book has some intriguing, unusual themes stuck inside its highly digestible prose. The dialogue is, in my opinion, some of the best I've seen in any novel. The conversations amongst the characters are illuminating and entertaining without being unrealistic. Furthermore, as someone who has degrees in Biotechnology and Biomedical Engineering, I relished Kenyon's many references to laboratory culture.

Kenyon does an impressive job of juggling the four intertwined characters, and I was happy with three of the four endings. One of the character's endings just seemed abrupt and unfinished based on everything that had happened, but this didn't make me enjoy the book any less. This is an amazing and inspiring first effort. Kenyon skillfully teeters on the edge of absurdity with several of the elements in her plot; one almost expects her to take this plunge that many first-time novelists would indulge in, but she keeps the story firmly on the rails despite navigating amongst disparate settings.

If you're weary of a lot of the overwrought and unnecessarily obscure fiction that's been on the market lately and want a read that is unashamedly enjoyable yet thought-provoking, you won't go wrong picking up "Rabid."

A very good read from the first page. I liked this tremendously. Characters are well-defined and have depth and the action is unpredictable; this book is all it should be - absorbing and fascinating. Five stars.

the gift recipient of this book was very happy with it and reads a lot of Virginia Woolf.

I have read this book many times over the past 25 years at different stages in my life and I have loved it every time. Virginia Woolf is my favorite author (this and To The Lighthouse are her best works, in my opinion), and have given the book to my daughter, Katharine, for Christmas. (Guess who she's named after?) This book is an "easy" read, unlike many of Virginia Woolf's other novels, and follows a conventional style. However, there is nothing conventional about her writing; I have yet to come across another novelist with her ability to touch on everyday life with such subtlety and nuance. The characters in this book are very likeable - it's as if I have known them in my own life. Love this book!

For those of you who have disdain for vanity publishers, as some call the self-published authors, be advised that much of Virginia Woolf's work was self-published through the Hogarth Press. She has been hailed as one of the greatest novelists of the twentieth century and one of the foremost Modernists, though she disdained some artists in this category. Woolf is considered one of the greatest innovators in the English language. In her works she experimented with stream-of-consciousness, the underlying psychological as well as emotional motives of characters, and the various possibilities of fractured narrative and chronology. Her literary achievements and creativity are influential even today. Historic London is the setting of Night and Day. The novel and its characters center around one place in particular the Hilbery home, an eighteenth-century house built on the Thames riverfront in Chelsea, London, a house that doubles as the literary shrine for a great Victorian poet, Richard Alardyce. The emotionally strained and serious Katharine Hilbery gives an American visitor a tour of her poet grandfather's study in the presence of her former fiance. This room is both a "religious temple" devoted to Richard Alardyce and a commercial showroom for which she is the "show-woman" of remains not for sale. Katharine, preoccupied by the interruption of feelings into her life, guides the American through the collection inattentively, thus rendering the effusive American's enthusiasm absurd. This bewildered pilgrim and the home's other specimens--Katharine Hilbery's father, an influential editor of a literary journal; her mother, an energetic though disarranged steward of her poet-father's memory; and their circle of visitors who cannot abide living writers--all point to a critique of a literary establishment and its morbid maintenance of the literary past as the only worthwhile present. Night and Day is a portrait of Virginia Woolf's and (her sister) Vanessa Bell's family home at Hyde Park Gate, ruled by Leslie Stephen, who, as an influential man of letters and steward to the Victorian literary establishment, is Mr. and Mrs. Hilbery combined. ... "He received her assurance with profound joy. Quietly and steadily there rose up behind the whole aspect of life that soft edge of fire which gave its red tint to the atmosphere and crowded the scene with shadows so deep and dark that one could fancy pushing farther into their density and still farther, exploring indefinitely." Woolf's reputation declined sharply after World War II, but her eminence was re-established with the surge of Feminist criticism in the 1970s. After a few more ideologically based altercations, not least caused by claims that Woolf was anti-semitic and a snob, it seems that a critical consensus has been reached regarding her stature as a novelist. Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength. The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings of most of her novels, even as they are often set in an environment of war. For example, Mrs. Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organize a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars. To the Lighthouse (1927) is set on two days ten years apart. The plot centers around the Ramsay family's anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. The novel is also a meditation upon the lives of a nation's inhabitants in the midst of war, and of the people left behind. The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centered novel. Her last work, Between the Acts (1941) sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation - all set in a highly imaginative and symbolic narrative encompassing almost all of English history. Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer. The Hours is a 2002 Academy Award winning film and Best Picture nominee about three women of different generations and times whose lives are interconnected by Virginia Woolf's novel, Mrs. Dalloway. All the action takes place within the span of one day.
Trish New, author of The Thrill of Hope and South State Street Journal.

As in the other Virginia Woolf books I have read, what strikes me first and foremost is the wonderful writing. The descriptions are phenomenal, starting with the surroundings and continuing with the character's facial expressions. Some of the passages are pure poetry and the characters are beautifully and consistently drawn out. Oddly, although we know that Katharine is beautiful, we do not get a description of her, or of any other person in the story, with the exception of William Rodney.

Woolf became a little heavy when it went into the minds of the characters who are in crises, but as one reaches the end of the book, all is forgiven.

An excellent read!

Here is an artist at work, painting the nuances of the heart, creating living people, reacting to the subtleties of mood, ambiance, the weather, and external perceptions that make up how we live and who we are. No matter what you think of these people, you have a chance to live with them and understand them, feel their conflicts, their love, and their pains. Virginia Woolf is the ballast that offsets all the one-book-wonder authors, the cynics, the nasty moderns, and those authors who have given up on anything positive in the world. Like Shakespeare, her work will live on long after so many others are forgotten. That's because she offers us art, hope, vision, and the truth about our humanity. It's all here in this book, if you choose to read it.

I am taking this book slowly and am nearing the end. It is terrific and I find, on the days I take off from reading it, that I miss Virginia Woolf and want to go back to the "place" that is her life. I thank Ms. Lee for giving me a closer intimacy with Virginia Woolf.

this is the best biography of Virginia Woolf to date. The book is broken into four parts based on four broad periods in VW's life: 1882 - 1904; 1904 -1919; 1919 - 1929; and 1929 - 1941. The chapters, however, are theme-based; for example, Chapter 15 is "Bloomsbury"; Chapter 19 is "War"; Chapter 24 is "Monk's House"; and Chapter 37 is "Fascism". This then serves as a wonderful reference book to go back to read about specific events (war) or themes ("Bloomsbury") without having to search through an index for disjointed entries. Of the four biographies I have read of VW (Quentin Bell's, Hermione Lee's, Julia Brigg's, and James King) I recommend this biography as the one to start. King, 1994, was willing to write more about her personal relationships (read, "sexual") and is a good follow-on.

Of the many literary biographies I've read, only Peter Ackroyd's "Dickens" seems to me as "definitive" as Ms. Lee's terrifically compelling book. One finishes it with the sense, however illusory (see Janet Malcolm's extraordinary "The Silent Woman" for a convincing argument that it must be), that the Virginia Woolf found in its pages is essentially identical to the actual woman who lived and wrote and died. Anyone with even a slight interest in her must consider this book essential reading. I found it a real page-turner throughout its considerable length despite being unconvinced of Woolf's literary eminence (except for her sparkling correspondence) and finding her character unattractive (i.e. snobbish, frigid, a false friend, etc.) even by the usual standard for writers.

Probably the best bio of Woolf we are likely to see for some time. Lee has succeeded brilliantly and gracefully in that most elusive and troublesome task of capturing the "spirit" of another human being and then conveying that without simplification or reduction. What is most moving is that Lee allows Woolf her complexity and contradictions, her courage and cowardice, her generosity and meaness, without indulging in a sort of inconoclastic glee in smashing received images of Woolf as victim or feminist icon (or any other of the several and various "Woolfs" to be found these days.) Lee's bio is a stunning feat of sympathetic imagination and rational scholarship which ranks with the other "best" bio of the last 20 years or so, Deirdre Bair's marvelous and beautiful "Simone de Beauvoir." I am grateful to both of these writers.

I enjoyed the book, but have a fairly detailed knowledge of Woolf & her contemporaries. I think a new reader of Woolf & her work might get lost in the maze of essentially unexplained personalties & their relationship to Woolf & her circle.

Woolf use of words is just full and rich,english as english should be.

Woolf is not typically known as a writer of short stories -- "sketches" as she called them. However, the short fiction that she wrote provides a wonderful introduction to her narrative style. The early "Mark on the Wall," "Kew Gardens," and "An Unwritten Novel" give to the reader a sense of how Woolf's technique works within a smaller package than the usual assigned Woolf reading. Her feminist (apologies to VW since she considered the word dead once women were able to earn a living) leanings come through in "A Society" and "Moments of Being: 'Slater's Pins have no Points'." Woolf's early sketches are where she formed her interior monologue style, within which one thing leads to another as the work progresses. These short fiction works should be required reading for anyone delving into Woolf. Possibly those who read these sketches before they dive into the novels would understand a bit better of what Woolf's fiction is made. Excellent.

I'm not the kind of person that uses the concept/word "genius" that often, but Virginia Woolf's talent to create Orchestral Manouvers in the Mind and Heart, weaving beautiful webs of ideas, feelings, emotions, thoughts and perceptions turned her texts into something to behold in a mixture of awe and joy. Each of her short stories is like an exquisite scent for the mind to process and delight at but never be able to define. This lady's words make her texts more real than reality itself. This is TALENT at its highest. This lady was - is -, obviously, a genius.

This book is great if you have read all of her novels or have yet to pick up one. It can introduce you to Woolf's style or if you already know what a wonderful writer she is, it will continue to entertain you. These short stories also let you see how she developed some of her novels as well as her style throughout her life. She was unbelievably dedicated to her writing, and this book makes her efforts clear.

My favorite story in this collection is "The Lady in the Lookinglass." This story contains a powerful image: the yearning to completely comprehend another person. Such longing, as the narrator distinguishes, is not desire for "dinners and visits and polite conversations," nor "things she talked about at dinner," but something deeper, "her profounder state of being that one wanted to catch and turn to words."

On one hand, Isabella represents a synecdoche. If the narrator understands her deeply enough, he could "know everything there was to be known about Isabella," but also life, and perhaps all persons as well.

On the other hand, perhaps Isabella objectifies the inability of one person to scale walls of privacy and anonymity another erects to protect herself from intimacy.

Our sympathy straddles that wall, perhaps lying first with Isabella who veils herself, then with the narrator who longs to know her. We aren't shown why Isabella has become the trembling convolvulus. But no one's face should reflect "masklike indifference." The phrase is not congruous -- the need to mask is anything but indifferent. And can't we concede tragedy to anyone who, after 50-60 years, remains a person for whom another can claim, "The comparison showed how very little, after all these years, one knew about her; for it is impossible that any woman of flesh and blood of fifty-five or sixty should be really a wreath or a tendril"? This is a heartbreaking image.

This biographical work is essential in understanding the author's greatest works. She discusses "scene making" and how it relates to memory. After reading this I plan to reread "To the Lighthouse" and "Mrs. Dalloway."

Virginia Woolf's Moments of Being is one of the great artifacts of literary modernism -- and it also possesses the virtue of being superbly written; few writers are of the caliber of Woolf when it comes to documenting the subtle nuances of human emotion and thought. Her voice is unwavering and clear; it is analytic and critical without every sacrificing its self-effacing quality and humility - and the clarity of its emotional tone. She handles the pain and loss in her life with a kind of imaginative double barreled shotgun: she destroys those that have inflicted pain on her, while exalting those that loved her. But as she hacks away at one and beatifies the other she always places both in very real, very human terms. There are also sparks of real humor here that cannot be overlooked, like the moment in the essay "Old Bloomsbury" when Lytton Strachey walks into the room and seeing a stain on Vanessa's white dressed pronounces "Semen?" and with one word ushers in the 20th centuries fixation with discussing sexual matters. We are to believe that one word carelessly said becomes the hallmark of an entire century.

This collection of autobiographical essays was not published until 1976. They do not supplement the Diaries, but stand on their own as indispensable to an understanding of the novels and thinking of this revolutionary writer. They articulate - as the Diaries do not in an explicit way - her philosophy, and this alone makes the book essentail reading for anyone interested in Woolf or, indeed, modern fiction. But these essays offer more than that. They detail sensitive and at times painful background memories of her death-ridden childhood and adolescence, of the physical abuse by her half-brother, Gerald Duckworth.
To read 'Moments of Being' is not an exercise in the prurient, but to gain an understanding of the inner life of an extraoprdinary artist and human being.

Virginia's genius is all over this volume, esp in A Sketch of the Past. From the first sensations of childhood (waves splashing against the shore) to the tragedy of the death of her mother and sister, it is the most revealing work of creativity ever written. You'll learn about her life, her work, and even how you might become a great writer. Examine the parallels with To the Lighthouse and you'll be amazed. Yes, this is how she come to be what she is; and her life and what she writes.

People who have enjoyed Woolf's novels or diaries will surely find her essay "A Sketch of the Past" deeply moving and helpful in illuminating her other works. In "Sketch," the longest essay in this volume, Woolf recounts her earliest childhood memories--both beautiful (hearing the waves break on the shore at her family's summer home) and sinister (her stepbrother's unwelcome sexual advances when she was a small child). She develops a theory about memory and about transcendent experience in this essay. She discusses her powerful drive to reshape and write about the past: "I feel that strong emotion must leave its trace; and it is only a question of discovering how we can get ourselves attached to it, so that we shall be able to live our lives through from the start." In this essay Woolf proposes that in moments of ecstasy we have a meaningful vision of the world itself: "it is a constant idea of mine; that behind the cotton wool is hidden a pattern; that we--I mean all human beings--are connected with this; that the whole world is a work of art; that we are parts of the work of art. Hamlet or a Beethoven quartet is the truth about this vast mass that we call the world. But there is no Shakespeare, there is no Beethoven; certainly and emphatically there is no God; we are the words, we are the music; we are the thing itself. And I see this when I have a shock."

This gorgeous novel reflects many of the ideas found in "A Room Of One's Own" by Virginia Woolf, with whom Vita had a famous affair. After the death of her husband, the Earl of Slane, Lady Slane shocks her staid family by asserting her own will, leaving the house she kept with her husband, and settling into a small house in the countryside. Finally after seventy years, Lady Slane is determined to live as she chooses, with a life full of contemplation, dreams, and memories. She reflects on her lost ambition to be a painter, but knows that the life she lived was not without merit or value. She finds passion in the freedom to choose, and this gift she bequeaths to the one member of her family who understands its importance.

This curiously overlooked novel was revived by a Masterpiece Theater production starring Dame Wendy Hiller, which like this novel was superb. The gentle story of an elderly woman's retirement while her forceful children squabble over unimportant matters is at once comic and poignant. The author has peppered the tale with curious, memorable characters, among them the eccentric art collector who is allowed to eat in portrait galleries because museums hope he will donate to them when he dies; the benign landlord Bucktrout, who sees Lady Slain's desire for peace at home; and the coffin maker who pictures people dead to reveal their true characters. This fine little masterpiece deserves to be read today.

I meandered my way to this book through Sarah Ban Breathnach's treasure of self-excavation, Simple Abundance. I had read Anne Morrow Lindbergh because of her recommendation too. AML & Charles Lindbergh were good friends with Vita Sackville-West & her husband, Nigel Nicholson. So I finally got around to Vita Sackville-West & this book. It was so moving, wonderful, unforgettable, that I will reread it. I laughed & cried. I will try to find older copies of this to give away to dear friends, old & new. It's one of those books. I'm 41 & have sacrificed much for the men & children in my life that I nonetheless love so dearly. This book helped me bring those feelings of ambivalence into focus. It also helped me realize I'm relatively young & still have time to live the life I've dreamed of since I was a little girl. Maybe this "child-bearing years" thing was just a detour.

How effortlessly Ms. Sackville-West spins her surprisingly moving story of an aging aristocrat who, near the end of her life, decides to do those things she could never do before as she sublimated herself to her strong, successful and controlling husband. This classic British diplomat, who expected to be obeyed because such were the times, was, after all, so much more important than she was and what an interesting life she had in his shadow, didn't she - so conscientious and such a good wife and mother. What she does when he dies, how she perceives her existence and her place in her family - and how they respond - will catch you up in its wake and carry you to the ending, which is perfect and thus bittersweet. I found this a memorable novella.

This important study is highly astute in its analysis--and very accessible. Ratcliffe is a first-rate thinker and writer.

Three great geniuses are presented here. Where would we be without the unbelievably courageous Mary Daly? And Virginia Woolf is still an important early voice, especially as presented by Jane Marcus and other brilliant radicals. As for Rich, is there a more brilliant writer in "America" today? I think not.

This book dares to include three of the very greatest writers of the century. Mary Daly is the incredibly courageous voice of contemporary radical feminism, Woolf is still valuable for her essays, and Adrienne Rich is a truly visionary poet who has changed the way contemporary discourse is conducted. A wonderful book.

It's a little hard to see how Mary Daly can even be mentioned with a great genius like Virginia Woolf, especially when one considers that Woolf was able to make a new rhetoric apart from patriarchal language, while "theorists" like Daly have only succeeded in questioning contemporary discourse. Nevertheless, a worthwhile book that, when dealing with a major figure like Virginia Woolf, deserves to be read.

I am learning a lot about writing by reading this book. I have peeked at it because I'm reading another book right now, but I have liked what I have read so far.

I have a feeling I wouldn't like Virginia Woolf if I met her, any more than I'd like any of her friends in the Bloomsbury Group, but I love her novels and her diary is a wonderful insight into the mind of someone who wrote novels of genius, especially Mrs Dalloway and To The Lighthouse. I'd recommend this to anyone who wanted to get into her novels.

Woolf is fascinating, even when describing the most mundane details of daily life. Her writing style is as beautiful here as in her fiction, and so the diary is well worth reading for that alone. Plus, nearly every page contains a reference to Lytton Strachey, Dora Carrington, or some other Bloomsbury luminary. She isn't always completely truthful or straightforward, but she is always supremely entertaining. However, despite a number of very helpful footnotes, the editor cannot provide explanations and clarifications for every entry, so it helps to be somewhat familiar with Woolf's life before reading her diaries.

"The Diary of Virginia Woolf, Volume One: 1915-1919" was truly magnificent. I never was so interested in every day, mundane goings-on as I was while reading this diary. As a journal keeper, I was in awe over the way she expressed her thoughts and explained her day(s). I've never read anything by her, but in reading this has really sparked my interest. Editor Oliver Bell put much time and hard work into this book, but I found the footnotes on the bottom of the pages bothersome, and it took me a while to get used to them being there. If you're interested in Virginia Woolf, then read her diary. I recommend.

Ivan Bunin is a great writer. And as for the readers, reading his stories and enjoying them are a mark of achievement. As you read his stories fierce chill pierces through you simultaneously as grand pictures fill your imaginations.

Bunin is one of the most brilliant Russian writers of the early 20th century. His short stories express more in a couple of pages than most novels do in hundreds. It is poetry in prose.

In the meditation entitled "Night," Bunin's unnamed narrator says: "Why did God choose to brand me so deeply with wonderment, thought and `wisdom', and why is that fatal mark constantly growing inside me?" Although the voice is abstract, I think it works as a description of Bunin himself. He wasbclearly a man with (again in his own words) "the capacity to feel with a singular intensity ... not only their own identities but those of other people...." And although he may feel that his capacity is somehow unusual, he does a remarkable job of imagining (or is it projection?) that capacity in others. Everybody, he says somewhere (although I can't put my finger on it), has a story that deserves to be told.

In his introduction, David Richards calls Bunin "egocentric." In context I think I know what it means, but it's an odd choice of words and I suspect misleading. Conceded that Bunin is not a "social" novelist in the sense that Tolstoi is, nor a dramatist like Dostoevsky: his metier is, indeed, the minute attention to feelings. In some sense I suppose these feelings are "his own," but in some sense, every artist's feelings are "his own." Perhaps closer to the mark to suggest that at some level every one of us is an egocentric, and that Bunin may be able to capture the egocentricity in all of us.

Caution: Bunin won a Nobel Prize, but don't be misled into disappointment. He's a fine and rewarding writer, but not better than several others who did not win the prize, the award of which inevitably has more to do with politics than with intrinsic merit.

No wonder he won the Nobel Prize! Four hauntingly magnificent short stories, all but the third with death as the end. Or maybe not the end, but the raison d'etre of the story. "The Gentleman from San Francisco" almost half the book, translated rather badly, I suspect, in the version I read, by D. H. Lawrence; "Gentle Breathing", an incredibly subtle story; "Kasimir Stanislavatch", and "Son". In each, he takes the human tragedy and contrasts it with beautiful nature. His detail is remarkable. The stories are all short, plots not intricate or even eventful, but he manages to make each one simply live and breathe and have being. It rather reminds me of all Russian writers; they're all so tragic. What is it about being a Russian? And nobody remembers him as they do Chekhov, or Tolstoy. I wonder why. Perhaps his volume of writing was not large enough.

Part literary criticism, part poetry, part memoir, Letters To Virginia Woolf is associate professor of literature Lisa Williams' deeply personal examination of Woolf's writings. Presented in the format of letters that Williams wrote to Woolf about modern issues and the September 11th attacks, Letters To Virginia Woolf tells of the sad end to the author's pregnancy, reflects on how Woolf's ideas of war, memory and childhood reverberate through time, and strive to know how Woolf herself must have felt. A handful of poems intersperse the brief text passages, adding their own poignant touch to the quest for understanding. Miscarriage: You must be / covered now / by moonlight, / and sleeping, / sleeping so peacefully / in starlight / sleeping / in a place where the dead / wait patiently / to become what is alive / once again.

Through letters to Virginia Woolf, whose work
she has specialized in over the last decade, Williams
discovers her own perspectives on 9/11, motherhood,
her parents' divorce, among other things. An
insightful book, where she explores the relevance of
Woolf's nonviolent philosophy, and in fact all her
beliefs, through her own life as a mother of a small
child. A very good, fast read--even if you don't know
Virginia Woolf from Tom Wolfe.

Lisa Williams is an eloquent writer whose writing style makes you want to finish the book in one sitting. I got caught up in the complicated mind of a teenager and I shared the anxiety of the same woman's desire to become a mother later in life. Ms. Williams' book is a collection of the character's life events that provoked me to reexamine my own life and emotions, especially post 9/11. It is creatively written as letters to the writer, Virginia Woolf. Even those whose are not very familiar with Woolf's work could enjoy Ms. Williams' writing. I would highly recommend this amazing piece of writing.

Few write with more honesty and lyricism about tough issues than Lisa Williams in _Letters to Virginia Woolf_. Williams faces the complexity of adolescence, divorce, childbirth, death and war with heartfelt intelligence, reminding us that struggle and loss often lead to an appreciation of life's wonder. Like Woolf who grappled with "the angel in the house" almost a century ago, Williams continues to wrestle with the luminous presence of the past as she peels back "layers of selves we outgrow but never discard." _Letters to Virginia Woolf_ guides us through this world of contradiction and offers hope for the dangerous time in which we live.

Chella Courington
Author of _Southern Girl Gone Wrong_