Virginia Woolf Books

Francine Prose is one of our more important writers (novels 'Blue Angel', 'After', 'A Changed Man', 'Primitive People'; probing biographies 'Caravaggio: Painter of Miracles'), a writer with a profound respect of the past, for the art of writing and the art of reading. Her most recent book is titled 'Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them' should give an idea of what is in store in this most enjoyable and illuminating book THE MRS. DALLOWAY READER.

Prose writes an Introduction that, while brief, offers keys to unlocking the genius that was Virginia Woolf. 'She longed to fill the book [Mrs. Dalloway] with "speed and life", to "give life & death, sanity & insanity; I want to criticize the social system & to show it at work, at its most intense.' Prose extracts quotes form Woolf's writings in an astute manner that allows us to understand the tortured genius who wrote them. As far as the book 'Mrs. Dalloway', Prose writes '...its all here: life, death, sex, love, marriage, parenthood, youth, age, the present and the past, memory, London, war, reason and unreason, loyalty, medicine, social snobbery, friendship, compassion, cruelty; the occasionally apt but more often unfounded snap judgments we make about ourselves, each other, loved ones, strangers, and the world in which chance and fortune have thrown us all together'. She touches on Woolf's insanity and conflicted sexuality that blossomed with Vita Sackville-West, and with her suicide by drowning, but she is far more interested in sharing the manner in which Woolf created her books - her fleshing out of the state of consciousness.

As editor Francine Prose then gathers writings form such erudite dignitaries as Katherine Mansfield, E.M. Forster, Michael Cunningham, Daniel Mendelsohn, Sigrud Nunez et al, couples these observations with Woolf's own serialized beginnings of her famous novel, and then offers us the entire MRS DALLOWAY at the end of the book. Reading Virginia Woolf in this atmosphere serves to enlighten the reader and once again prove that this novel is one of the more important writings of the last century. This book is a treasure! Grady Harp, December 06

Francine Prose's Mrs. Dalloway Reader makes the enigmatic and brilliant Virginia Woolf's masterpiece and bit easier for us modern readers. Since the publication of Cunningham's spectacular The Hours and the movie titled the same, Woolf's writing has undergone a renaissance, rising once again on bestseller lists everywhere. But she's STILL difficult, with the loooong sentences, endless paragraphs, the convoluted windings of words and thoughts and phrases and explanations and descriptions and disclaimers with which her writing is rife.
This book is the missing link. It includes the complete text of Mrs. Dalloway and Mrs. Dalloway's Party, plus relevant journal entries and letters by Virginia Woolf relating to the creation of Mrs. Dalloway. Also included are essays and reviews by other writers, all about Mrs. Dalloway. Taken all together, these snippets function like a lovely roadmap into not only the character of Mrs. Dalloway, but into the mind of her creator.
Top notch.

`Mrs Dalloway' is a kind of cultural phenomena.

Everyone that I know has a different take on who she is, what this book is, and what the novel is supposed to stand for. Enter into this fray the authors own opinion about the whole of it and you have an all-out melee of fiction versus fiction.

This book, The Mrs Dalloway Reader, attempts to focus this problem somewhat. In it, not only will you find the novel itself, but you will also find various supplementary materials that help to ease you into what this novel is and what it means to so many different people. From those whose experience began with trying to impress a girl (and the lucky happenstance of finding the book at a Book-Mobile) to those who fought off the strains of absinthe addiction, the short pieces in range from essays to the first `draft' of the novel `Mrs Dalloway's Party'. Include in this assortment such lovingly-crafted emulations as Jane Mansfield's `The Garden Party' and you've got yourself a real winning combination.

But is this a good reason to buy this book? Don't you need more reasons? Of course!

Take this one: I knew absolutely nothing about Virginia Woolf when I purchased this book. She lived about 100 years ago. She wrote many books and I've seen some of her diaries in the hands of female students when I was in high school about ten years ago. She is popular with the intelligent-female group, those who want to be well-read and know the difference between Mary Wollstonecraft and Mary Shelley. Add to this that I am a guy. Now, take all that and combine it, dashing in the fact that this book single-handedly introduced me to who Virginia Woolf is and what she stood for- just through the supplementary material- and you have not only a great novel but a good place to get your foot into the door of this wonderful writer.

Is that still not enough? Okay: supplementary material aside, how is the book? Wonderful. It is a style of writing that I've heard called `Impressionistic' by some learned person. This is true- until you read Virginia Woolf (who is far easier to understand than other stream-of-consciousness writers such as Joyce) you have no idea what great pictures such simple things as words can express. Mrs Dalloway does this too, moving the reader through a simple narrative that is painted with poetical words, bringing to life a novel that is to fiction what Renoir is to painting; only the basic outline is there, amid all the broad strokes, and you must look to find it...but it is amazing when you see it.

LP

Bottom line: If you know nothing about Virginia Woolf and want a good, solid platform from which to start, pick this one. If you know a lot about her and want to explore more, you pick this one too.

I admit that I almost was very middle aged when I read any of Woolf's novels. And, that was only because I read "The Hours."

I learned that the character names therein related to Mrs. Dalloway and other characters of her novels. So, I picked up "To the Lighthouse" and experienced my first "stream of consciousness" style which I analogize to ADD - now the novel is dialogue, then thought, then observation, then . . . and all in one sentence. But, within that one sentence, you learn more than most authors can present on pages.

Reading one page of Woolf takes twice or three times as much time as other authors. Basically, the density of the writing style prohibits skimming, prohibits glossing, or prohibits you from losing concentration.

Modern authors who can conjure as much in as little paper include J.M. Coetzee or V.S. Naipual. These are three great names in the all-time history of fiction. I truly believe that she influenced these writers and hundreds of others.

This book awakened me to many things which I did not know lay within the pages. And, it also helped explain some of the orthodox-like exactitude of the characters, names and plot of "The Hours." Woolf's fans are true blue, died-in-the-wool absolutists. And, this book reflects that more than anything. Many of the published fans herein are famous in their own right, and they are just as devout to Woolf as her secret admirers - like me and probably you (who else but a Woolfie would be reading about this book?).

I recommend this book greatly as it educated me more than I could ever have imagined about the relationship between the book and her life and other related events.

This is a truly wonderful book. Todd describes the homes of many of the people who participated in the Bloomsbury group, in addition to the complex interrelationships of the people involved, their parties and their artwork. She is one of the most focused biographers I have read: always interesting, always to the point. Considering the number of people she has to write about, it is amazing that she never strays from her focus. The book is beautifully designed and illustrated. It is a book that I will go back to over and over.

Bloomsbury at Home is a welcome addition to the bibliography of titles about the very interesting, influential and eccentric group of artists who flourished in England and France during the early part of the twentieth century. These multitalented poets, writers, painters and thinkers lived life enthusiastically and shared ideas, activities and loves with each other and the world. Pamela Todd's extended essay on the Bloomsburyites, including Vanessa Bell, Virginia Woolf, Lytton Strachey and Duncan Grant captures their individuality, and sometimes irrationality, while celebrating their devotion to freedom of thought. The really spectacular and original contribution of Bloomsbury at Home, however, comes with the reproduction of a number of paintings and drawings by the Bloomsbury group, which are otherwise difficult to find gathered in one place. This book is a treasured and inexpensive addition to my library of literary and artistic movements, and I highly recommend it to others interested in the relationship of the visual and literary arts to modern society before the Second World War.

Bloomsbury at Home is a welcome addition to the bibliography of titles about the very interesting, influential and eccentric group of artists who flourished in England and France during the early part of the twentieth century. These multitalented poets, writers, painters and thinkers lived life enthusiastically and shared ideas, activities and loves with each other and the world. Pamela Todd's extended essay on the Bloomsburyites, including Vanessa Bell, Virginia Woolf, Lytton Strachey and Duncan Grant captures their individuality, and sometimes irrationality, while celebrating their devotion to freedom of thought. The really spectacular and original contribution of Bloomsbury at Home, however, comes with the reproduction of a number of paintings and drawings by the Bloomsbury group, which are otherwise difficult to find gathered in one place. This book is a treasured and inexpensive addition to my library of literary and artistic movements, and I highly recommend it to others interested in the relationship of the visual and literary arts to modern society before the Second World War.

Loved it. Wished I read it before I saw the movie, that way I would have had a purer vision of the play.

This is a great modern play. I loved all the references and word games

I'm directing the play in The Netherlands. Never had to dig so deep as in this play. Did the play before, and now I did some completely new discoveries. What about this: I think Nick is the only true victim. May change that opinion the next rehearsel: 'Woolf' never stops amazing!

This is a great edition for anyone who has never read Virginia Woolf before. There is enough biographical information included at the beginning of the book to give any reader a good idea of Woolf's background before they proceed to the actual novel. It was very helpful for me as it was my first exposure to Woolf.

The novel itself is very interesting and the notations were quite helpful to keep the events and places throughout the novel straight.

It's a very good book. Mrs. Dalloway is very important book to understand the psycological game of a woman with existential problems in the twenties.

This is a fine edition and value, including a helpful preface introducing the author and novel as well as an appendix (the "annotated" part) with explanations of terms, places, and designations for non-Londoners along with identifications of literary, political and historical allusions for readers who could use a little extra help.

Anyone who has read James Joyce's "The Dead" will recognize some of the same themes and preoccupations in "Mrs. Dalloway," which in addition evokes numerous English "comedies of manners" as well as satirical narratives about a straight-laced Victorian culture that has become an anachronism in the 1920s. The story at times resembles a Jane Austen novel, except for the absence of a "fixed" point-of-view or reliable standard by which to measure the characters, each of which has, to lesser or greater degrees, sympathetic and unsympathetic qualities and is shown from the "inside" as a mind-in-process, a consciousness-in-flux (consequently, a reader needs to be careful not to apply an overly "logical" approach, insistent upon hanging on to a single point or statement as "the truth" about a character, who is more likely to try one possibility, then another, leaving it up to the reader to infer a character's essence through careful consideration of the important meanings derived from multiple impressions).

This is not a novel for the impatient or tone-deaf. Woolf creates a character's interior life through a virtuosic, highly mobile third-person narrator, who might be thought of as the character's "persona," not merely "expressing" the character's thoughts but "mirroring" how the character perceives him or herself as seen by others. Moreover, the indefinite pronouns can shift unexpectedly or occur in too close proximity to make identification easy or even definite. As a result, the reader has to work overtime to achieve entrance into the mind of the "right" character while simultaneously sensing the liquid, interpenetrating and shared qualities of human identity itself. And finally there's that tone, now soft, next loud, and never to be trusted to be without irony.

Woolf makes it fairly easy on the reader with the broad, sardonic strokes she uses to paint the practically villainous Sir William Bradshaw, the eminent psychiatrist viewed by many (especially himself) as the scientific high priest of this cross-section of deluded London luminaries; and she's equally nasty to her other "villain," Miss Kilman, a repressed and embittered born-again Christian who, like Sir William, lives by the code of "conversion," Woolf's euphemism for those powerful personalities who are bent upon breaking, controlling and dominating the will of anyone not strong enough to resist them. The other portraits are more subtle, requiring the reader either to hear the soft, nuanced ironical tones or risk missing both the social satire and the character. Woolf's targets range, perhaps not surprisingly, from the pretense, pride, and hypocrisy of an out-of-touch social stratum that clings to the "orderly" past; to the arrogance of modern medical "science"; to, more surprisingly, the suffocating alternatives offered by both religion and love.

Readers lured to this novel because of Cunningham's "The Hours" (novel or film) may be disappointed or quickly frustrated. Moving from Cunningham to Woolf is a bit like going from Fitzgerald to Faulkner, or from Austen to Shakespeare. What you immediately notice is, despite Woolf's limiting her story to a single day (compared to Cunningham's three-generation setting), the far greater range and more inclusive thematic focus and, most importantly, the sheer power and vitality of the prose (from fluid motion to dynamic rush). Woolf--like Joyce, Faulkner, and Shakespeare--employs a syntax that can cause the earth to move from under a reader's feet: she's a writer who represents not merely individual characters but captures the world whole not to mention the life of language itself.

The greatest challenge "Mrs. Dalloway" presents to a first-time reader is never to let up. It's essential to stay with Clarissa throughout her entire day, finally becoming a fully engaged participant in the party itself--the final thirty pages of the novel, which contain some of Woolf's best writing. Especially critical is the extended moment, almost 20 pages into the party scene, when Clarissa, like Septimus, walks to the window and has her epiphany. At that moment, one character chooses death; the other, life. But Woolf enables us to see these apparently opposite choices as "existential" cognates: both characters make choices that enable them to save their souls.

Cunningham is a first-rate stylist and craftsman who can tell a story that's moving and evocative, a narrative, moreover, that connects with today's readers by affirming the choices available to the self. But it inevitably pales alongside the vibrant novel and microcosm of life that is its source and inspiration. Virginia, like her character Clarissa, knows how to throw a party.

In his brilliant new book Thomas Szasz scientifically debunks the mental illness label long attached to Virginia Woolf and other celebrated geniuses. He shows how this great writer, with her eyes wide open, chose a marriage that she knew would box her in emotionally. She mistakenly thought this box would keep her safe.

She married this particular man for the same reason there became no way out of it for her. She wanted the lifestyle of a married women without any emotional commitment to the marriage itself. No normal man would put up with such a charade.

Virginia Woolf did not anticipate the difficulty of day-to-day living with such a warped man. But she was not his victim. Nor was she the victim of manic-depression. She made a Devil's bargain which she could not live up to and she felt powerless to get out of it.

Her fear of powerlessness became a self-prison. Powerlessness itself would have been perfectly okay. But Virginia Woolf was not authentic enough to admit her fear. Admitting her fear of powerlessness, would have left her knowing her marriage was a complete fake, and she could then have made different choices.

The histrionics and ultimate suicide which were subsequently called madness by biographers, were nothing more than ill-advised strategies to avoid facing the truth of her situation. To face the truth she would have had to deal with her fear. For all her genius, this simple fact was beyond her education and her understanding.

Knowing we are powerless is the antidote to fearing we are powerless. For anyone who wants real freedom, this is where it is found. Knowing we are powerless is solid ground, the real human condition that human beings try to avoid seeing by going into all kinds of bizarre histrionics. (You might argue here, but how powerful are we who can neither help being born nor dying?)

When we get to this real human condition, and simply feel our terror and anxiety, we do not offset it onto something or someone else as Virginia Woolf offsetted her existential fear onto her hatred of her husband and those who were her social and intellectual inferiors.

Had she faced her own fear she would have seen that she was all right anyway. And at that point some small, positive action might have presented itself to her rather than the crazy antics and mad language that kept her in the dark and boxed in, forever fighting the box of her own making. Looking always outside of the box for the answer, she thought her madness saved her from her helplessness. In truth, it only saved her from having to see the box and thus be able to take care of herself.


Virginia Woolf made the mistake too many of us are making in this culture. We box ourselves in to feel safe and then claim to be helpless victims of those self-made boxes. Once we are convinced we are helpless we begin to view self-responsibility as dangerous. At this point, those who wish to wield power over us don't have to divest us of our freedom. We willingly give up our freedom in return for assurances of supposed safety. To feel secure in the concern of others, Virginia Woolf preferred to think of herself as helpless or crazy. But, as Thomas Szasz proves, her intellectual failings cannot be accurately or scientifically described as a medical illness. A. B. Curtiss, author of Depression is a Choice.

A knockout! An incredible analysis of how one "becomes" mad.
Tom Szasz superbly documents, through an examination of the life and death of Virginia Woolf, how one learns that role (or perhaps any other role), and uses it, and how the world around one also ascribes such a role and uses it as well. We all, the "mad" and the "normal", gain and loose a great deal through this activity, all at the same time.

Simply stated, life is a tragedy (we all die) with no guarantees, and what we bring to it, including our innate stuff and that which we learn and internalize, determines the games we wind up choosing to play.

It is not easy to challenge scores of other estemmed authors having pinned-the-tale-on-the-donkey, so to speak, in labelling Virgina Woolf as a most seriously, mentally disturbed artistic genius. But with this brilliant work by Thomas Szasz [(Professor of Psychiatry Ermitus at the State Univ. of NY, and adjunct scholar at the Cato Institute (along with his many stellar books including: "Lexicon of Lunacy," "Liberation by Oppression," & "Faith in Freedom")] - he most convincingly in this book shatters everthing you have ever read about Virgina Woolf to free her at along last from all the "madness" labels about which she did not deserve; and most tragically contributed, if not was the cause of her suicide. A brave book that takes on the very essence of psychiatry as a "science" even in these so-called modern times. My profound regret is that the brilliant VW did not have this champion when she most certainly needed him most.

Virginia Woolf, born to Leslie and Julie Stephen in 1862, came into a world that was stacked against her chances of emotional success. Both her parents and close family members had emotional problems she could not avoid. This background formed a vital part in preventing Virginia from forming a close bond with her mother. The result of this was that she suffered from unresolved emotional problems for the rest of her life.

All of her life, Virginia found herself immersed in the world of art and literature. Her father was considered by many to be her mentor in nurturing her talent at an early age. Leonard, her husband, protected her against outside pressure that most writers face from critics, editors and the like. Her lover, Vita Sackville - West, she was the conduit to allow Virginia's genius to reach its peak. Woolf always needed the help of others to survive.

Virginia ran into problems at the two most important stages of a child's emotional development. They are known as Symbiosis and the Rapprochement stages. If the infant experiences any breakdown in these processes, the consequences can be severe and last a lifetime.

Symbiosis occurs between the first to fifth month of a child's existence. It is the stage of sociobiological interdependence between mother and child. Rapprochment occurs around the age of two, where the child seeks to be reunited with the mother, after finding the outside world too hard to cope with. When Virginia wanted to be reunited with her mother, her mother was not available to her. This inability to be as one with her mother affected Virginia all of her life. It led her to be constantly plagued by alternating states of mania and depression.

The Stephen and Woolf family members had a repetitive behavior pattern. They only gave to others a little of themselves, to ensure they would not lose part of themselves. It did not occur to them that by allowing a part of themselves to be consumed by another being, in a caring and sharing relationship, that this would not destroy their self. Indeed it would strengthen their belief in themselves and make them a more emotionally robust person, to take on and conquer what the world might throw at them.

Virginia Woolf wrote: "Every secret of a writer's soul, every experience of his life, every quality of his mind, is written in his works."

Doctor Alma Bond believes that this is indeed true of the works of Virginia Woolf. The writer's internal anguish about what problems were confronting her at various stages of her life flowed through into her novels. This characteristic of Woolf, allowed the author to utilize her professional skills to present to the world the tormented soul of a very talented person.

This is the most interesting book I have read in a long while. I thoroughly recommend it to those who wish to be entertained and gain a better understanding of themselves as well.

When I taught a graduate seminar on Virginia Woolf at Iowa State University, I told my students to read this book if they wanted, as students always do, to understand the multitude of reasons for Woolf's suicide.

Most biographies skirt the responsibilities of the other people in Woolf's life -- the exact topic that Alma Bond takes on so thoroughly. This book had to be written exactly because other writers have not been willing to examine all dimensions of Woolf's death. Hurray for Alma Bond for applying her psychoanalist's expertise on this literary/historical subject!

After seeing "The Hours" I knew I had to read more on Ms Woolf. What a great woman she was. What a great tragedy when the world lost her.

This book is definitely a must for anyone wanting to know Virginia Woolf.

Wasn't exactly what I thought, but is in excellent condition. It's small and easy to get through.

Because of my professional career, I collect quotation books about reading and literacy. And this collection by Bill Bradfield is the best I've found to date. Yes, he's got the standard oldies by folks like Emerson, Erasmus, and Shaw but he's also included up-to-date quotations from the likes of Jerry Seinfeld, Malcolm X, and Stephen King. Granted, he included me in the list but I didn't need it -- I already knew what I said. At the price, it's the best bargain in quote books for anyone in education or libraries.

While best known for her novels, Virginia Woolf also wrote essays and short stories. This is a short collection of seven stories from the period 1922 to 1927, around the publication of Mrs. Dalloway. Some of the stories had previously been published elsewhere, but this is the first publication for two of them.

Like the novel, these short stories surround the party; but unlike the novel, most of these stories focus on the guests at the party. The first of these relates an expedition of Clarissa Dalloway's to buy gloves, and is full of all the interior monologue one might expect. The rest are rather character sketches and encounters among Mrs. Dalloway's guests, and absolutely leave one satisfied with a picture of each character and encounter. If you enjoyed Mrs. Dalloway, and you can read short stories, you absolutely will enjoy this book.

You don't need to have read the classic novel Mrs. Dalloway to appreciate this collection of short stories (which take place at the party which is the centerpiece of that book) in order to appreciate Woolf's genius, although it certainly won't hurt. Woolf's internal monologues are, if anything, more delightful in these smaller doses. The point of view is always clear, and those who have found Woolf's prose to be sometimes a tad tiring will be pleased to find this much easier reading. As in the novel, her characters are emotionally flawed, thoroughly believable, and all-too-familiar. A perfect choice for readers not ready to commit to a complete novel by Woolf, but who want to know what all the excitement is about.

Please read as much as you can about Virginia Woolf before tackling this book, specifically the two major biographies; Jeanne Schulkind's collection, "Moments of Being"; at least two of Woolf's novels to include "To the Lighthouse" and "Mrs Dalloway"; and, if possible, "The Voyage Out." By then you will feel you know Virginia Woolf as well as anyone and will appreciate Roger Poole that much more. I don't think you have to read Leonard's autobiography. You should be able to find all these books at half-price bookstores or used copies through Amazon. Only one thing could possibly enhance my enjoyment and appreciation of this work: to discuss it with a female psychologist, preferably one with a love for England.

In this exelent book, Roger Poole studies Virginia Woolf's personality, discarding any kind of mental ilness. The book is a profound research, based on Virginia Woolf's literature, as well as other testimonies of the ones close to her.
Poole defends Woolf's mental health, very interesting book for those who want to understand what was really happening inside Woolf's head. The book is well written and includes a very interesting study on Virginia Woolf's suicide note.

This reference has all the "A-to-Z" entries one would expect but the critical analyses of every one of Woolf's novels makes this a must-have book for the new Woolf fan.

This book supplemented a course I took on the works of Woolf. It is filled with interesting background material and helpful character biographies. Hussey skillfully condensed volumes of biographical and critical work on Woolf into one, user-friendly manual.