In 1968 Egyptian novelist and political exile Waguih Ghali committed suicide in the London flat of his editor, friend, and sometime lover, Diana Athill. Ghali left behind six notebooks of diaries that for decades were largely inaccessible to the public. The Diaries of Waguih Ghali: An Egyptian in the Swinging Sixties, in two volumes, is the first publication of its kind of the journals, casting fascinating light on a likable and highly enigmatic literary personality. Waguih Ghali (1930?–69), author of the acclaimed novel Beer in the Snooker Club, was a libertine, sponger, and manic depressive, but also an extraordinary writer, a pacifist, and a savvy political commentator. Covering the last four years of his life, Ghali’s Diaries offer an exciting glimpse into London’s swinging sixties. Volume 2 covers the period from 1966 to 1968. Moving from West Germany to London and Israel, and back in memory to Egypt and Paris, the entries boast of endless drinking, countless love affairs, and of mingling with the dazzling intellectuals of London, but the Diaries also critique the sinister political circles of Jerusalem and Cairo, describe Ghali’s trepidation at being the first Egyptian allowed into Israel after the 1967 War, and confess in detail the pain and difficulties of writing and exile. Including an interview conducted by Deborah Starr with Ghali’s cousin, former director of UNICEF-Geneva, Samir Basta.
This biography is to concentrate exclusively on Woolf's close and inspirational female friendships with the key women in her life. Curtis looks both at the effect of these relationships on her emotional life and the inspiration that each woman provided for the female protagonists in her fiction. The author begins by exposing the lesser-known details of Woolf's Victorian childhood, and continues with a study of the other unique women in Woolf's life: her sister Vanessa Bell; artist Dora Carrington; writer Katherine Mansfield; novelist Vita Sackville-West; and militant composer Ethel Smyth.
Martinson examines the diaries of Virginia Woolf, Katherine Mansfield, Violet Hunt and Doris Lessing's fictional character Anna Wulf. She argues that these diaries (and others like them) are not entirely private writings, but that their authors wrote them knowing they would be read. She argues that the audience is the author's male lover or husband and describes how knowledge of this audience affects the language and content in each diary. She argues that this audience enforces a certain 'male censorship' which changes the shape of the revelations and of the writer herself.
Positioned at a crossroads between feminist geographies and modernist studies, Excursions into Modernism considers transnational modernist fiction in tandem with more rarely explored travel narratives by women of the period who felt increasingly free to journey abroad and redefine themselves through travel. In an era when Western artists, writers, and musicians sought 'primitive' ideas for artistic renewal, Joyce E. Kelley locates a key similarity between fiction and travel writing in the way women authors use foreign experiences to inspire innovations with written expression and self-articulation. She focuses on the pairing of outward journeys with more inward, introspective ones made possible through reconceptualizing and mobilizing elements of women’s traditional corporeal and domestic geographies: the skin, the ill body, the womb, and the piano. In texts ranging from Jean Rhys’s Voyage in the Dark to Virginia Woolf’s The Voyage Out and from Evelyn Scott’s Escapade to Dorothy Richardson’s Pilgrimage, Kelley explores how interactions between geographic movement, identity formation, and imaginative excursions produce modernist experimentation. Drawing on fascinating supplementary and archival materials such as letters, diaries, newspaper articles, photographs, and unpublished drafts, Kelley’s book cuts across national and geographic borders to offer rich and often revisionary interpretations of both canonical and lesser-known works.
In her journals and writing exercises, this novelist “comes to us with all the brilliance, perceptiveness, and restraint we could wish” (Kirkus Reviews). From 1918 to 1941, even as she penned masterpiece upon masterpiece, Virginia Woolf kept a diary. She poured into it her thoughts, feelings, concerns, objections, interests, and disappointments—resulting in twenty-six volumes that give unprecedented insight into the mind of a genius. Collected here are the passages most relevant to her work and writing. From exercises in the craft of writing; to locations, events, and people that might inspire scenes in her fiction; to meditations on the work of others, A Writer’s Diary takes a fascinating look at how one of the greatest novelists of the English language prepared, practiced, studied, and felt as she created literary history. Edited by and with a preface from her husband, Leonard Woolf, A Writer’s Diary is a captivating must-read study for Woolf fans, aspiring writers, and anyone who has ever wanted a glimpse behind the curtain of brilliance.