A core member of the Bloomsbury Group, Lytton Strachey (1880–1932) is recognized for his radical influence on the new school of psychological biography. This volume collects for the first time Strachey’s previously unpublished essays, dialogues and stories.
A core member of the Bloomsbury Group, Lytton Strachey (1880–1932) is recognized for his radical influence on the new school of psychological biography. This volume collects for the first time Strachey’s previously unpublished essays, dialogues and stories.
The untold story of Shakespeare's profound influence on Virginia Woolf and the rest of the Bloomsbury Group "A spirited dance of minds."--Chris Vognar, Boston Globe For the men and women of the Bloomsbury Group, Shakespeare was a constant presence and a creative benchmark. Not only the works they intended for publication--the novels, biographies, economic and political writings, stage designs and reviews--but also their diaries and correspondence, their gossip and small talk turned regularly on Shakespeare. They read his plays for pleasure in the evenings, and on sunny summer afternoons in the country. They went to the theater, discussed performances, and speculated about Shakespeare's mind. As poet, as dramatist, as model and icon, as elusive "life," Shakespeare haunted their imaginations and made his way, through phrase, allusion, and oblique reference, into their own lives and art. This is a book about Shakespeare in Bloomsbury--about the role Shakespeare played in the lives of a charismatic and influential cast, including Virginia and Leonard Woolf, Vanessa Bell, Clive Bell, Roger Fry, Duncan Grant, Lytton Strachey, John Maynard Keynes and Lydia Lopokova Keynes, Desmond and Molly MacCarthy, and James and Alix Strachey. All are brought to sparkling life in Marjorie Garber's intimate account of how Shakespeare provided them with a common language, a set of reference points, and a model for what they did not hesitate to call genius. Among these brilliant friends, Garber shows, Shakespeare was in effect another, if less fully acknowledged, member of the Bloomsbury Group.
Lytton Strachey's acclaimed portrayal of Queen Victoria revolutionised the art of biography by using elements of romantic fiction and melodrama to create a warm, humorous and very human portrait of this iconic figure. We see Victoria as a strong-willed child with a famous temper, as the 18-year-old girl queen, as a monarch, wife, mother and widow. Equally fascinating are the depictions of her relationships: with her governess "precious Lehzen", with Peel, Gladstone and Disraeli, with her beloved Albert and, in later life, her legendary devotion to her Highland servant John Brown.
"A triumphant success. . . . His prose is confident, clear . . . occasionally perfect." —Dennis Potter, The Times (London) "It is impossible to suppose that this ‘Life' will ever be superseded . . . the best literary biography to appear for many years."—John Rothenstein, New York Times "Written with vivacity and scrupulousness. . . . [Michael Holroyd] has a great novelist's sense of the obstinate mystery of the human person."—George Steiner, The New Yorker
This book explores the relationship between British modernism and sexuality, and discusses the work of Lytton Strachey and the Bloomsbury Group in relation to ideas of homosexuality and and sexual identities.
Carrington's beguiling letters take us beyond the Bloomsbury group to discuss sexual mores, how to be an artist, and what it is to be truly oneself. Known only by her surname, Dora Carrington was the star of her year at the Slade School of Fine Art, and was friends with some of the greatest minds of her day, including Virginia Woolf, Rosamund Lehmann and Maynard Keynes. For over a decade she was the companion of homosexual writer Lytton Strachey, and - stricken without him- killed herself when he died in 1932. Though she never achieved the fame her early career promised, in her determination to live life according to her own nature – especially in relation to her work and her fluid attitude to sex, gender and sexuality – she fought battles that remain familiar and urgent today. Now, through her passionate, playful and honest letters, we can encounter the maverick artist and compelling personality afresh and in her own words.
Biofiction: An Introduction provides readers with the history, origins, evolution, and legitimization of biofiction, suggesting potential lines of inquiry, exploring criticisms of the literary form, and modeling the process of analyzing and interpreting individual texts. Written for undergraduate and graduate students, this volume combines comprehensive coverage of the core foundations of biofiction with contemporary and lively debates within the subject. The volume aims to confront and illuminate the following questions: • When did biofiction come into being? • What forces gave birth to it? • How does it uniquely function and signify? • Why has it become such a dominant aesthetic form in recent years? This introduction will give readers a framework for evaluating specific biofictions from writers as varied as Friedrich Nietzsche, George Moore, Zora Neale Hurston, William Styron, Angela Carter, Joyce Carol Oates, and Colm Tóibín, thus enabling readers to assess the value and impact of individual works on the culture at large. Spanning nineteenth-century origins to contemporary debates and adaptations, this book not only equips the reader with a firm grounding in the fundamentals of biofiction but also provides a valuable guide to the uncanny power of the biographical novel to transform cultural attitudes, perspectives, and beliefs.
An in-depth study of how the famed Bloomsbury Group expressed their liberal philosophies and collective identity in visual form "[Fascinating and wide-ranging. . . . Will be enjoyed by both Bloomsbury aficionados and newcomers alike."--Lucinda Willan, V&A Magazine The Bloomsbury Group was a loose collective of forward-thinking writers, artists, and intellectuals in London, with Virginia Woolf, John Maynard Keynes, and E. M. Forster among its esteemed members. The group's works and radical beliefs, spanning literature, economics, politics, and non-normative relationships, changed the course of 20th-century culture and society. Although its members resisted definition, their art and dress imparted a coherent, distinctive group identity. Drawing on unpublished photographs and extensive new research, The Bloomsbury Look is the first in-depth analysis of how the Bloomsbury Group generated and broadcast its self-fashioned aesthetic. One chapter is dedicated to photography, which was essential to the group's visual narrative--from casual snapshots, to amateur studio portraits, to family albums. Others examine the Omega Workshops as a design center, and the evidence for its dress collections, spreading the Bloomsbury aesthetic to the general public. Finally, the book considers the group's extensive participation in 20th-century modernism as artists, models, curators, critics, and collectors.