"At fifty-nine, I am now the age Virginia Woolf was when she took that final, heavy-pocketed walk into The River Ouse. I am the age at which she killed herself, and I am not going to kill myself; but I was by no means always sure of that." Considered Virginia Woolf's greatest novel, Mrs. Dallowaytells the story of a single day in the life of Clarissa Dalloway, a high society woman in post World War I England. As she is preoccupied with the last-minute details of dinner party, Clarissa is flooded with remembrances of the past, in the process reexamining the choices she has made, as well as looking toward old age. Written in a stream of consciousness style, Mrs. Dalloway is one of the most important novels in literature. In this deeply personal volume, Robin Black writes about Woolf's Mrs. Dalloway, a book she returned to again and again when she began writing at nearly forty and found herself gaining a sense of emotional stability for the first time in her life. For two decades, Mrs. Dalloway has been Black's partner in a crucial, ongoing conversation about writing and about the emotional life. Now, Black takes a deep dive into both the craft of the book, what a writer might learn from its mechanics, and also into the humanity to be found on every page.
Virginia Woolf’s groundbreaking novel, in a lushly illustrated hardcover edition with illuminating commentary from a brilliant young Oxford scholar and critic. “Mrs. Dalloway said she would buy the flowers herself.” So begins Virginia Woolf’s much-beloved fourth novel. First published in 1925, Mrs. Dalloway has long been viewed not only as Woolf’s masterpiece, but as a pivotal work of literary modernism and one of the most significant and influential novels of the twentieth century. In this visually powerful annotated edition, acclaimed Oxford don and literary critic Merve Emre gives us an authoritative version of this landmark novel, supporting it with generous commentary that reveals Woolf’s aesthetic and political ambitions—in Mrs. Dalloway and beyond—as never before. Mrs. Dalloway famously takes place over the course of a single day in late June, its plot centering on the upper-class Londoner Clarissa Dalloway, who is preparing to throw a party that evening for the nation’s elite. But the novel is complicated by Woolf’s satire of the English social system, and by her groundbreaking representation of consciousness. The events of the novel flow through the minds and thoughts of Clarissa and her former lover Peter Walsh and others in their circle, but also through shopkeepers and servants, among others. Together Woolf’s characters—each a jumble of memories and perceptions—create a broad portrait of a city and society transformed by the Great War in ways subtle but profound ways. No figure has been more directly shaped by the conflict than the disturbed veteran Septimus Smith, who is plagued by hallucinations of a friend who died in battle, and who becomes the unexpected second hinge of the novel, alongside Clarissa, even though—in one of Woolf’s many radical decisions—the two never meet. Emre’s extensive introduction and annotations follow the evolution of Clarissa Dalloway—based on an apparently conventional but actually quite complex acquaintance of Woolf’s—and Septimus Smith from earlier short stories and drafts of Mrs. Dalloway to their emergence into the distinctive forms devoted readers of the novel know so well. For Clarissa, Septimus, and her other creations, Woolf relied on the skill of “character reading,” her technique for bridging the gap between life and fiction, reality and representation. As Emre writes, Woolf’s “approach to representing character involved burrowing deep into the processes of consciousness, and, so submerged, illuminating the infinite variety of sensation and perception concealed therein. From these depths, she extracted an unlimited capacity for life.” It is in Woolf’s characters, fundamentally unknowable but fundamentally alive, that the enduring achievement of her art is most apparent. For decades, Woolf’s rapturous style and vision of individual consciousness have challenged and inspired readers, novelists, and scholars alike. The Annotated Mrs. Dalloway, featuring 150 illustrations, draws on decades of Woolf scholarship as well as countless primary sources, including Woolf’s private diaries and notes on writing. The result is not only a transporting edition of Mrs. Dalloway, but an essential volume for Woolf devotees and an incomparable gift to all lovers of literature.
Mrs Dalloway, Virginia Woolf's fourth novel, offers the reader an impression of a single June day in London in 1923. Clarissa Dalloway, the wife of a Conservative member of parliament, is preparing to give an evening party, while the shell-shocked Septimus Warren Smith hears the birds in Regent's Park chattering in Greek. There seems to be nothing, except perhaps London, to link Clarissa and Septimus. She is middle-aged and prosperous, with a sheltered happy life behind her; Smith is young, poor, and driven to hatred of himself and the whole human race. Yet both share a terror of existence, and sense the pull of death. The world of Mrs Dalloway is evoked in Woolf's famous stream of consciousness style, in a lyrical and haunting language which has made this, from its publication in 1925, one of her most popular novels.
FINALIST FOR THE FRANK O’CONNOR SHORT STORY AWARD NOW WITH AN ADDITIONAL STORY. Heralding the arrival of a stunning new voice in American fiction, If I Loved You, I Would Tell You This takes readers into the minds and hearts of people navigating the unsettling transitions that life presents to us all: A father struggles to forge an independent identity as his blind daughter prepares for college. A mother comes to terms with her adult daughter’s infidelity. An artist mourns the end of a romance while painting the portrait of a dying man. Brilliant, hopeful, and fearlessly honest, If I Loved You, I Would Tell You This illuminates the truths of human relationships, truths we come to recognize in these characters and in ourselves. BONUS: This edition includes an excerpt from Robin Black's Life Drawing. Look for the If I Loved You, I Would Tell You This discussion guide inside. Praise for If I Loved You, I Would Tell You This “I want to shout about how just when you thought no one could write a story with any tinge of freshness let alone originality about childhood. . . about marriage . . . about old age, Black has done it. . . . Black delivers real emotion, the kind that gives you pause. . . . Will Robin Black win [the Pen/Hemingway Prize] for this book? If I were a judge, she would.”—Alan Cheuse, Chicago Tribune “Pitch-perfect . . . so deft, so understated, and so compelling that you have to slow down to savor each vignette. . . . Fans of Mary Gaitskill, Amy Bloom, and Miranda July will feel like they’ve found gold in a river when they discover Robin Black. . . . [A] writer to watch.”—O: The Oprah Magazine “Each story reads like a mini-novel . . . worlds are contained in a single page. And the writing . . . oh, the writing . . . There’s no narrative cohesion, no point. Rather, If I Loved You is a ‘Fantastic Voyage’ into the bloodstream of the human species. . . . Maybe it’s midlife maturity, maybe it’s raw talent, but If I Loved You leaves you longing for more."—San Francisco Chronicle “Incisive . . . peopled with characters so fully imagined you’ll feel they’re in the room.”—People "Exquisitely distilled tales of loss and reckoning . . . [Black] evokes a Sparkian blend of skepticism and grace."—Vogue
Edited collection from acclaimed contemporary Woolf scholars, focusing on urban issues. These include addressing the ethical and political implications of Virginia Woolf’s work, a move that suggests new insights into Woolf as a “real world” social critic.
Stitched together over five years of journaling, Obiter Dicta is a commonplace book of freewheeling explorations representing the transcription of a dozen notebooks, since painstakingly reimagined for publication. Organized after Theodor Adorno's Minima Moralia, this unschooled exercise in aesthetic thought--gleefully dilettantish, oftentimes dangerously close to the epigrammatic--interrogates an array of subject matter (although inescapably circling back to the curiously resemblant histories of Western visual art and instrumental music) through the lens of drive-by speculation. Erick Verran's approach to philosophical inquiry follows the brute-force literary technique of Jacques Derrida to exhaustively favor the material grammar of a signifier over hand-me-down meaning, juxtaposing outer semblances with their buried systems and our etched-in-stone intuitions about color and illusion, shape and value, with lessons stolen from seemingly unrelatable disciplines. Interlarded with extracts of Ludwig Wittgenstein but also Wallace Stevens, Cormac McCarthy as well as Roland Barthes, this cache of incidental remarks eschews what's granular for the biggest picture available, leaving below the hyper-specialized fields of academia for a bird's-eye view of their crop circles. Obiter Dicta is an unapologetic experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to Minecraft and the evolution of European music with lyrical brevity; that is, before jumping to the next topic.
This first volume of its kind contains the complete text of and guide to Virginia Woolf's masterpiece, plus Mrs. Dalloway's Party and numerous journal entries and letters by Virginia Woolf relating to the book's genesis and writing. The distinguished novelist Francine Prose has selected these pieces as well as essays and appreciations, critical views, and commentary by writers famous and unknown. Now with additional scholarly commentary by Mark Hussey, professor of English at Pace University, this complete volume illuminates the creation of a celebrated story and the genius of its author. Includes essays and commentary from: Michael Cunningham E. M. Forster Margo Jefferson James Wood Mary Gordon Elaine Showalter Daniel Mendelsohn Sigrid Nunez Deborah Eisenberg Elissa Schappell
Virginia Woolf and the Natural World is a compilation of thirty-one essays presented at the twentieth annual international conference on Virginia Woolf. This volume explores Woolf's complex engagement with the natural world, an engagement that was as political as it was aesthetic. The diversity of topics within this collection-ecofeminism, the nature of time, the nature of the self, nature and sporting, botany, climate, and landscape, just to name a few-fosters a deeper understanding of the nature of nature in Woolf's works. Contributors include Bonnie Kime Scott, Carrie Rohman, Diana Swanson, Elisa Kay Sparks, Beth Rigel Daugherty, Jane Goldman, and Diane Gillespie, among many others from the international community of Woolf scholars.
