By John Mepham (auth.)
This booklet tells the tale of Virginia Woolf's literary profession. It emphasises the significance of her possession of the Hogarth Press, wherein she won the liberty to jot down as she happy. This made attainable a profession of awesome formal thoughts. each one of her books used to be in contrast to some other. Her profession was once a sequence of alternative offerings, statements and mask. This publication makes an attempt to find why, at every one element in her profession, she selected to write down as she did.
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Extra info for Virginia Woolf A Literary Life
It was only after the publication of her novel that she stabilised and settled finally into her career as a writer. Her social life also eventually settled into a pattern of friendships with an expanded Bloomsbury Group that would be central to her for the rest of her life. But she and her new husband found themselves faced with repeated financial crises. It was not until1918 that they succeeded in securing reasonable financial arrangements. In summary, Virginia had launched herself upon her boldest project: 'I think a great deal of my future, and settle what book I am to write - how I shall re-form the novel and capture multitudes of things at present fugitive, enclose the whole, and shaped infinite strange shapes', she wrote to Clive Bell (19 September 1908).
If in the early years they were superficial individualists and aesthetes with no appreciation of the more destructive and uncontrollable forces at work in people's minds, there is no reason whatever to believe that Virginia Stephen or her sister shared these views. Virginia, says Roger Poole accurately, was not Bloomsbury's queen but its Antigone, undermining it from within. 9 She was well acquainted with both the destructive stupidity of nature, as manifested in the extreme vulnerability of the human body, and also with the alarming ways of the mind and its potential for derangement.
Even more unusual among her early experiments were a series of extravagant comic lives of her women friends. The only one of these that survives is 'Friendship's Gallery' of 1907, a joke biography of her friend Violet Dickinson. 7 It narrates in wild comic vein Violet's coming-out party, describes a utopian community, a magical garden of women, and in a third section tells of the adventures of her friend transformed into a goddess on a visit to Japan. It is anarchic, ruled by the spirit of laughter and by a profound desire for the community of women.