Virginia Woolf

English modernist writer (1882–1941)

This article is about the British modernist author. For the American children's author, see Virginia Euwer Wolff. For the British rock band, see Virginia Wolf.

"Woolf" redirects here. For other uses, see Woolf (disambiguation).

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Virginia Woolf

Woolf in 1902

Born| Adeline Virginia Stephen
(1882-01-25)25 January 1882
London, England
Died| 28 March 1941(1941-03-28) (aged 59)
River Ouse in East Sussex, England
Occupation|

* Novelist
* essayist
* publisher
* critic

Alma mater| King's College London
Notable works|

* Mrs Dalloway (1925)
* To the Lighthouse (1927)
* Orlando (1928)
* A Room of One's Own (1929)
* The Waves (1931)

Spouse|

Leonard Woolf

(m. 1912)​

Parents|

* Leslie Stephen
* Julia Prinsep Jackson

Relatives|

* Vanessa Stephen (sister)
* Thoby Stephen (brother)
* Adrian Stephen (brother)
* George Herbert Duckworth (half-brother)
* Gerald Duckworth (half-brother)
* Katharine Stephen (cousin)

Signature

Woolf's voice

BBC radio broadcast 29 April 1937[1]

Adeline Virginia Woolf (/wʊlf/;[2] née Stephen; 25 January 1882 - 28 March 1941) was an English writer. She is considered one of the most important modernist 20th-century authors. She pioneered the use of stream of consciousness as a narrative device.

Woolf was born into an affluent household in South Kensington, London. She was the seventh child of Julia Prinsep Jackson and Leslie Stephen in a blended family of eight that included the modernist painter Vanessa Bell. She was home-schooled in English classics and Victorian literature from a young age. From 1897 to 1901, she attended the Ladies' Department of King's College London. There, she studied classics and history, coming into contact with early reformers of women's higher education and the women's rights movement.

After her father's death in 1904, the Stephen family moved from Kensington to the more bohemian Bloomsbury, where, in conjunction with the brothers' intellectual friends, they formed the artistic and literary Bloomsbury Group. In 1912, she married Leonard Woolf, and in 1917, the couple founded the Hogarth Press, which published much of her work. They rented a home in Sussex and permanently settled there in 1940.

Woolf began writing professionally in 1900. During the inter-war period, Woolf was an important part of London's literary and artistic society. In 1915, she published her first novel, The Voyage Out, through her half-brother's publishing house, Gerald Duckworth and Company. Her best-known works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928). She is also known for her essays, such as A Room of One's Own (1929).

Woolf became one of the central subjects of the 1970s movement of feminist criticism. Her works, translated into more than 50 languages, have attracted attention and widespread commentary for inspiring feminism. A large body of writing is dedicated to her life and work. She has been the subject of plays, novels, and films. Woolf is commemorated by statues, societies dedicated to her work, and a building at the University of London.

## Life[edit]

### 22 Hyde Park Gate (1882–1904)[edit]

#### 1882–1895[edit]

Parents

Leslie Stephen, 1860

Julia Stephen, 1867

Virginia Woolf was born Adeline Virginia Stephen on 25 January 1882 at 22 Hyde Park Gate in South Kensington, London,[3] to Julia (née Jackson) and Sir Leslie Stephen. Her father was a writer, historian, essayist, biographer, and mountaineer,[3] described by Helena Swanwick as a "gaunt figure with a ragged red brown beard ... a formidable man."[4] Her mother was a noted philanthropist, and her side of the family contained Julia Margaret Cameron, a celebrated photographer, and Lady Henry Somerset, a campaigner for women's rights.[5] Virginia was named after her aunt Adeline, but because of her aunt's recent death the family decided not to use her first name.[6]

Both of the Stephens had children from previous marriages. Julia, from her marriage to barrister Herbert Duckworth, had George, Stella, and Gerald;[5] Leslie had Laura from a marriage to Minny Thackeray, a daughter of William Makepeace Thackeray.[3] Both former spouses had died suddenly, Duckworth of an abscess and Minny Stephen in childbirth.[5][7] Leslie and Julia Stephen had four children together: Vanessa, Thoby, Virginia, and Adrian.[3]

Duckworth/Stephen Family c. 1892. Back row: Gerald Duckworth, Virginia, Thoby and Vanessa Stephen, George Duckworth. Front row: Adrian, Julia, Leslie Stephen.

Virginia lived at 22 Hyde Park Gate until her father's death in 1904.[8][a] She was, as she described it, "born into a large connection, born not of rich parents, but of well-to-do parents, born into a very communicative, literate, letter writing, visiting, articulate, late nineteenth century world."[9] The house was described as dimly-lit, crowded with furniture and paintings.[10] Within it, the younger Stephens made a close-knit group.[11]

Virginia showed an early affinity for writing. By the age of five she was writing letters. A fascination with books helped form a bond between her and her father.[3] From the age of 10, with her sister Vanessa, she began an illustrated family newspaper, the Hyde Park Gate News, chronicling life and events within the Stephen family,[12] and modelled on the popular magazine Tit-Bits.[13] Virginia would run the Hyde Park Gate News until 1895, a few weeks before her mother's death.[14] In 1897 Virginia began her first diary,[15] which she kept for the next twelve years.[16]

##### Talland House (1882–1894)[edit]

In the spring of 1882, Leslie rented a large white house in St Ives, Cornwall.[17][3] The family would spend three months each summer there for the first 13 years of Virginia's life.[18] Although the house had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse.[3] The happy summers spent at Talland House would later influence Woolf's novels Jacob's Room, To the Lighthouse and The Waves.[19]

Both at Hyde Park Gate and Talland House, the family socialised with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell.[citation needed] The family did not return after 1894; a hotel was constructed in front of the house which blocked the sea view, and Julia Stephen died in May the following year.[20]

Talland House, St Ives, Cornwall, c. 1882–1895

Virginia and Adrian Stephen playing cricket, 1886

Julia, Leslie and Virginia, Library, Talland House, 1892

Virginia and Vanessa, 1894

Godrevy Lighthouse, 2005

#### 1895–1904[edit]

Virginia and Leslie Stephen, 1902

Julia Stephen fell ill with influenza in February 1895, and never properly recovered, dying on 5 May, when Virginia was only 13.[21] This precipitated what Virginia later identified as her first "breakdown"—for months afterwards she was nervous and agitated, and she wrote very little for the subsequent two years.[22]

Stella Duckworth took on a parental role.[3] She married in April 1897, but moved to a house very close to the Stephens to continue to support the family. However, she fell ill on honeymoon and died on 19 July 1897.[23][24] Subsequently George Duckworth took it upon himself to act as the head of the household, and bring Vanessa and Virginia out into society.[25][26] This was not a rite of passage that resonated with either girl; Virginia's view was that "Society in those days was a very competent machine. It was convinced that girls must be changed into married women. It had no ... understanding of any other wish".[27] Her priority was her writing;[26] she began a new diary at the start of 1897 and filled notebooks with fragments and literary sketches.[21][28]

Leslie Stephen died in February 1904, which caused Virginia to suffer another period of mental instability from April to September, and led to at least one suicide attempt. [29] Woolf later described the period of 1897–1904 as "the seven unhappy years."[30]

#### Education[edit]

Virginia (third from left) with her mother and the Stephen children at their lessons, Talland House, c. 1894

As was common at the time, Julia Stephen did not believe in formal education for her daughters.[12] Virginia was educated in a piecemeal fashion by her parents: Julia taught her Latin, French, and history, while Leslie taught her mathematics. She also received piano lessons.[31][32] She also had unrestricted access to her father's vast library, exposing her to much of the literary canon.[33] This resulted in a greater depth of reading than any of her Cambridge contemporaries.[34] Later, Virginia recalled:

> Even today there may be parents who would doubt the wisdom of allowing a girl of fifteen the free run of a large and quite unexpurgated library. But my father allowed it. There were certain facts – very briefly, very shyly he referred to them. Yet "Read what you like", he said, and all his books...were to be had without asking.[35]

Another source was the conversation of their father's friends, to whom she was exposed.[citation needed] Leslie Stephen described his circle as "most of the literary people of mark...clever young writers and barristers, chiefly of the radical persuasion...we used to meet on Wednesday and Sunday evenings, to smoke and drink and discuss the universe and the reform movement".[4]

From 1897 Virginia received private tuition in Latin and Ancient Greek. One of her tutors was Clara Pater, and another was Janet Case, with whom she formed a lasting friendship and who involved her in the suffrage movement.[36] Virginia also attended a number of lectures at the King's College Ladies' Department.[37]

Although Virginia could not attend Cambridge, she was to be profoundly influenced by her brother Thoby's experiences there. When Thoby went to Trinity in 1899, he befriended a circle of young men, including Clive Bell, Lytton Strachey, Leonard Woolf (whom Virginia would later marry), and Saxon Sydney-Turner, to whom he would introduce his sisters at the Trinity May Ball in 1900.[38] These men formed a reading group they named the Midnight Society, which the Stephen sisters would later be invited to.[39]

#### Sexual abuse[edit]

In the 1939 essay "A Sketch of the Past" Woolf first wrote about experiencing sexual abuse by Gerald Duckworth at a young age. There is speculation that this contributed to her mental health issues later in life.[40] There are also suggestions of sexual impropriety from George Duckworth during the period that he was caring for the Stephen sisters.[41]

### Bloomsbury (1904–1940)[edit]

#### Gordon Square (1904–1907)[edit]

46 Gordon Square

On their father's death 22 February 1904, the Stephens' first instinct was to escape from the house of yet more mourning, and this they did accompanied by George Duckworth, travelling to Manorbier, on the coast of Pembrokeshire. There, they spent a month, then spent April in Italy and France.[42] At that time, Virginia suffered her second "nervous breakdown" and made a first suicide attempt.[43]

Before their father died, the Stephens had discussed the need to leave South Kensington.[44] George Duckworth was 35, his brother Gerald 33. The Stephen children were now between 24 and 20. Virginia was 22. Vanessa and Adrian decided to sell 22 Hyde Park Gate in South Kensington and move to Bohemian Bloomsbury, which, with its leafy squares, seemed sufficiently far away, geographically and socially, and was a much cheaper area. They had not inherited much and they were unsure about their finances.[45] Then Lady Margaret Herbert[b] appeared on the scene; George proposed and they married in September, leaving the Stephens to their own devices.[46]

Vanessa found a house at 46 Gordon Square in Bloomsbury, and she and Adrian moved in October, to be joined by Virginia, now sufficiently recovered.[47] At Gordon Square the Stephens began in March 1905 to entertain their brother Thoby's intellectual friends. The circle, which largely came from the Cambridge Apostles, included writers (Saxon Sydney-Turner, Lytton Strachey) and critics (Clive Bell, Desmond MacCarthy) with Thursday evening "At Homes" that became known as the Thursday Club, a vision of recreating Trinity College ("Cambridge in London"[48]).[49]

This circle formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group.[38][39][50] Later, it would include John Maynard Keynes (1907), Duncan Grant (1908), E. M. Forster (1910), Roger Fry (1910), Leonard Woolf (1911), and David Garnett (1914).[c][52][53]

The Stephens and their Bloomsbury Friends

Vanessa Stephen 1902

Thoby Stephen 1902

Adrian Stephen
Karin Stephen 1914

Clive Bell 1910

Lytton Strachey, Sydney Saxon-Turner 1917

Desmond MacCarthy 1912

In 1905, Virginia and Adrian visited Portugal and Spain. Virginia began teaching evening classes at Morley College and Vanessa added another event to their calendar with the "Friday Club", dedicated to the discussion of and later exhibition of the fine arts.[38][54] This introduced some new people into their circle, including Vanessa's friends from the Royal Academy and Slade, such as Henry Lamb and Gwen Darwin (who became secretary),[55] but also the eighteen-year-old Katherine Laird ("Ka") Cox (1887–1938), who was about to attend Newnham College, Cambridge.[d] Ka and others brought the Bloomsbury Group into contact with another, slightly younger, group of Cambridge intellectuals to whom the Stephen sisters gave the name "Neo-pagans". The Friday Club continued until 1912 or 1913.[59]

29 Fitzroy Square Blue Plaque installed at 29 Fitzroy Square in 1974

In 1906, Virginia's cherished brother Thoby, who was only 26, died of typhoid.

Vanessa accepted Clive's proposal,[60][61] and they were married in February 1907. As a couple, their interest in avant-garde art would have an important influence on Woolf's further development as an author.[62]

#### Fitzroy Square (1907–1911)[edit]

With Vanessa's marriage, Virginia and Adrian needed to find a new home.[63] Virginia moved into 29 Fitzroy Square in April 1907, a house formerly occupied by George Bernard Shaw. It was in Fitzrovia, immediately to the west of Bloomsbury but still relatively close to her sister at Gordon Square. The two sisters continued to travel together, visiting Paris in March.

Adrian was now to play a much larger part in Virginia's life, and they resumed the Thursday Club in October at their new home, while Gordon Square became the venue for the Play Reading Society in December. During this period, the group began to increasingly explore progressive ideas, first in speech, and then in conduct, Vanessa proclaiming in 1910 a libertarian society with sexual freedom for all.[64] Meanwhile, Virginia began work on her first novel, Melymbrosia, that eventually became The Voyage Out (1915).[65][63]

Vanessa's first child Julian was born in February 1908, and in September Virginia accompanied the Bells to Italy and France.[66]

It was while she was at Fitzroy Square that the question arose of Virginia needing a quiet country retreat, a place of her own, like St Ives, but closer to London.[67] In the winter of 1910 she and Adrian stayed at Lewes and started exploring the area of Sussex around the town.[68] She soon found a property in nearby Firle, maintaining a relationship with that area for the rest of her life.[69]

##### Dreadnought hoax 1910[edit]

Main article: Dreadnought hoax

The Dreadnought hoaxers in Abyssinian regalia, 1910 (Virginia Stephen far left with beard)

Several members of the group attained notoriety in 1910 with the Dreadnought hoax, which Virginia participated in disguised as a male Abyssinian royal. Her complete 1940 talk on the hoax was discovered and is published in the memoirs collected in the expanded edition of The Platform of Time (2008).[70]

#### Brunswick Square (1911–1912)[edit]

In October 1911, the lease on Fitzroy Square was running out and Virginia and Adrian decided in favour of a different living arrangement, moving to a four-storied house at 38 Brunswick Square in Bloomsbury proper[e] in November.

Virginia saw it as a new opportunity: "We are going to try all kinds of experiments", she told Ottoline Morrell.[74] Adrian occupied the second floor, with Maynard Keynes and Duncan Grant sharing the ground floor.[75] This arrangement for a single woman was considered scandalous. The house was adjacent to the Foundling Hospital, much to Virginia's amusement.[71]

### Marriage (1912–1941)[edit]

Engagement photograph, Virginia and her husband Leonard Woolf, 23 July 1912

Leonard Woolf was one of Thoby Stephen's friends at Trinity College, Cambridge, and noticed the Stephen sisters in Thoby's rooms there on their visits to the May Ball in 1900 and 1901. He recalls them in "white dresses and large hats, with parasols in their hands, their beauty literally took one's breath away". To him, they were silent, "formidable and alarming".[76]

Woolf did not meet Virginia formally till 17 November 1904 when he dined with the Stephens at Gordon Square, to say goodbye before leaving to take up a position with the civil service in Ceylon. In 1909, Woolf proposed, but received no answer. In June 1911, he returned to London on a one-year leave,[77] but he did not go back to Ceylon and renewed his contacts with family and friends. Three weeks after arriving he dined with Vanessa and Clive Bell at Gordon Square on 3 July, where they were later joined by Virginia and other members of what would later be called "Bloomsbury", and Leonard dates the group's formation to that night.[78] In September, Virginia asked Leonard to join her at Little Talland House at Firle in Sussex for a long weekend and they began seeing each other.[79]

On 4 December 1911, Leonard moved into the ménage on Brunswick Square, occupying a bedroom and sitting room on the fourth floor, started to see Virginia constantly.[80] On 11 January 1912, he proposed to her; she asked for time to consider, so he asked for an extension of his leave and, on being refused, offered his resignation on 25 April, effective 20 May.[81] He continued to pursue Virginia, and in a letter of 1 May 1912 (which see)[clarification needed][82] she explained why she did not favour a marriage.

However, on 29 May, Virginia told Leonard that she wished to marry him, and they were married on 10 August 1912 at the St Pancras Register Office.[83][84] The Woolfs continued to live at Brunswick Square until October 1912, when they moved to a small flat at 13 Clifford's Inn, further to the east.[85] The couple shared a close bond...in 1937, Woolf wrote in her diary: "Love-making—after 25 years can't bear to be separate ... you see it is enormous pleasure being wanted: a wife. And our marriage so complete."[86]

In October 1914, Leonard and Virginia Woolf moved away from Bloomsbury and central London to Richmond, living at 17 The Green, a home discussed by Leonard in his autobiography Beginning Again (1964).[87] In early March 1915, the couple moved again, to nearby Hogarth House, Paradise Road,[88] after which they named their publishing house.[72]

Virginia's first novel, The Voyage Out[65] was published in 1915, followed by another suicide attempt. Despite the introduction of conscription in 1916, Leonard was exempted on medical grounds.[72][89] Leonard and Virginia employed two servants at the recommendation of Roger Fry in 1916; Nellie Boxall would stay with them for eighteen years. Virginia Woolf had regretted that there were no maids in her father's Dictionary of National Biography when she wrote Three Guineas; Boxall would be included in the successor to her father's work, the Oxford Dictionary of National Biography.[90]

Between 1924 and 1940 the Woolfs returned to Bloomsbury, taking out a ten-year lease at 52 Tavistock Square,[91] from where they ran the Hogarth Press from the basement, where Virginia also had her writing room, and is commemorated with a bust of her in the square (see illustration).[92]

1925 saw the publication of Mrs Dalloway[93] in May followed by her collapse while at Charleston in August. In 1927, her next novel, To the Lighthouse,[94] was published, and the following year she lectured on Women & Fiction at Cambridge University and published Orlando[95] in October.

Her two Cambridge lectures then became the basis for her major essay A Room of One's Own[96] in 1929.[91] Virginia wrote only one drama, Freshwater, based on her great-aunt Julia Margaret Cameron, and produced at her sister's studio on Fitzroy Street in 1935.[97] 1936 saw the publication of The Years, which had its origin in a lecture Woolf gave to the National Society for Women's Service in 1931, an edited version of which would later be published as "Professions for Women".[98] Another collapse of her health followed the novel's completion The Years.[91]

The Woolf's final residence in London was at 37 Mecklenburgh Square (1939–1940), destroyed during the Blitz in September 1940; a month later their previous home on Tavistock Square was also destroyed. After that, they made Sussex their permanent home.[99] For descriptions and illustrations of all Virginia Woolf's London homes, see Jean Moorcroft Wilson's book Virginia Woolf, Life and London: A Biography of Place (pub. Cecil Woolf, 1987).[100]

#### Hogarth Press (1917–1938)[edit]

Main article: Hogarth Press

The Woolfs' homes in Richmond

17 The Green

Hogarth House

Shelf of Shakespeare plays hand-bound by Virginia Woolf in her bedroom at Monk's House[f]

Virginia had taken up book-binding as a pastime in October 1901, at the age of 19,[102][103] and the Woolfs had been discussing setting up a publishing house for some time, and at the end of 1916 started making plans. Having discovered that they were not eligible to enroll in the St Bride School of Printing, they started purchasing supplies after seeking advice from the Excelsior Printing Supply Company on Farringdon Road in March 1917, and soon they had a printing press set up on their dining room table at Hogarth House, and the Hogarth Press was born.[103]

Their first joint publication was Two Stories in July 1917, inscribed Publication No. 1, and consisted of two short stories, "The Mark on the Wall"[104] by Virginia Woolf and Three Jews by Leonard Woolf. The work consisted of 32 pages, hand bound and sewn, and illustrated by woodcuts designed by Dora Carrington. The illustrations were a success, leading Virginia to remark that the press was "specially good at printing pictures, and we see that we must make a practice of always having pictures." (13 July 1917) The process took two and a half months with a production run of 150 copies.[105] Other short short stories followed, including Kew Gardens (1919)[106] with a woodblock by Vanessa Bell as frontispiece.[91] Subsequently, Bell added further illustrations, adorning each page of the text.[107]

The press subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others.[108] The Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell.

Woolf believed that women writers needed a "room of their own" to develop and often fantasised about an "Outsider's Society" where women writers would create a virtual private space for themselves via their writings to develop a feminist critique of society.[109] Though Woolf never created the "Outsider's society", the Hogarth Press was the closest approximation as the Woolfs chose to publish books by writers that took unconventional points of view to form a reading community.[109] Initially the press concentrated on small experimental publications, of little interest to large commercial publishers. Until 1930, Woolf often helped her husband print the Hogarth books as the money for employees was not there.[109] Virginia relinquished her interest in 1938, following a third attempted suicide. After it was bombed in September 1940, the press was moved to Letchworth for the remainder of the war.[110]

Both the Woolfs were internationalists and pacifists who believed that promoting understanding between peoples was the best way to avoid another world war and chose quite consciously to publish works by foreign authors of whom the British reading public were unaware.[109] The first non-British author to be published was the Soviet writer Maxim Gorky, the book Reminiscences of Leo Nikolaiovich Tolstoy in 1920, dealing with his friendship with Count Leo Tolstoy.[103]

#### Memoir Club (1920–1941)[edit]

Main article: Memoir Club

Bloomsberries

Mary MacCarthy and son 1915

E. M. Forster 1917

Duncan Grant (L)
John Maynard Keynes 1912

Roger Fry 1913

David Garnett c. 1902

1920 saw a postwar reconstitution of the Bloomsbury Group, under the title of the Memoir Club, which as the name suggests focussed on self-writing, in the manner of Proust's A La Recherche, and inspired some of the more influential books of the 20th century. The Group, which had been scattered by the war, was reconvened by Mary ('Molly') MacCarthy who called them "Bloomsberries", and operated under rules derived from the Cambridge Apostles, an elite university debating society that a number of them had been members of. These rules emphasised candour and openness. Among the 125 memoirs presented, Virginia contributed three that were published posthumously in 1976, in the autobiographical anthology Moments of Being.[111] These were 22 Hyde Park Gate (1921), Old Bloomsbury (1922) and Am I a Snob? (1936).[112]

#### Vita Sackville-West (1922–1941)[edit]

Vita Sackville-West at Monk's House c. 1934

On 14 December 1922[113] Woolf met the writer and gardener Vita Sackville-West,[91] wife of Harold Nicolson. This period was to prove fruitful for both authors, Woolf producing three novels, To the Lighthouse (1927), Orlando (1928), and The Waves (1931) as well as a number of essays, including "Mr. Bennett and Mrs. Brown" (1924)[114] and "A Letter to a Young Poet" (1932).[115][116] The two women remained friends until Woolf's death in 1941.

Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa.[117]

### Sussex (1911–1941)[edit]

Virginia Stephen (L) with Katherine Cox, Asham 1912

Virginia was needing a country retreat to escape to, and on 24 December 1910, she found a house for rent in Firle, Sussex, near Lewes. She obtained a lease and took possession of the house the following month.[g][69][118]

The lease was a short one, and in October, she and Leonard Woolf found Asham House[h] at Asheham a few miles to the west.[119] Located at the end of a tree-lined road, the house was a strange, beautiful, Regency-Gothic house in a lonely location.[99] She described it as "flat, pale, serene, yellow-washed", without electricity or water and allegedly haunted.[120] She took out a five-year lease[119] jointly with Vanessa in the new year, and they moved into it in February 1912, holding a housewarming party on the 9th.[121][122]

It was at Asham that the Woolfs spent their wedding night later that year. At Asham, she recorded the events of the weekends and holidays they spent there in her Asham Diary, part of which was later published as A Writer's Diary in 1953.[123] In terms of creative writing, The Voyage Out was completed there, and much of Night and Day.[124]

Asham provided Woolf with much-needed relief from the pace of London life, and was where she found a happiness that she expressed in her diary on 5 May 1919 "Oh, but how happy we've been at Asheham! It was a most melodious time. Everything went so freely; – but I can't analyse all the sources of my joy".[125] Asham was also the inspiration for A Haunted House (1921–1944),[126][127][120] and was painted by members of the Bloomsbury Group, including Vanessa Bell and Roger Fry.[128]

Life in Sussex

Little Talland House, Firle

Asham House, Beddingham

The Round House, Lewes

Monk's House, Rodmell

While at Asham, in 1916 Leonard and Virginia found a farmhouse to let about four miles away, which they thought would be ideal for her sister. Eventually, Vanessa came down to inspect it, and took possession in October of that year, as a summer home for her family. The Charleston Farmhouse was to become the summer gathering place for the literary and artistic circle of the Bloomsbury Group.[129]

After the end of the war, in 1918, the Woolfs were given a year's notice by the landlord, who needed the house. In mid-1919, "in despair", they purchased "a very strange little house" for £300, the Round House in Pipe Passage, Lewes, a converted windmill.[121][122][126] No sooner had they bought the Round House, than Monk's House in nearby Rodmell, came up for auction, a weatherboarded house with oak-beamed rooms, said to be 15th or 16th century. The Woolfs favoured the latter because of its orchard and garden, and sold the Round House to purchase Monk's House for £700.[130][91]

Monk's House also lacked water and electricity, but came with an acre of garden, and had a view across the Ouse towards the hills of the South Downs. Leonard Woolf describes this view (and the amenities)[131] as being unchanged since the days of Chaucer.[132] From 1940, it became their permanent home after their London home was bombed, and Virginia continued to live there until her death. Meanwhile, Vanessa made Charleston her permanent home in 1936.[133]

It was at Monk's House that Virginia completed Between the Acts[134] in early 1941.[91] This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse.[135]. This was followed by a further breakdown resulting in her suicide on 28 March 1941, the novel being published posthumously later that year.[91]

### The Neo-pagans (1911–1912)[edit]

Noël Olivier; Maitland Radford; Virginia Stephen; Rupert Brooke camping on Dartmoor August 1911

During her time in Firle, Virginia became better acquainted with Rupert Brooke and his social circle, nicknamed the Neo-Pagans, pursuing socialism, vegetarianism, exercising outdoors and alternative life styles, including social nudity. They were influenced by the ethos of Bedales, Fabianism and Shelley.

Although she had some reservations, Woolf was involved with their activities for a while, fascinated by their bucolic innocence in contrast to the sceptical intellectualism of Bloomsbury, which earned her the nickname "The Goat" from her brother Adrian.[i]

While Woolf liked to make much of a weekend she spent with Brooke at the vicarage in Grantchester, including swimming in the pool there, it appears to have been principally a literary assignation.

### Mental health[edit]

Much examination has been made of Woolf's mental health. From the age of 13, following the death of her mother, Woolf suffered periodic mood swings.[137] However, Hermione Lee asserts that Woolf was not "mad"; she was merely a woman who suffered from and struggled with illness for much of her life, a woman of "exceptional courage, intelligence and stoicism", who made the best use, and achieved the best understanding she could of that illness.[138]

Her mother's death in 1895, "the greatest disaster that could happen",[139][140] precipitated a crisis for which their family doctor, Dr Seton, prescribed rest, stopping lessons and writing, and regular walks supervised by Stella.[141] Yet just two years later, Stella too was dead, bringing on Virginia's first expressed wish for death at the age of fifteen. This was a scenario she would later recreate in "Time Passes" (To the Lighthouse, 1927).[94][142]

The death of her father in 1904 provoked her most alarming collapse, on 10 May, when she threw herself out a window and she was briefly institutionalised[143] under the care of her father's friend, the eminent psychiatrist George Savage. She spent time recovering at the house of Stella's friend Violet Dickinson, and at her aunt Caroline Emelia Stephen's house in Cambridge,[144] and by January 1905, Savage considered her cured.[59]

Her brother Thoby's death in 1906 marked a "decade of deaths" that ended her childhood and adolescence.

On Savage's recommendation, Virginia spent three short periods in 1910, 1912, and 1913 at Burley House at 15 Cambridge Park, Twickenham (see image), described as "a private nursing home for women with nervous disorder" run by Miss Jean Thomas.[145][146] By the end of February 1910, she was becoming increasingly restless, and Savage suggested being away from London. Vanessa rented Moat House, outside Canterbury, in June, but there was no improvement, so Savage sent her to Burley for a "rest cure". This involved partial isolation, deprivation of literature, and force-feeding,[147] and after six weeks she was able to convalesce in Cornwall and Dorset during the autumn.[citation needed]

She loathed the experience; writing to her sister on 28 July,[148] she described how she found the religious atmosphere stifling and the institution ugly, and informed Vanessa that to escape "I shall soon have to jump out of a window".[3] The threat of being sent back would later lead to her contemplating suicide.[149][failed verification] Despite her protests, Savage would refer her back in 1912 for insomnia and in 1913 for depression.[citation needed]

On emerging from Burley House in September 1913, she sought further opinions from two other physicians on the 13th: Maurice Wright, and Henry Head, who had been Henry James's physician. Both recommended she return to Burley House. Distraught, she returned home and attempted suicide by taking an overdose of 100 grains of veronal (a barbiturate) and nearly dying.[150]

On recovery, she went to Dalingridge Hall, George Duckworth's home in East Grinstead, Sussex, to convalesce on 30 September,[151] returning to Asham on 18 November. She remained unstable over the next two years, with another incident involving veronal that she claimed was an 'accident', and consulted another psychiatrist in April 1914, Maurice Craig, who explained that she was not sufficiently psychotic to be certified or committed to an institution.

The rest of the summer of 1914 went better for her, and they moved to Richmond, but in February 1915, just as The Voyage Out was due to be published, she relapsed once more, and remained in poor health for most of that year.[152] Then she began to recover, following 20 years of ill health.[153][154] Nevertheless, there was a feeling among those around her that she was now permanently changed, and not for the better.[155]

Over the rest of her life, she suffered recurrent bouts of depression. In 1940, a number of factors appeared to overwhelm her. Her biography of Roger Fry[156] had been published in July, and she had been disappointed in its reception. The horrors of war depressed her, and their London homes had been destroyed in the Blitz in September and October. Woolf had completed Between the Acts (published posthumously in 1941)[134] in November, and completing a novel was frequently accompanied by exhaustion.[157] Her health became increasingly a matter of concern, culminating in her decision to end her life on 28 March 1941.[146]

She also suffered many of ailments such as headache, back-ache, fevers and faints, which related closely to her psychological stress. These often lasted for weeks or even months, and impeded her work: "What a gap! ... for 60 days; & those days spent in wearisome headache, jumping pulse, aching back, frets, fidgets, lying awake, sleeping draughts, sedatives, digitalis, going for a little walk, & plunging back into bed again."[158]

Though this instability would frequently affect her social life, she was able to continue her literary productivity with few interruptions throughout her life. Woolf herself provides not only a vivid picture of her symptoms in her diaries and letters, but also her response to the demons that haunted her and at times made her long for death:[159] "But it is always a question whether I wish to avoid these glooms... These 9 weeks give one a plunge into deep waters... One goes down into the well & nothing protects one from the assault of truth."[160]

Psychiatry had little to offer Woolf, but she recognised that writing was one of the behaviours that enabled her to cope with her illness:[159] "The only way I keep afloat... is by working... Directly I stop working I feel that I am sinking down, down. And as usual, I feel that if I sink further I shall reach the truth."[161] Sinking under water was Woolf's metaphor for both the effects of depression and psychosis— but also for finding truth, and ultimately was her choice of death.[159]

Throughout her life, Woolf struggled, without success, to find meaning in her illness: on the one hand, an impediment, on the other, something she visualised as an essential part of who she was, and a necessary condition of her art.[159] Her experiences informed her work, such as the character of Septimus Warren Smith in Mrs Dalloway (1925),[93] who, like Woolf, was haunted by the dead, and ultimately takes his own life rather than be admitted to a sanitorium.[3]

Leonard Woolf relates how during the 30 years they were married, they consulted many doctors in the Harley Street area, and although they were given a diagnosis of neurasthenia, he felt they had little understanding of the causes or nature. The proposed solution was simple—as long as she lived a quiet life without any physical or mental exertion, she was well. On the other hand, any mental, emotional, or physical strain resulted in a reappearance of her symptoms, beginning with a headache, followed by insomnia and thoughts that started to race. Her remedy was simple: to retire to bed in a darkened room, following which the symptoms slowly subsided.[162]

Modern scholars, including her nephew and biographer, Quentin Bell,[163] have suggested her breakdowns and subsequent recurring depressive periods were influenced by the sexual abuse which she and her sister Vanessa were subjected to by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays "A Sketch of the Past" and "22 Hyde Park Gate") (see Sexual abuse). Biographers point out that when Stella died in 1897, there was no counterbalance to control George's predation, and his nighttime prowling. "The old ladies of Kensington and Belgravia never knew that George Duckworth was not only father and mother, brother and sister to those poor Stephen girls; he was their lover also."[164][3]

It is likely that other factors also played a part. It has been suggested that they include genetic predisposition.[165] Virginia's father, Leslie Stephen, suffered from depression, and her half-sister Laura was institutionalised. Many of Virginia's symptoms, including persistent headache, insomnia, irritability, and anxiety, resembled those of her father's.[166] Another factor is the pressure she placed upon herself in her work; for instance, her breakdown of 1913 was at least partly triggered by the need to finish The Voyage Out.[167]

Virginia herself hinted that her illness was related to how she saw the repressed position of women in society when she wrote A Room of One's Own.[3][168][169] in a 1930 letter to Ethel Smyth:

> As an experience, madness is terrific I can assure you, and not to be sniffed at; and in its lava I still find most of the things I write about. It shoots out of one everything shaped, final, not in mere driblets, as sanity does. And the six months—not three—that I lay in bed taught me a good deal about what is called oneself.[170]

Thomas Caramagno[171] and others,[172] in discussing her illness, oppose the "neurotic-genius" way of looking at mental illness, where creativity and mental illness are conceptualised as linked rather than antithetical.[173][171] Stephen Trombley describes Woolf as having a confrontational relationship with her doctors, and possibly being a woman who is a "victim of male medicine", referring to the lack of understanding, particularly at the time, about mental illness.[174][175]

### Death[edit]

Woolf's suicide letter to her husband. (Reading by Juliet Stevenson)[176]

After completing the manuscript of her last novel (posthumously published), Between the Acts (1941),[134] Woolf fell into a depression similar to one which she had earlier experienced. The onset of the Second World War, the destruction of her London home during the Blitz, and the cool reception given to her biography[156] of her late friend Roger Fry all worsened her condition until she was unable to work.[177] When Leonard enlisted in the Home Guard, Virginia disapproved. She held fast to her pacifism and criticised her husband for wearing what she considered to be "the silly uniform of the Home Guard".[178]

After the Second World War began, Woolf's diary indicates that she was obsessed with death, which figured more and more as her mood darkened.[179] On 28 March 1941, Woolf drowned herself by walking into the fast-flowing River Ouse near her home, after placing a large stone in her pocket.[180] Her body was not found until 18 April.[181] Her husband buried her cremated remains beneath an elm tree in the garden of Monk's House, their home in Rodmell, Sussex.[182]

In her suicide note, addressed to her husband, she wrote:

> Dearest, I feel certain that I am going mad again. I feel we can't go through another of those terrible times. And I shan't recover this time. I begin to hear voices, and I can't concentrate. So I am doing what seems the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I don't think two people could have been happier till this terrible disease came. I can't fight it any longer. I know that I am spoiling your life, that without me you could work. And you will I know. You see I can't even write this properly. I can't read. What I want to say is I owe all the happiness of my life to you. You have been entirely patient with me and incredibly good. I want to say that—everybody knows it. If anybody could have saved me it would have been you. Everything has gone from me but the certainty of your goodness. I can't go on spoiling your life any longer. I don't think two people could have been happier than we have been. V.[183][184]

## Work[edit]

A portrait of Woolf by Roger Fry c. 1917 Lytton Strachey and Woolf at Garsington, 1923 Virginia Woolf 1927

Woolf is considered to be one of the most important 20th-century novelists.[185] A modernist, she was one of the pioneers of using stream of consciousness as a narrative device, alongside contemporaries such as Marcel Proust,[186][187] Dorothy Richardson and James Joyce.[188][189][190] Woolf's reputation was at its greatest during the 1930s, but declined considerably following the Second World War. The growth of feminist criticism in the 1970s helped re-establish her reputation.[191][146]

Virginia submitted her first article in 1890, to a competition in Tit-Bits. Although it was rejected, this shipboard romance by the 8-year-old would presage her first novel 25 years later, as would contributions to the Hyde Park News, such as the model letter "to show young people the right way to express what is in their hearts", a subtle commentary on her mother's legendary matchmaking.[192][193] She transitioned from juvenilia to professional journalism in 1904 at the age of 22. Violet Dickinson introduced her to Kathleen Lyttelton, the editor of the Women's Supplement of The Guardian, a Church of England newspaper. Invited to submit a 1,500-word article, Virginia sent Lyttelton a review of William Dean Howells' The Son of Royal Langbirth and an essay about her visit to Haworth that year, Haworth, November 1904.[194][3] The review was published anonymously on 4 December, and the essay on the 21st.[195][196] In 1905, Woolf began writing for The Times Literary Supplement.[197]

Woolf would go on to publish novels and essays as a public intellectual to both critical and popular acclaim. Much of her work was self-published through the Hogarth Press. "Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: she is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions."[198] "The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings"—often wartime environments—"of most of her novels."[198]

### Themes[edit]

Woolf's fiction has been studied for its insight into many themes including war, shell shock, witchcraft, and the role of social class in contemporary modern British society.[199] In the postwar Mrs Dalloway (1925),[93] Woolf addresses the moral dilemma of war and its effects[200][201] and provides an authentic voice for soldiers returning from the First World War, suffering from shell shock, in the person of Septimus Smith.[202] In A Room of One's Own (1929) Woolf equates historical accusations of witchcraft with creativity and genius among women[203] "When, however, one reads of a witch being ducked, of a woman possessed by devils...then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen".[204] Throughout her work Woolf tried to evaluate the degree to which her privileged background framed the lens through which she viewed class.[205][130] She both examined her own position as someone who would be considered an elitist snob, but attacked the class structure of Britain as she found it. In her 1936 essay Am I a Snob?,[206] she examined her values and those of the privileged circle she existed in. She concluded she was, and subsequent critics and supporters have tried to deal with the dilemma of being both elite and a social critic.[207][208][209]

The sea is a recurring motif in Woolf's work. Noting Woolf's early memory of listening to waves break in Cornwall, Katharine Smyth writes in The Paris Review that "the radiance [of] cresting water would be consecrated again and again in her writing, saturating not only essays, diaries, and letters but also Jacob's Room, The Waves, and To the Lighthouse."[210] Patrizia A. Muscogiuri explains that "seascapes, sailing, diving and the sea itself are aspects of nature and of human beings' relationship with it which frequently inspired Virginia Woolf's writing."[211] This trope is deeply embedded in her texts' structure and grammar; James Antoniou notes in Sydney Morning Herald how "Woolf made a virtue of the semicolon, the shape and function of which resembles the wave, her most famous motif."[212]

Despite the considerable conceptual difficulties, given Woolf's idiosyncratic use of language,[213] her works have been translated into over 50 languages.[199][214] Some writers, such as the Belgian Marguerite Yourcenar, had rather tense encounters with her, while others, such as the Argentinian Jorge Luis Borges, produced versions that were highly controversial.[213][146]

### Drama[edit]

Main article: Freshwater (play)

Virginia Woolf researched the life of her great-aunt, the photographer Julia Margaret Cameron, publishing her findings in an essay titled "Pattledom" (1925),[215] and later in her introduction to her 1926 edition of Cameron's photographs.[216][217] She had begun work on a play based on an episode in Cameron's life in 1923, but abandoned it. Finally it was performed on 18 January 1935 at the studio of her sister, Vanessa Bell on Fitzroy Street in 1935.[218] Woolf directed it herself, and the cast were mainly members of the Bloomsbury Group, including herself. Freshwater is a short three act comedy satirising the Victorian era, only performed once in Woolf's lifetime.[97] Beneath the comedic elements, there is an exploration of both generational change and artistic freedom. Both Cameron and Woolf fought against the class and gender dynamics of Victorianism[219] and the play shows links to both To the Lighthouse and A Room of One's Own that would follow.[217]

### Non-fiction[edit]

Woolf wrote a body of autobiographical work and more than 500 essays and reviews,[116] some of which, like A Room of One's Own (1929) were of book length. Not all were published in her lifetime. Shortly after her death, Leonard Woolf produced an edited edition of unpublished essays titled The Moment and other Essays,[220] published by the Hogarth Press in 1947. Many of these were originally lectures that she gave,[221] and several more volumes of essays followed, such as The Captain's Death Bed: and other essays (1950).[222]

#### A Room of One's Own[edit]

Main article: A Room of One's Own

Among Woolf's non-fiction works, one of the best known is A Room of One's Own (1929),[96] a book-length essay. Considered a key work of feminist literary criticism, it was written following two lectures she delivered on "Women and Fiction" at Cambridge University the previous year. In it, she examines the historical disempowerment women have faced in many spheres, including social, educational and financial. One of her more famous dicta is contained within the book "A woman must have money and a room of her own if she is to write fiction". Much of her argument ("to show you how I arrived at this opinion about the room and the money") is developed through the "unsolved problems" of women and fiction writing to arrive at her conclusion, although she claimed that was only "an opinion upon one minor point".[223] In doing so, she states a good deal about the nature of women and fiction, employing a quasi-fictional style as she examines where women writers failed because of lack of resources and opportunities, examining along the way the experiences of the Brontës, George Eliot and George Sand, as well as the fictional character of Shakespeare's sister, equipped with the same genius but not position. She contrasted these women who accepted a deferential status with Jane Austen, who wrote entirely as a woman.[224]

### Influences[edit]

Michel Lackey argues that a major influence on Woolf, from 1912 onward, was Russian literature and Woolf adopted many of its aesthetic conventions.[225] The style of Fyodor Dostoyevsky with his depiction of a fluid mind in operation helped to influence Woolf's writings about a "discontinuous writing process", though Woolf objected to Dostoyevsky's obsession with "psychological extremity" and the "tumultuous flux of emotions" in his characters together with his right-wing, monarchist politics as Dostoyevsky was an ardent supporter of the autocracy of the Russian Empire.[225] In contrast to her objections to Dostoyevsky's "exaggerated emotional pitch", Woolf found much to admire in the work of Anton Chekhov and Leo Tolstoy.[225] Woolf admired Chekhov for his stories of ordinary people living their lives, doing banal things and plots that had no neat endings.[225] From Tolstoy, Woolf drew lessons about how a novelist should depict a character's psychological state and the interior tension within.[225] Lackey notes that, from Ivan Turgenev, Woolf drew the lessons that there are multiple "I's" when writing a novel, and the novelist needed to balance those multiple versions of him- or herself to balance the "mundane facts" of a story vs. the writer's overarching vision, which required a "total passion" for art.[225]

The American writer Henry David Thoreau also influenced Woolf. In a 1917 essay, she praised Thoreau for his statement "The millions are awake enough for physical labor, but only one in hundreds of millions is awake enough to a poetic or divine life. To be awake is to be alive." They both aimed to capture 'the moment'––as Walter Pater says, "to burn always with this hard, gem-like flame."[226] [227] Woolf praised Thoreau for his "simplicity" in finding "a way for setting free the delicate and complicated machinery of the soul".[227] Like Thoreau, Woolf believed that it was silence that set the mind free to really contemplate and understand the world.[227] Both authors believed in a certain transcendental, mystical approach to life and writing, where even banal things could be capable of generating deep emotions if one had enough silence and the presence of mind to appreciate them.[227] Woolf and Thoreau were both concerned with the difficulty of human relationships in the modern age.[227]

Woolf's preface to Orlando credits Daniel Defoe, Sir Thomas Browne, Laurence Sterne, Sir Walter Scott, Lord Macaulay, Emily Brontë, Thomas de Quincey, and Walter Pater as influences.[95] Among her contemporaries, Woolf was influenced by Marcel Proust, writing to Roger Fry, "Oh if I could write like that!"[228]

## Views[edit]

In her lifetime, Woolf was outspoken on many topics that were considered controversial, some of which are now considered progressive, others regressive.[229] She was an ardent feminist at a time when women's rights were barely recognised, and anti-colonialist, anti-imperialist and a pacifist when chauvinism was popular. On the other hand, she has been criticised for views on class and race in her private writings and published works. Like many of her contemporaries, some of her writing is now considered offensive. As a result, she is considered polarising, a revolutionary feminist and socialist hero or a purveyor of hate speech.[229][230]

Works such as A Room of One's Own (1929)[96] and Three Guineas (1938)[231] are frequently taught as icons of feminist literature in courses that would be very critical of some of her views expressed elsewhere.[232] She has also been the recipient of considerable homophobic and misogynist criticism.[233]

### Humanist views[edit]

Virginia Woolf was born into a non-religious family and is regarded, along with fellow members of the Bloomsbury group E. M. Forster and G. E. Moore, as a humanist. Both her parents were prominent agnostic atheists. Her father, Leslie Stephen, had become famous in polite society for his writings which expressed and publicised reasons to doubt the veracity of religion. Stephen was also President of the West London Ethical Society, an early humanist organisation, and helped to found the Union of Ethical Societies in 1896. Woolf's mother, Julia Stephen, wrote the book Agnostic Women (1880), which argued that agnosticism (defined here as something more like atheism) could be a highly moral approach to life.

Woolf was a critic of Christianity. In a letter to Ethel Smyth, she gave a scathing denunciation of the religion, seeing it as self-righteous "egotism" and stating "my Jew [Leonard] has more religion in one toenail—more human love, in one hair".[234] Woolf stated in her private letters that she thought of herself as an atheist.[235]

> She thought there were no Gods; no one was to blame; and so she evolved this atheist's religion of doing good for the sake of goodness.

> — Woolf characterises Clarissa Dalloway, the title character of Mrs Dalloway[236]

### Controversies[edit]

Hermione Lee cites a number of extracts from Woolf's writings that many, including Lee, would consider offensive, and these criticisms can be traced back as far as those of Wyndham Lewis and Q. D. Leavis in the 1920s and 1930s.[230] Other authors provide more nuanced contextual interpretations, and stress the complexity of her character and the apparent inherent contradictions in analysing her apparent flaws.[232] She could certainly be off-hand, rude and even cruel in her dealings with other authors, translators and biographers, such as her treatment of Ruth Gruber.[citation needed] Some authors, including David Daiches, Brenda Silver, Alison Light and other postcolonial feminists, dismiss her (and modernist authors in general) as privileged, elitist, classist, racist, and antisemitic.[237]

Woolf's tendentious expressions, including prejudicial feelings against disabled people, have often been the topic of academic criticism:[230]

> The first quotation is from a diary entry of September 1920 and runs: "The fact is the lower classes are detestable." The remainder follow the first in reproducing stereotypes standard to upper-class and upper-middle class life in the early 20th century: "imbeciles should certainly be killed"; "Jews" are greasy; a "crowd" is both an ontological "mass" and is, again, "detestable"; "Germans" are akin to vermin; some "baboon faced intellectuals" mix with "sad green dressed negroes and negresses, looking like chimpanzees" at a peace conference; Kensington High St. revolts one's stomach with its innumerable "women of incredible mediocrity, drab as dishwater".[232]

### Antisemitism[edit]

Often accused of antisemitism,[238] the treatment of Judaism and Jews by Woolf is far from straightforward.[239] She was happily married to an irreligious Jewish man (Leonard Woolf) who had no connection with or knowledge of his people while she generally characterised Jewish characters with negative stereotypes. For instance, she described some of the Jewish characters in her work in terms that suggested they were physically repulsive or dirty. On the other hand, she could criticise her own views: "How I hated marrying a Jew — how I hated their nasal voices and their oriental jewellery, and their noses and their wattles — what a snob I was: for they have immense vitality, and I think I like that quality best of all" (Letter to Ethel Smyth 1930).[240][146][241] These attitudes have been construed to reflect, not so much antisemitism, but social status; she married outside her social class. Leonard, "a penniless Jew from Putney", lacked the material status of the Stephens and their circle.[238]

While travelling on a cruise to Portugal, she protested at finding "a great many Portuguese Jews on board, and other repulsive objects, but we keep clear of them".[242] Furthermore, she wrote in her diary: "I do not like the Jewish voice; I do not like the Jewish laugh." Her 1938 short story, written during Hitler's rule, "The Duchess and the Jeweller" (originally titled "The Duchess and the Jew") has been considered antisemitic.[243]

Some believe that Woolf and her husband Leonard came to despise and fear the 1930s' fascism and antisemitism. Her 1938 book Three Guineas[231] was an indictment of fascism and what Woolf described as a recurring propensity among patriarchal societies to enforce repressive societal mores by violence.[244] And yet, her 1938 story "The Duchess and the Jeweller" was so deeply hateful in its depiction of Jews that Harper's Bazaar asked her to modify it before publication; she reluctantly complied.[245]

## Sexuality[edit]

The Bloomsbury Group held very progressive views regarding sexuality and rejected the austere strictness of Victorian society. The majority of its members were homosexual or bisexual.[246]

Woolf had several affairs with women, the most notable being with Vita Sackville-West. The two women developed a deep connection; Vita was arguably one of the few people in Virginia's adult life that she was truly close to.[247]

> [Virginia Woolf] told Ethel that she only really loved three people: Leonard, Vanessa, and myself, which annoyed Ethel but pleased me – Vita Sackville-West's letter to husband Harold Nicolson, dated 28 September 1939

During their relationship, both women saw the peak of their literary careers, with the titular protagonist of Woolf's acclaimed Orlando: A Biography being inspired by Sackville-West. The pair remained lovers for a decade and stayed close friends for the rest of Woolf's life.[248][249] Woolf had said to Sackville-West she disliked masculinity.[250]

> [Virginia Woolf] dislikes the possessiveness and love of domination in men. In fact she dislikes the quality of masculinity ; says that women stimulate her imagination, by their grace & their art of life – Vita Sackville-West's diary, dated 26 September 1928

Among her other notable affairs were those with Sibyl Colefax, Lady Ottoline Morrell, and Mary Hutchinson.[249] Some surmise that she may have fallen in love with Madge Symonds, the wife of one of her uncles.[251] Madge Symonds was described as one of Woolf's early loves in Sackville-West's diary.[252] She also fell in love with Violet Dickinson, although there is some confusion as to whether the two consummated their relationship.[253]

In regard to relationships with men, Woolf was averse to sex with them, blaming the sexual abuse perpetrated upon her and her sister by her half-brothers when they were children and teens. This is one of the reasons she initially declined marriage proposals from her future husband, Leonard. She even went as far as to tell him that she was not attracted to him, but that she did love him and finally agreed to marriage.[249] Woolf preferred female lovers to male lovers, for the most part, based on her aversion to sex with men. This aversion to relations with men influenced her writing especially when considering her sexual abuse as a child.[254]

> I sometimes think that if I married you, I could have everything—and then—is it the sexual side of it that comes between us? As I told you brutally the other day, I feel no physical attraction in you. – Letter to Leonard from Virginia dated May 1, 1912[255]

Leonard became the love of her life and, even though their sexual relationship was questionable, they loved each other deeply and formed a strong and supportive marriage that led to the formation of their publishing house as well as several of her writings. Neither was monogamous with the other sexually, but they were faithful in their love and respect for each other.[256]

## Modern scholarship and interpretations[edit]

Though at least one biography of Virginia Woolf appeared in her lifetime, the first authoritative study of her life was published in 1972 by her nephew Quentin Bell. Hermione Lee's 1996 biography Virginia Woolf[257] provides a thorough and authoritative examination of Woolf's life and work, which she discussed in an interview in 1997.[258] In 2001, Louise DeSalvo and Mitchell A. Leaska edited The Letters of Vita Sackville-West and Virginia Woolf. Julia Briggs's Virginia Woolf: An Inner Life (2005) focuses on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. The sociologist Pierre Bourdieu also uses Woolf's literature to understand and analyse gender domination. Woolf biographer Gillian Gill notes that Woolf's traumatic experience of sexual abuse by her half-brothers during her childhood influenced her advocacy of protection of vulnerable children from similar experiences.[259] Biljana Dojčinović has discussed the issues surrounding translations of Woolf to Serbian as a "border-crossing".[260]

### Virginia Woolf and her mother[edit]

The intense scrutiny of Virginia Woolf's literary output has led to speculation as to her mother's influence, including psychoanalytic studies of mother and daughter.[261][262][263][264] Woolf states that, "my first memory, and in fact it is the most important of all my memories"[265] is of her mother. Her memories of her mother are memories of an obsession,[266][267] starting with her first major breakdown on her mother's death in 1895, the loss having a profound lifelong effect.[268] In many ways, her mother's profound influence on Virginia Woolf is conveyed in the latter's recollections, "there she is; beautiful, emphatic ... closer than any of the living are, lighting our random lives as with a burning torch, infinitely noble and delightful to her children".[139]

Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure, becomes more nuanced and complete.[269] She described her mother as an "invisible presence" in her life, and Ellen Rosenman argues that the mother-daughter relationship is a constant in Woolf's writing.[270] She describes how Woolf's modernism needs to be viewed in relationship to her ambivalence towards her Victorian mother, the centre of the former's female identity, and her voyage to her own sense of autonomy. To Woolf, "Saint Julia" was both a martyr whose perfectionism was intimidating and a source of deprivation, by her absences real and virtual and premature death.[271] Julia's influence and memory pervades Woolf's life and work. "She has haunted me", she wrote.[272]

### Historical feminism[edit]

According to the 2007 book Feminism: From Mary Wollstonecraft to Betty Friedan by Bhaskar A. Shukla, "Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer."[198] In 1928, Woolf took a grassroots approach to informing and inspiring feminism. She addressed undergraduate women at the ODTAA Society at Girton College, Cambridge, and the Arts Society at Newnham College, with two papers that eventually became A Room of One's Own (1929).[96]

Woolf's best-known nonfiction works, A Room of One's Own (1929)[96] and Three Guineas (1938),[231] examine the difficulties that female writers and intellectuals faced because men held disproportionate legal and economic power, as well as the future of women in education and society.[273] In The Second Sex (1949), Simone de Beauvoir counts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes" Katherine Mansfield— have explored "the given".[274]

## Legacy[edit]

Memorials

Plaque honouring Virginia Woolf on the Virginia Woolf Building at King's College London, Kingsway

Woolf's bust in Tavistock Square, London, by Stephen Tomlin, 1931. Erected by the Virginia Woolf Society of Great Britain, 2004.

Virginia Woolf is known for her contributions to 20th-century literature and her essays, as well as the influence she has had on literary, particularly feminist criticism. A number of authors have stated that their work was influenced by her, including Margaret Atwood, Michael Cunningham,[j] Gabriel García Márquez,[k] and Toni Morrison.[l] Her iconic image[278] is instantly recognisable from the Beresford portrait of her at twenty (at the top of this page) to the Beck and Macgregor portrait in her mother's dress in Vogue at 44 (see Fry (1913)) or Man Ray's cover of Time magazine (see Ray (1937)) at 55.[279] More postcards of Woolf are sold by the National Portrait Gallery, London than of any other person.[280] Her image is ubiquitous, and can be found on products ranging from tea towels to T-shirts.[279]

Virginia Woolf is studied around the world, with organisations devoted to her, such as the Virginia Woolf Society of Great Britain,[281] and The Virginia Woolf Society of Japan. In addition, trusts—such as the Asham Trust—encourage writers in her honour.[125] Although she had no descendants, a number of her extended family are notable.[282]

### Monuments and memorials[edit]

Statue of Virginia Woolf in Richmond created by Laury Dizengremel

In 2013, Woolf was honoured by her alma mater of King's College London with the opening of the Virginia Woolf Building on Kingsway, with a plaque commemorating her time there and her contributions,[283][284] together with an exhibit depicting her accompanied by the quotation "London itself perpetually attracts, stimulates, gives me a play & a story & a poem" from her 1926 diary.[285] Busts of Virginia Woolf have been erected at her home in Rodmell, Sussex and at Tavistock Square, London, where she lived between 1924 and 1939.

In 2014, she was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighbourhood noting LGBTQ people who have "made significant contributions in their fields".[286]

A campaign was launched in 2018 to erect a statue of Woolf in Richmond, where she lived for 10 years.[287] In November 2022 the statue, created by sculptor Laury Dizengremel, was unveiled. It depicts Woolf on a bench overlooking the River Thames, and is the first full-size statue of Woolf.[288][289]

### Portrayals[edit]

Virginia Woolf on a 2007 Romanian postage stamp

* Michael Cunningham's 1998 Pulitzer Prize-winning novel The Hours focused on three generations of women affected by Woolf's novel Mrs Dalloway. In 2002, a film version of the novel was released, starring Nicole Kidman as Woolf.[citation needed]
* Susan Sellers's novel Vanessa and Virginia (2008) explores the close sibling relationship between Woolf and her sister, Vanessa Bell. It was adapted for the stage by Elizabeth Wright in 2010 and first performed by Moving Stories Theatre Company.[citation needed]
* Priya Parmar's 2014 novel Vanessa and Her Sister also examined the Stephen sisters' relationship during the early years of their association with what became known as the Bloomsbury Group.[290]
* In the 2014 novel The House at the End of Hope Street, Woolf is featured as one of the women who has lived in the titular house.[291]
* Virginia is portrayed by both Lydia Leonard and Catherine McCormack in the BBC's three-part drama series Life in Squares (2015).[292]
* The 2018 film Vita and Virginia depicts the relationship between Vita Sackville-West and Woolf, portrayed by Gemma Arterton and Elizabeth Debicki respectively.[citation needed]
* In 2022, an opera of The Hours by composer Kevin Puts and librettist Greg Pierce premiered at the Metropolitan Opera to acclaim.[citation needed]

### Adaptations[edit]

* Sally Potter adapted Orlando (1928) for the screen in 1992, starring Tilda Swinton.[citation needed]
* Woolf's play Freshwater (1935) is the basis for a 1994 chamber opera, Freshwater, by Andy Vores.[citation needed]
* Woolf Works, a contemporary ballet inspired by Woolf's novels, letters, essays and diaries, premiered in May 2015.[citation needed]
* The final segment of the 2018 London Unplugged is adapted from the short story Kew Gardens.[citation needed]
* Septimus and Clarissa, a stage adaptation of Mrs Dalloway, was created and produced by the New York-based ensemble Ripe Time in 2011. It was adapted by Ellen McLaughlin.[citation needed]

## Selected works[edit]

Main article: Bibliography of Virginia Woolf

Wikisource has original works by or about:
Virginia Woolf

Woolf's most notable works include:[11]

### Novels[edit]

* The Voyage Out (1915)
* Jacob's Room (1922)
* Mrs Dalloway (1925)
* To the Lighthouse (1927)
* Orlando: A Biography (1928)
* The Waves (1931)
* The Years (1937)
* Between the Acts (1941)

### Essays and essay collections[edit]

* "Mr. Bennett and Mrs. Brown" (1924)
* "Modern Fiction" (1925)
* The Common Reader (1925)
* "The Art of Fiction" (1927)
* "The New Biography" (1927)
* A Room of One's Own (1929)
* The Common Reader: Second Series (1932)
* Three Guineas (1938)

### Other[edit]

* "Kew Gardens" (1919)
* Flush: A Biography (1933)
* Freshwater (1935)

## Notes[edit]

1. ^ Woolf provides insight into her early life in her autobiographical essays, including "Reminiscences", "22 Hyde Park Gate", and "A Sketch of the Past".
2. ^ Lady Margaret was the second daughter of Henry Herbert, 4th Earl of Carnarvon.
3. ^ Much later, in the 1960s, Leonard Woolf lists those people he considered as being "Old Bloomsbury" as: Vanessa and Clive Bell, Virginia and Leonard Woolf, Adrian and Karin Stephen, Lytton Strachey, Maynard Keynes, Duncan Grant, E. M. Forster, Sydney Saxon-Turner, Roger Fry, Desmond and Molly MacCarthy and later David Garnett and Julian, Quentin and Angelica Bell. Others add Ottoline Morrell, Dora Carrington and James and Alix Strachey. The "core" group are considered to be he Stephens and Thoby's closest Cambridge friends, Leonard Woolf, Clive Bell, Lytton Strachey and Saxon Sydney-Turner.[51][52]
4. ^ Katherine Laird ("Ka") Cox (1887–1938): The orphaned daughter of a wealthy stockbroker, Ka attended Newnham College and was the second treasurer of the Cambridge Fabian Society, and became both friend and nurse to Virginia Woolf.[56][57][58]
5. ^ Demolished in 1936 to make way for the Pharmacy School.[71][72] A commemorative plaque on the school now marks the site.[73]
6. ^ It has been suggested that Woolf bound books to help cope with her depression, as is hinted at in her writing: "A great part of every day is not lived consciously. One walks, eats, sees things, deals with what has to be done; the broken vacuum cleaner; ... cooking dinner; bookbinding."[101]
7. ^ Virginia was somewhat disparaging about the exterior of Little Talland House, describing it as an "eyesore" (Letter to Violet Dickinson 29 January 1911) and "inconceivably ugly, done up in patches of post-impressionist colour" (Letters, no. 561, April 1911). However she and Vanessa decorated the interior, "staining the floors the colours of the Atlantic in a storm" (Letters, no. 552, 24 January 1911)[118]
8. ^ Sometimes spelled "Asheham". Demolished 1994[99]
9. ^ "Goat" was also a term of ridicule that George Duckworth used towards Virginia, "he always called me 'the poor goat' "(Letter to Vanessa 13 May 1921)[136]
10. ^ "Like my hero Virginia Woolf, I do lack confidence. I always find that the novel I'm finishing, even if it's turned out fairly well, is not the novel I had in my mind."[275]
11. ^ "after having read Ulysses in English as well as a very good French translation, I can see that the original Spanish translation was very bad. But I did learn something that was to be very useful to me in my future writing—the technique of the interior monologue. I later found this in Virginia Woolf, and I like the way she uses it better than Joyce."[276]
12. ^ "I wrote on Woolf and Faulkner. I read a lot of Faulkner then. You might not know this, but in the '50s, American literature was new. It was renegade. English literature was English. So there were these avant-garde professors making American literature a big deal. That tickles me now."[277]

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4. ^ a b Licence 2015, p. 12
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6. ^ Harris 2011, pp. 12–13.
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8. ^ Woolf 1940, p. 119.
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10. ^ Marler 1993, p. xxv.
11. ^ a b Reid 2024.
12. ^ a b Harris 2011, p. 18.
13. ^ Lowe 2005, p. vii.
14. ^ Lowe 2005, p. ix.
15. ^ Woolf 1990, p. 134, 1 January 1898.
16. ^ Woolf 1990.
17. ^ Eagle & Carnell 1981, p. 232.
18. ^ Harris 2011, pp. 19–20.
19. ^ Wright 2011, p. 22.
20. ^ Harris 2011, pp. 21–22.
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22. ^ Harris 2011, p. 25.
23. ^ Harris 2011, p. 28.
24. ^ Bell 1972, p. 191, Chronology.
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26. ^ a b Minow-Pinkney 2006, p. 230
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28. ^ Harris 2011, p. 35.
29. ^ Harris 2011, p. 36.
30. ^ Harris 2011, p. 32.
31. ^ Curtis 2002b, Introduction p. 58
32. ^ Harris 2011, pp. 18–19.
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34. ^ Rosenbaum 1987, p. 130
35. ^ Woolf 1932a, p. 72.
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38. ^ a b c Todd 2001, p. 12.
39. ^ a b Moggridge 1992, p. 217
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81. ^ Woolf 1964, p. 68.
82. ^ The American Reader.
83. ^ History 2018.
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88. ^ Richmond 2015.
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94. ^ a b Woolf 1927.
95. ^ a b Woolf 1928.
96. ^ a b c d e Woolf 1929.
97. ^ a b Woolf 1935.
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107. ^ British Library 2018d.
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114. ^ Woolf 1924.
115. ^ Woolf 1932.
116. ^ a b Hussey 2006.
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118. ^ a b Wilkinson 2001.
119. ^ a b Woolf 1964, p. 56.
120. ^ a b Eagle & Carnell 1981, p. 9.
121. ^ a b Bell 1972, pp. 199–201, Chronology.
122. ^ a b Bell 1972, p. 176.
123. ^ Woolf 1953.
124. ^ Woolf 1919a.
125. ^ a b Asham 2018.
126. ^ a b Woolf 1964, p. 57.
127. ^ Woolf 2016a, p. 36
128. ^ Fry 1913.
129. ^ Bell 1972, Vol II: 1915–1918.
130. ^ a b Maggio 2009.
131. ^ Woolf 1964, p. 60.
132. ^ Eagle & Carnell 1981, p. 228.
133. ^ Bell 1972, Vol. II: 1915–1918.
134. ^ a b c Woolf 1941.
135. ^ Beja 1985, p. 24.
136. ^ Woolf 1912–1922.
137. ^ Garnett 2011, p. 114.
138. ^ Lee 1997a, p. 171.
139. ^ a b Woolf 1908, p. 40.
140. ^ Bell 1972, p. 40.
141. ^ Bell 1972, p. 45.
142. ^ Gordon 1984, p. 51
143. ^ Meyer & Osborne 1982.
144. ^ Lewis 2000.
145. ^ Pearce 2007.
146. ^ a b c d e Snodgrass 2015.
147. ^ Harris 2011, p. 45.
148. ^ Woolf 1910.
149. ^ Harris 2011, p. 34.
150. ^ Gordon 1984, p. 52
151. ^ Bell 1972, p. 17, Vol. II.
152. ^ Lee 1997a, p. 347.
153. ^ Bell 1972, p. 228, Vol. II.
154. ^ Gordon 1984, p. 53
155. ^ Bell 1972, pp. 26–27, Vol. II.
156. ^ a b Woolf 1940a.
157. ^ Bell 1972, p. 224.
158. ^ Woolf, Virginia (1978). The Diary of Virginia Woolf, Volume II: 1920-1924. London: The Hogarth Press. p. 125\. ISBN 0-7012-0447-8.
159. ^ a b c d Dalsimer 2004.
160. ^ Woolf 1925–1930, p. 112.
161. ^ Woolf 1925–1930, p. 235.
162. ^ Woolf 1964, pp. 75–76.
163. ^ Bell 1972, p. 44.
164. ^ Woolf 1921, p. 178.
165. ^ Boeira et al 2016.
166. ^ Lee 1997a, pp. 72, 102.
167. ^ Lee 1997a, p. 321.
168. ^ Montross 2014, p. 61
169. ^ Hague 2003, p. 259
170. ^ Woolf 1929–1931, 2194: 22 June 1930; p. 180.
171. ^ a b Caramagno 1992.
172. ^ Koutsantoni 2012.
173. ^ Jamison 1996.
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175. ^ Trombley 1981.
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199. ^ a b Harrington 2018.
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203. ^ Brown 2015.
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207. ^ Hite 2004.
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217. ^ a b Swenson 2017.
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221. ^ Trilling 1948.
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232. ^ a b c McManus 2008.
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## Bibliography[edit]

### Books and theses[edit]

* Batchelor, John, ed. (1995). The Art of Literary Biography. Clarendon Press. ISBN 978-0-19-818289-4. Archived from the original on 11 June 2020. Retrieved 27 March 2018.
* Beauvoir, Simone de (2015) [1949]. The Second Sex (Vintage Feminism Short ed.). Random House. ISBN 978-1-4735-2191-9. Archived from the original on 11 June 2020. Retrieved 23 February 2018. see also The Second Sex
* Eagle, Dorothy S.; Carnell, Hilary, eds. (1981) [1977]. The Oxford Illustrated Literary Guide to Great Britain and Ireland (2nd ed.). Oxford University Press. ISBN 0198691254. OL 4116730M.
* Hirsch, Marianne (1989). The Mother / Daughter Plot: Narrative, Psychoanalysis, Feminism. Indiana University Press. ISBN 0-253-11575-2. Archived from the original on 11 June 2020. Retrieved 17 April 2018.
* Lowe, Gill, ed. (2005). Hyde Park Gate News: The Stephen Family Newspaper. London: Hesperus Press. OL 17189258M.
* Parmar, Priya (2015). Vanessa and Her Sister. Doubleday Canada. ISBN 978-0-385-68134-6. Archived from the original on 11 June 2020. Retrieved 23 February 2018.
* Richardson, Dorothy (2014) [1915]. Ross, Stephen; Thomson, Tara (eds.). Pointed Roofs. Broadview Press. ISBN 978-1-77048-538-9. Archived from the original on 12 June 2020. Retrieved 15 March 2018.
* Shukla, Bhaskar A. (2007). Feminism:From Mary Wollstonecraft To Betty Friedan. Sarup & Sons. ISBN 978-81-7625-754-1. Archived from the original on 12 June 2020. Retrieved 21 February 2018.
* van Praag, Menna (2014). The house at the end of Hope Street: a novel. New York: Penguin Books. ISBN 978-0143124948. OCLC 852829959.
* Wilson, Scott (2016). Resting Places: The Burial Sites of More Than 14,000 Famous Persons (3rd ed.). McFarland & Company. ISBN 978-1-4766-2599-7. Archived from the original on 2 October 2020. Retrieved 18 February 2018.
* Woolf, Virginia (1977). Leaska, Mitchell A. (ed.). The Pargiters: The Novel-Essay Portion of The Years. New York: Harcourt Brace Jovanovich. ISBN 0-15-671380-2.

#### Biography: Virginia Woolf[edit]

* Bell, Quentin (1972). Virginia Woolf: A Biography. Harcourt Brace Jovanovich. ISBN 978-0-15-693580-7.
* Vol. I: Virginia Stephen 1882 to 1912. London: Hogarth Press. 1972.
* Vol. II: Virginia Woolf 1912 to 1941. London: Hogarth Press. 1972.
* Briggs, Julia (2006a). Virginia Woolf: An Inner Life. Harcourt. ISBN 978-0-15-603229-2. Archived from the original on 11 June 2020. Retrieved 13 February 2018.
* Curtis, Vanessa (2002b). Virginia Woolf's Women. University of Wisconsin Press. ISBN 978-0-299-18340-0. Archived from the original on 11 June 2020. Retrieved 17 February 2018.
* Curtis, Anthony (2006). Virginia Woolf: Bloomsbury & Beyond. Haus Publishing. ISBN 978-1-904950-23-3. Archived from the original on 11 June 2020. Retrieved 14 February 2018.
* Forrester, Viviane (2015). Virginia Woolf: A Portrait. Columbia University Press. ISBN 978-0-231-53512-0. Archived from the original on 12 June 2020. Retrieved 9 February 2018.
* Froula, Christine (2005). Virginia Woolf and the Bloomsbury Avant-Garde: War, Civilization, Modernity. Columbia University Press. ISBN 978-0-231-50878-0.
* Gordon, Lyndall (1984). Virginia Woolf: A Writer's Life. Oxford University Press. ISBN 978-0-19-811723-0. Archived from the original on 11 June 2020. Retrieved 3 February 2018.
* Harris, Alexandra (2011). Virginia Woolf. New York: Thames & Hudson. ISBN 9780500515921. OL 25269825M.
* Humm, Maggie (2006). Snapshots of Bloomsbury: The Private Lives of Virginia Woolf and Vanessa Bell. Rutgers University Press. ISBN 978-0-8135-3706-1. Archived from the original on 11 June 2020. Retrieved 24 February 2018.
* Lee, Hermione (1997a) [1996]. Virginia Woolf. Alfred A. Knopf. ISBN 0-679-44707-5. OL 708461M.
* Licence, Amy (2015). Living in Squares, Loving in Triangles: The Lives and Loves of Virginia Woolf and the Bloomsbury Group. Amberley Publishing Limited. ISBN 978-1-4456-4579-7. Archived from the original on 11 June 2020. Retrieved 8 March 2018.
* Liukkonen, Petri (2008). "Virginia Woolf (1882–1941)". Books and Writers. Finland: Kuusankoski Public Library. Archived from the original on 28 January 2015. Retrieved 8 February 2016.
* Pearce, Brian Louis (2007). Virginia Woolf and the Bloomsbury Group in Twickenham. Borough of Twickenham Local History Society. p. 7\. ISBN 978-0-903341-80-6. Archived from the original on 11 June 2020. Retrieved 12 February 2018.
* Rose, Phyllis (1979). Woman of Letters: A Life of Virginia Woolf. Oxford University Press. ISBN 978-0-19-502621-4. Archived from the original on 11 June 2020. Retrieved 18 February 2018.
* Rosenman, Ellen Bayuk (1986). The Invisible Presence: Virginia Woolf and the Mother-daughter Relationship. Louisiana State University Press. ISBN 978-0-8071-1290-8.
* Silver, Brenda R. (1999). Virginia Woolf Icon. University of Chicago Press. ISBN 978-0-226-75746-9. Archived from the original on 11 June 2020. Retrieved 10 March 2018.
* Snaith, Anna, ed. (2007). Palgrave Advances in Virginia Woolf Studies. Palgrave Macmillan UK. ISBN 978-0-230-20604-5. Archived from the original on 12 June 2020. Retrieved 16 March 2018.
* Squier, Susan Merrill (1985). Virginia Woolf and London: The Sexual Politics of the City. University of North Carolina Press. ISBN 978-1-4696-3991-8. Archived from the original on 11 June 2020. Retrieved 1 March 2018.
* Streufert, Mary J. (8 June 1988). Measures of reality: the religious life of Virginia Woolf (MA thesis). Oregon State University. Archived from the original on 27 January 2018. Retrieved 30 January 2018.
* Wilson, Jean Moorcroft (1987). Virginia Woolf Life and London. A Biography of Place. Cecil Woolf. ISBN 9781860646447. Archived from the original on 11 June 2020. Retrieved 15 February 2018. (Illustrations of Woolf's London homes are excerpted at UAH (2018).)
* Wright, E. H. (2011). Brief Lives: Virginia Woolf. London: Hesperus Press. OL 11907594M.

##### Mental health[edit]

* Caramagno, Thomas C. (1992). The Flight of the Mind: Virginia Woolf's Art and Manic-Depressive Illness. University of California Press. ISBN 978-0-520-93512-9. Archived from the original on 11 June 2020. Retrieved 13 February 2018. (summary)
* Jamison, Kay Redfield (1996). Touched With Fire. Simon and Schuster. ISBN 978-1-4391-0663-1. Archived from the original on 11 June 2020. Retrieved 13 March 2018. see also Touched with Fire
* Meyer, Robert G.; Osborne, Yvonne Hardaway (1982). Case Studies in Abnormal Behavior. Allyn and Bacon. ISBN 978-0-205-07744-1.
* Montross, Christine (2014). Falling into the Fire. Oneworld Publications. ISBN 978-1-78074-367-7. Archived from the original on 11 June 2020. Retrieved 14 April 2018.
* Trombley, Stephen (October 1980). Virginia Woolf and her doctors (PDF) (PhD thesis). University of Nottingham. Archived (PDF) from the original on 18 February 2018. Retrieved 17 February 2018.
* Trombley, Stephen (1981). All that Summer She was Mad: Virginia Woolf and Her Doctors. London: Junction Books. ISBN 978-0-86245-039-7.

#### Biography: Other[edit]

* Bell, Vanessa (1993). Marler, Regina (ed.). The Selected Letters of Vanessa Bell. Pantheon Books. ISBN 978-0-679-41939-6. Archived from the original on 12 June 2020. Retrieved 23 February 2018.
* Marler, Regina. "Biographical introduction". In Bell (1993), pp. xvii–xviii.
* Brooke, Rupert; Strachey, James (1998). Hale, Keith (ed.). Friends and Apostles: The Correspondence of Rupert Brooke and James Strachey, 1905–1914. Yale University Press. ISBN 978-0-300-07004-0. Archived from the original on 11 June 2020. Retrieved 2 April 2018.
* Garnett, Angelica (2011) [1985]. Deceived With Kindness. Random House. ISBN 978-1-4464-7525-6. Archived from the original on 11 June 2020. Retrieved 28 February 2018.
* Knights, Sarah (2015). Bloomsbury's Outsider: A Life of David Garnett. Bloomsbury Publishing. ISBN 978-1-4482-1544-7. Archived from the original on 11 June 2020. Retrieved 25 April 2018.
* Moggridge, Donald Edward (1992). Maynard Keynes: An Economist's Biography. Psychology Press. ISBN 978-0-415-05141-5. Archived from the original on 11 June 2020. Retrieved 8 March 2018.
* Spalding, Frances (2010). Gwen Raverat: Friends, Family and Affections. Random House. ISBN 978-1-4090-2941-0. Archived from the original on 12 June 2020. Retrieved 9 April 2018.
* Woolf, Leonard (1975) [1964]. Beginning Again: An Autobiography of the Years 1911 to 1918. Harcourt Brace Jovanovich. ISBN 978-0-15-611680-0. Archived from the original on 11 June 2020. Retrieved 5 March 2018.

#### Literary commentary[edit]

* Alexander, Christine; McMaster, Juliet, eds. (2005). The Child Writer from Austen to Woolf. Cambridge University Press. ISBN 978-0-521-81293-1. Archived from the original on 12 June 2020. Retrieved 19 March 2018.
* Beja, Morris (1985). Critical essays on Virginia Woolf. G. K. Hall. ISBN 978-0-8161-8753-9. Archived from the original on 11 June 2020. Retrieved 21 February 2018.
* Berman, Jessica, ed. (2016). A Companion to Virginia Woolf. Wiley. ISBN 978-1-118-45790-0. Archived from the original on 11 June 2020. Retrieved 14 March 2018.
* Ellis, Steve (2007). Virginia Woolf and the Victorians. Cambridge University Press. ISBN 978-1-139-46896-1. Archived from the original on 12 June 2020. Retrieved 27 March 2018. (additional excerpts)
* Goldman, Jane (2001). The Feminist Aesthetics of Virginia Woolf: Modernism, Post-Impressionism, and the Politics of the Visual. Cambridge University Press. ISBN 978-0-521-79458-9. Archived from the original on 12 June 2020. Retrieved 18 February 2018.
* Hague, Angela (2003). Fiction, Intuition, & Creativity: Studies in Brontë, James, Woolf, and Lessing. CUA Press. ISBN 978-0-8132-1314-9. Archived from the original on 12 June 2020. Retrieved 14 April 2018.
* Koutsantoni, Dr Katerina (2013). Virginia Woolf's Common Reader. Ashgate Publishing, Ltd. ISBN 978-1-4094-7526-2. Archived from the original on 11 June 2020. Retrieved 20 April 2018.
* Latham, Sean (2003). "Am I a Snob?": Modernism and the Novel. Cornell University Press. ISBN 0-8014-8841-9. Archived from the original on 11 June 2020. Retrieved 14 March 2018.
* Madden, Mary C (31 March 2006). Virginia Woolf and the persistent question of class: The protean nature of class and self (PhD thesis). Department of English, University of South Florida. Archived from the original on 15 March 2018. Retrieved 14 March 2018.
* Rahn, Josh (2018). "Modernism". The Literature Network. Jalic. Retrieved 21 February 2018.
* Randall, Bryony; Goldman, Jane, eds. (2012). Virginia Woolf in Context. Cambridge University Press. ISBN 978-1-107-00361-3. Archived from the original on 12 June 2020. Retrieved 28 March 2018.
* Sim, Lorraine (2016). "Introduction" (PDF). Virginia Woolf: The Patterns of Ordinary Experience. Routledge. pp. 1–26. ISBN 978-1-317-00160-7. Archived from the original on 11 June 2020. Retrieved 22 February 2018.
* Simpson, Kathryn (2016). Woolf: A Guide for the Perplexed. Bloomsbury Publishing. ISBN 978-1-4725-9068-8. Archived from the original on 11 June 2020. Retrieved 17 April 2018.
* Snodgrass, Chris (2015). "Introduction: Virginia Woolf (1882‒1941)" (PDF) (Course materials). Department of English, University of Florida. Archived from the original (PDF) on 16 March 2018. Retrieved 15 March 2018.
* Zamith, Maria Cândida; Flora, Luísa, eds. (2007). Virginia Woolf: Three Centenary Celebrations. Universidade do Porto. ISBN 978-972-8932-23-7. Archived from the original on 11 June 2020. Retrieved 17 April 2018. additional excerpt Archived 19 February 2018 at the Wayback Machine

#### Bloomsbury[edit]

* Rosenbaum, S.P. (2016) [1987]. Victorian Bloomsbury: Volume 1: The Early Literary History of the Bloomsbury Group. Palgrave Macmillan. ISBN 978-1-349-13368-0. Archived from the original on 11 June 2020. Retrieved 9 March 2018. (additional excerpts)
* Rosenbaum, S.; Haule, J. (2014). The Bloomsbury Group Memoir Club. Palgrave Macmillan UK. ISBN 978-1-137-36036-6. Archived from the original on 11 June 2020. Retrieved 21 March 2018.
* Todd, Pamela (2001). Bloomsbury at Home. Pavilion. ISBN 978-1-86205-428-8. Archived from the original on 11 June 2020. Retrieved 27 February 2018.

#### Chapters and contributions[edit]

* Alexander, Christine (2005). Play and apprenticeship: the culture of family magazines. pp. 31–50., in Alexander & McMaster (2005)
* Birrento, Ana Clara. Virginia Woolf: Moments of Being (PDF). pp. 61–72. Archived (PDF) from the original on 19 February 2018. Retrieved 17 April 2018., in Zamith & Flora (2007)
* Brassard, Geneviève (2016). Woolf in translation. John Wiley & Sons. pp. 441–452. ISBN 9781118457900. Archived from the original on 11 June 2020. Retrieved 14 March 2018., in Berman (2016)
* Hussey, Mark (2006). Preface. pp. ix–xviii. ISBN 9780547543161. Archived from the original on 9 September 2021. Retrieved 2 April 2018., in Woolf (1928)
* Hussey, Mark (2007). Biographical approaches. pp. 83–97., in Snaith (2007)
* Hussey, Mark (2012). Woolf: After Lives. Cambridge University Press. pp. 13–27. ISBN 9781107003613. Archived from the original on 11 June 2020. Retrieved 28 March 2018., in Randall & Goldman (2012)
* Lee, Hermione (1995). Virginia Woolf and Offence. Oxford University Press. pp. 129–150. ISBN 9780191673917. Archived from the original on 28 March 2018. Retrieved 27 March 2018., in Batchelor (1995)
* Minow-Pinkney, Makiko (2007). Psychonalytic approaches. Springer. pp. 60–82. ISBN 9780230206045. Archived from the original on 11 June 2020. Retrieved 17 March 2018., in Snaith (2007)
* Minow-Pinkney, Makiko (2006). Domestic Arts: Virginia Woolf and entertaining. pp. 227–244. ISBN 9780748635535., in Humm (2006)
* Stimpson, Catherine R (1999). Foreword. University of Chicago Press. pp. xi–xiv. ISBN 9780226757469. Archived from the original on 11 June 2020. Retrieved 11 March 2018., in Silver (1999)

### Articles[edit]

#### Journals[edit]

* Boeira, Manuela V.; Berni, Gabriela de Á.; Passos, Ives C.; Kauer-Sant'Anna, Márcia; Kapczinski, Flávio (14 June 2016). "Virginia Woolf, neuroprogression, and bipolar disorder". Revista Brasileira de Psiquiatria. 39 (1): 69–71. doi:10.1590/1516-4446-2016-1962. PMC 7112729. PMID 27304258.
* Caramagno, Thomas C. (1989). "Review of Virginia Woolf and the Real World; The Invisible Presence: Virginia Woolf and the Mother-Daughter Relationship". Modern Philology (Review). 86 (3): 324–328. doi:10.1086/391719. JSTOR 438044.
* Church, Johanna (January 2016). "Literary Representations of Shell Shock as a Result of World War I in the Works of Virginia Woolf and Ernest Hemingway". Peace & Change. 41 (1): 52–63. doi:10.1111/pech.12172.
* Dalsimer, Katherine (May 2004). "Virginia Woolf (1882–1941)". American Journal of Psychiatry. 161 (5): 809. doi:10.1176/appi.ajp.161.5.809. PMID 15121644.
* Floyd, Riley H. (Summer 2016). ""Must Tell the Whole World": Septimus Smith as Virginia Woolf's Legal Messenge". Indiana Law Journal. 91 (4 (9)): 14721492. Archived from the original on 14 June 2018. Retrieved 13 March 2018.
* Hite, Molly (11 March 2004). "Am I a Snob? Modernism and the Novel". Modernism/modernity (Review). 11 (1): 190–192. doi:10.1353/mod.2004.0011. ISSN 1080-6601. S2CID 143644837.
* Koutsantoni, Katerina (June 2012). "Manic depression in literature: the case of Virginia Woolf". Medical Humanities. 38 (1): 7–14. doi:10.1136/medhum-2011-010075. PMID 22389442. S2CID 32059883.
* Lackey, Michael (2012). "Virginia Woolf and British Russophilia". Journal of Modern Literature. 36 (1): 150. doi:10.2979/jmodelite.36.1.150. S2CID 161783820. Archived from the original on 5 May 2020. Retrieved 12 May 2020.
* Lewis, Alison M (Autumn 2000). "Caroline Emelia Stephen (1834-1909) and Virginia Woolf (1882-1941): A Quaker Influence on Modern English Literature". Quaker Theology (3). Archived from the original on 12 November 2015. Retrieved 12 February 2018.
* Leonard, Diane R. (1981). "Proust and Virginia Woolf, Ruskin and Roger Fry: Modernist Visual Dynamics". Comparative Literature Studies. 18 (3): 333–343. JSTOR 40246272.
* McManus, Patricia (2008). "The "Offensiveness" of Virginia Woolf: From a Moral to a Political Reading". Woolf Studies Annual. 14: 92–138. Archived from the original on 28 March 2018. Retrieved 28 March 2018.
* McNicol, Jean (20 October 2016). "Something Rather Scandalous". London Review of Books. 38 (20): 19–22. ISSN 0260-9592. Archived from the original on 2 April 2018. Retrieved 2 April 2018.
* McTaggart, Ursula (2010). ""Opening the Door": The Hogarth Press as Virginia Woolf's Outsiders' Society". Tulsa Studies in Women's Literature. 29 (1): 63–81. doi:10.1353/tsw.2010.a435428. JSTOR 41337032. S2CID 142575214.
* Majumdar, Raja (Fall 1969). "Virginia Woolf and Thoreau". The Thoreau Society Bulletin (109): 4–5.
* Rodríguez, Laura María Lojo (2001–2002). "Contradiction and ambivalence: Virginia Woolf and the aesthetic experience in "The Duchess and the Jeweller"". Journal of English Studies. 3: 115–129. doi:10.18172/jes.73. Archived from the original on 30 March 2018. Retrieved 29 March 2018.
* Schröder, Leena Kore (Autumn 2003). "Tales of Abjection and Miscegenation: Virginia Woolf's and Leonard Woolf's "Jewish" Stories". Twentieth Century Literature. 49 (3): 298–327. doi:10.2307/3175983. JSTOR 3175983.
* Swenson, Kristine (26 October 2017). "Hothouse Victorians: Art and Agency in Freshwater". Open Cultural Studies. 1 (1): 183–193. doi:10.1515/culture-2017-0017.
* Usui, Masami (2007). "Julia Margaret Cameron as a Feminist Precursor of Virginia Woolf" (PDF). Doshisha Studies in English. 80 (3): 59–83. Archived from the original (PDF) on 13 April 2016.

#### Dictionaries and encyclopaedias[edit]

* Bell, Alan (24 May 2012). "Stephen, Sir Leslie (1832–1904)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/36271. (Subscription or UK public library membership required.)
* Garnett, Jane (23 September 2004). "Stephen [née Jackson], Julia Prinsep (1846–1895)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/46943. (Subscription or UK public library membership required.)
* Gordon, Lyndall (2004). "Woolf [née Stephen], (Adeline) Virginia". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/37018. (Subscription or UK public library membership required.)
* Light, Alison (2017). "Boxall, Nellie". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/94651. (Subscription or UK public library membership required.)
* Reid, Panthea (2024). "Virginia Woolf". Encyclopaedia Britannica. Retrieved 3 June 2024.

#### Newspapers and magazines[edit]

* Anonymous. "1 May (1912): Virginia Stephen Woolf to Leonard Woolf". The American Reader. Archived from the original on 2 June 2015. Retrieved 22 March 2018.`{{cite news}}`: CS1 maint: unfit URL (link)
* Bas, Marcel (23 January 2008). "Virginia Woolf's Class Consciousness: Snubbing or uplifting the masses?". Die Roepstem. Archived from the original on 7 August 2019. Retrieved 7 August 2019.
* Bollen, Christopher (1 May 2012). "Toni Morrison". Interview. Archived from the original on 24 February 2018. Retrieved 23 February 2018.
* Brockes, Emma (7 February 2011). "Michael Cunningham: A life in writing". The Guardian. Archived from the original on 24 October 2017. Retrieved 23 February 2018.
* Edel, Leon (25 March 1979). "Triumphs and Symptoms". The New York Times (Review). Archived from the original on 14 April 2018. Retrieved 13 April 2018.
* Fallon, Claire (25 January 2016). "Virginia Woolf's Guide To Grieving". HuffPost. Archived from the original on 10 February 2018. Retrieved 9 February 2018.
* Gross, John (1 December 2006). "Mr. Virginia Woolf". Commentary. Archived from the original on 26 January 2018. Retrieved 22 February 2018. archived version
* Haynes, Suyin (17 December 2019). "'It Had a Lifelong Effect on Her.' A New Virginia Woolf Biography Deals With the Author's Experience of Childhood Sexual Abuse". Time. Archived from the original on 4 January 2020. Retrieved 26 February 2020.
* Hughes, Kathryn (23 January 2014). "The Bloomsbury Group Memoir Club by SP Rosenbaum and James M Haule – review. How a writing group – and some shocking recollections – influenced classic novels". The Guardian (Review). Archived from the original on 21 March 2018. Retrieved 21 March 2018.
* Kronenberger, Louis (10 November 1929). "Virginia Woolf Discusses Women and fiction". The New York Times (Review). Archived from the original on 22 March 2018. Retrieved 21 March 2018.
* Messud, Claire (10 December 2006). "The Husband". The New York Times (Review). Archived from the original on 20 September 2017. Retrieved 14 February 2018.
* Stone, Peter H. (Winter 1981). "Gabriel García Márquez, The Art of Fiction No. 69". The Paris Review. No. 82\. Archived from the original on 25 February 2018. Retrieved 23 February 2018.
* Trilling, Diana (21 March 1948). "Virginia Woolf's Special Realm". The New York Times (Review). Archived from the original on 30 March 2018. Retrieved 30 March 2018.
* Wade, Francesca (26 June 2015). "Dangerous liaisons among the Bloomsbury set". The Daily Telegraph (Review). Archived from the original on 26 April 2018. Retrieved 25 April 2018.

### Websites and documents[edit]

* Barmann, Jay (2 September 2014). "Castro's Rainbow Honor Walk Dedicated Today". SFiST. Archived from the original on 10 August 2019. Retrieved 13 August 2019.
* Brown, Kimmy Sophia (8 April 2015). "Virginia Woolf— On the Track of the Lost Novelist". Significato. Archived from the original on 18 February 2018. Retrieved 17 February 2018.
* Carter, Jason (14 September 2010). "Virginia Woolf Seminar". Women's Studies, University of Alabama, Huntsville. Archived from the original on 1 March 2018. Retrieved 28 February 2018.
* Flood, Alison (13 November 2020). "Virginia Woolf statue fundraiser flooded with donations after Wollstonecraft controversy". The Guardian. Retrieved 29 May 2024.
* Guest, Katy (16 November 2022). "A Statue of One's Own: the new Virginia Woolf sculpture that's challenging stereotypes". The Guardian. Retrieved 29 May 2024.
* Jones, Josh (26 August 2013). "Virginia Woolf's Handwritten Suicide Note: A Painful and Poignant Farewell (1941)". Open Culture. Archived from the original on 24 February 2018. Retrieved 18 February 2018.
* Temple, Emily (16 November 2022). "You can finally take a selfie with a full-size statue of Virginia Woolf". Literary Hub.
* Wilson, J.J.; Barrett, Eileen, eds. (Summer 2003). "Lucio Ruotolo 1927–2003" (PDF). Virginia Woolf Miscellany. Southern Connecticut State University. Archived (PDF) from the original on 9 March 2021. Retrieved 24 March 2018. (includes invitation to first performance in 1935 and Lucio Ruotolo's introduction to the 1976 Hogarth Press edition[Bibliography 1])
* "Virginia and Leonard Woolf marry". This day in history. A & E Television. 2018. Retrieved 14 February 2018.
* "Woolf". Collins English Dictionary. Harper Collins Publishers. Retrieved 2 February 2018.
* "Virginia Woolf Building (22 Kingsway)". King's College London. 2018. Archived from the original on 16 November 2018. Retrieved 12 February 2018.
* "Virginia Woolf honoured by new Strand Campus building". News. King's College London. 2 May 2013. Archived from the original on 13 July 2015. Retrieved 15 February 2018.
* "Virginia Woolf Society of Great Britain". Archived from the original on 18 December 2017. Retrieved 26 December 2017.
* "Virginia Woolf: Art, Life and Vision" (Museum exhibition). National Portrait Gallery. 10 July – 20 October 2014. Archived from the original on 4 July 2017. Retrieved 1 March 2018.
* "Virginia Woolf Around The World". Exhibitions. E. J. Pratt Library, Victoria University, Toronto. 2018. January 2017. Retrieved 14 March 2018.
* "Virginia Woolf – First Editions". Adrian Harrington Rare Books. Retrieved 14 March 2018.
* "Cox, Katherine Laird 'Ka'". Introduction to archives: Rupert Brooke (Biographies). King's College, Cambridge. 19 March 2015. Retrieved 2 April 2018.

#### Blogs[edit]

* Brooks, Rebecca Beatrice (8 April 2015). "Virginia Woolf's Family". The Virginia Woolf Blog. Archived from the original on 17 August 2021. Retrieved 19 January 2018.

#### British Library[edit]

* Bradshaw, David (25 May 2016). "Mrs Dalloway and the First World War". Discovering Literature: 20th century. British Library. Archived from the original on 2 May 2017. Retrieved 14 March 2018.
* Heyes, Duncan (25 May 2016). "The Hogarth Press". Discovering Literature: 20th century. British Library. Archived from the original on 27 March 2017. Retrieved 7 March 2018.
* Taunton, Matthew (25 May 2016). "Modernism, time and consciousness: the influence of Henri Bergson and Marcel Proust". Discovering Literature: 20th century. British Library. Archived from the original on 3 May 2017. Retrieved 15 March 2018.
* British Library (2018a). "A Room of One's Own by Virginia Woolf". 20th century collection. Archived from the original on 29 July 2018. Retrieved 5 March 2018.
* British Library (2018d). "Kew Gardens by Virginia Woolf, 1927". 20th century collection. Archived from the original on 26 August 2020. Retrieved 20 March 2018.
* British Library (2018c). "Two Stories, written and printed by Virginia and Leonard Woolf". 20th century collection. Archived from the original on 27 March 2017. Retrieved 20 March 2018.

#### Virginia Woolf's homes and venues[edit]

* Brooks, Rebecca Beatrice (21 March 2012a). "Virginia Woolf's Homes Destroyed in the London Blitz". The Virginia Woolf Blog. Archived from the original on 23 February 2018. Retrieved 28 February 2018.
* Brooks, Rebecca Beatrice (10 July 2012b). "Did Virginia Woolf Live in a Haunted House?". The Virginia Woolf Blog. Archived from the original on 2 March 2018. Retrieved 28 February 2018.
* Grant, Duncan (1978). "Shutter design for 38 Brunswick Square 1912". Art & Architecture: Gallery collections. Courtauld Institute of Art. Archived from the original on 5 March 2018. Retrieved 4 March 2018.
* Maggio, Paula (4 May 2009). "Virginia's Round House in Lewes up for sale". Blogging Woolf.
* Wilkinson, Sheila M (2001). "Firle Village, Sussex". Retrieved 4 March 2018., in VWS (2017)
* "The Woolfs at Asham House". The Asham Award. The Asham Trust. Archived from the original on 6 March 2018. Retrieved 5 March 2018.
* "Literary history celebrated in Brunswick Square". Bloomsbury Squares & Gardens. Association of Bloomsbury Squares and Gardens. 1 December 2015. Retrieved 4 March 2018.
* "Virginia Woolf (1882–1941) and Hogarth House". London Borough of Richmond upon Thames. 9 January 2015. Retrieved 15 February 2018.
* "Bloomsbury Walk" (Word document). 2018. Retrieved 5 March 2018., in Carter (2010)
* "Monk's House: Leonard and Virginia Woolf's 17th-century country retreat". National Trust. 2018. Retrieved 11 March 2018.

#### Timelines[edit]

* "Timeline of Virginia Woolf's Life". The Virginia Woolf Blog. 9 February 2012. Archived from the original on 23 February 2018. Retrieved 19 January 2018.
* "Chronology of Virginia Woolf's Life". 7 July 1997. Retrieved 1 March 2018., in Carter (2010)
* "Virginia Woolf: The Highs and Lows of Her Creative Genius". Biography. A&E Television Networks. 25 January 2017. Archived from the original on 31 March 2018. Retrieved 30 March 2018.

### Images[edit]

* Fry, Roger (1913). "Landscape at Asheham House, near Lewes, Sussex" (Painting). Art UK. Arts Council England. Retrieved 10 March 2018.
* Ray, Man (12 April 1937). "Virginia Woolf". Time. Retrieved 10 March 2018.
* "Shutter design" (Painting). 1912. Archived from the original on 5 March 2018. Retrieved 4 March 2018., in Grant (1912)
* "Asham". The Virginia Woolf Blog (Photograph). 2012. Archived from the original on 6 March 2018. Retrieved 5 March 2018., in Brooks (2012b)
* 22 Hyde Park Gate showing red brick extension. Cambridge University Press. 2005. ISBN 9780521812931. Retrieved 20 March 2018.

### Audiovisual media[edit]

* Coe, Amanda (Producer) (2015). Life in Squares (T.V. series (3)). UK: BBC. see also Life in Squares
* Lee, Hermione (13 June 1997b). Virginia Woolf (TV). C-SPAN. Retrieved 7 March 2018.
* Stevenson, Juliet (31 March 2015). Suicide letter to Leonard Woolf, March 28 1941 (Audio). BBC Newsnight (YouTube). Archived from the original on 11 December 2021. Retrieved 28 March 2018.
* Young, Eric Neal (Director) (2002). The Mind and Times of Virginia Woolf (Documentary). USA: Miramax. excerpt Archived 28 December 2017 at the Wayback Machine
* "Greatest writers find their voice". BBC. 22 October 2008. Retrieved 11 March 2018.
* Woolf, Virginia (29 April 1937). Craftmanship (Radio). BBC Radio Words Fail Me. Retrieved 7 March 2018.

### By Woolf[edit]

#### Novels[edit]

* Woolf, Virginia (2017) [1915]. The voyage out. FV Éditions. ISBN 979-10-299-0459-2. Archived from the original on 12 June 2020. Retrieved 24 February 2018. see also The Voyage Out & Complete text
* -- (2004) [1919a]. Night and Day. 1st World Publishing. ISBN 978-1-59540-530-2. Archived from the original on 12 June 2020. Retrieved 11 April 2018. see also Night and Day & Complete text
* -- (2012) [1925]. Mrs. Dalloway. Broadview Press. ISBN 978-1-55111-723-2. Archived from the original on 11 June 2020. Retrieved 1 March 2018. see also Mrs Dalloway & Complete text
* -- (2004) [1927]. To the Lighthouse. Collector's Library. ISBN 978-1-904633-49-5. Archived from the original on 12 June 2020. Retrieved 23 February 2018. see also To the Lighthouse & Complete text, also Texts at Woolf Online Archived 18 August 2021 at the Wayback Machine
* -- (2006) [1928]. DiBattista, Maria (ed.). Orlando (Annotated): A Biography. HMH. ISBN 978-0-547-54316-1. see also Orlando: A Biography & Complete text
* -- (2014) [1941]. Between the Acts. Houghton Mifflin Harcourt. ISBN 978-0-544-45178-0. Archived from the original on 11 June 2020. Retrieved 1 March 2018. see also Between the Acts & Complete text

#### Short stories[edit]

* Woolf, Virginia (2016a) [1944]. The Short Stories of Virginia Woolf. Read Books Limited. ISBN 978-1-4733-6304-5. Archived from the original on 11 June 2020. Retrieved 8 February 2018. see also A Haunted House and Other Short Stories & Complete text
* -- (7 July 2015) [1919b Hogarth Press]. Kew Gardens. Booklassic. ISBN 978-963-522-264-3.[permanent dead link] see also Kew Gardens & Complete text

#### Drama[edit]

* Woolf, Virginia (2017) [1935]. Freshwater: A Comedy by Virginia Woolf (The 1923 & 1935 Editions). Musaicum Books. ISBN 978-80-272-3556-8. Archived from the original on 11 June 2020. Retrieved 21 March 2018. see also Freshwater
* -- (1976). Ruotolo, Lucio (ed.). Freshwater: a comedy. Illustrations: Edward Gorey. Harcourt Brace Jovanovich. ISBN 9780151334872. Archived from the original on 11 June 2020. Retrieved 27 March 2018.

#### Biography[edit]

* Woolf, Virginia (2017) [1940]. Roger Fry: A Biography. Musaicum Books. ISBN 978-80-272-3516-2. Archived from the original on 12 June 2020. Retrieved 8 March 2018. see also Roger Fry: A Biography & Complete text

#### Essays[edit]

* Woolf, Virginia (14 December 1904). "Haworth, November 1904". The Guardian. Archived from the original on 7 February 2016. Retrieved 8 March 2018.
* -- (2016) [1929]. A Room of One's Own. Read Books Limited. ISBN 978-1-4733-6305-2. Archived from the original on 12 June 2020. Retrieved 5 March 2018. see also A Room of One's Own & Complete text
* -- (2017) [1924 Hogarth Press]. Mr. Bennett and Mrs. Brown. Virginia Woolf. ISBN 978-88-260-3291-7.[permanent dead link] see also Mr. Bennett and Mrs. Brown & Complete text[dead link]
* -- (2016) [1932 Hogarth Press]. A Letter to a Young Poet. Read Books Limited. ISBN 978-1-4733-6307-6. Archived from the original on 12 June 2020. Retrieved 7 April 2018. see also A Letter to a Young Poet & Complete text
* -- (2016) [1938]. Three Guineas. Read Books Limited. ISBN 978-1-4733-6301-4. Archived from the original on 11 June 2020. Retrieved 8 March 2018. see also Three Guineas & Complete text

##### Essay collections[edit]

* -- (1994). McNeillie, Andrew; Clarke, Stuart N. (eds.). The Essays of Virginia Woolf Volume Four 1925–1928. Harcourt Brace Jovanovich. ISBN 978-0-7012-0666-6. Archived from the original on 12 June 2020. Retrieved 27 March 2018.
* -- (2017) [1947 Hogarth Press]. Woolf, Leonard (ed.). The Moment & Other Essays (posthumous). Musaicum Books. ISBN 978-80-272-3619-0. Archived from the original on 11 June 2020. Retrieved 30 March 2018. Complete text Archived 3 March 2018 at the Wayback Machine
* -- (1950). Woolf, Leonard (ed.). The Captain's death bed: and other essays (posthumous). Hogarth Press. ISBN 9780701204563. First American edition published by Harcourt, Brace and Company, New York, 1950.
* -- (1932). Leslie Stephen. pp. 67–73. & also here Archived 11 June 2020 at the Wayback Machine
* — (1934). "Walter Sickert: A Conversation" Archived 6 March 2022 at the Wayback Machine

#### Contributions[edit]

* Cameron, Julia Margaret (1973) [1926 Hogarth Press, edited by Leonard and Virginia Woolf]. Powell, Tristram (ed.). Victorian photographs of famous men & fair women. Introductions by Virginia Woolf and Roger Fry (Revised ed.). D. R. Godine. ISBN 978-0-87923-076-0. Archived from the original on 11 June 2020. Retrieved 27 March 2018. (Digital edition)

#### Autobiographical writing[edit]

* Woolf, Virginia (2003) [1953]. Woolf, Leonard (ed.). A Writer's Diary. HMH. ISBN 978-0-547-54691-9. Archived from the original on 11 June 2020. Retrieved 9 March 2018.
* -- (1985) [1976]. Schulkind, Jeanne (ed.). Moments of being: unpublished autobiographical writings (2nd ed.). Harcourt Brace Jovanovich. ISBN 978-0-15-162034-0. Archived from the original on 11 June 2020. Retrieved 16 February 2018. (see Moments of Being)
* Schulkind, Jeanne (2007). Preface to the Second Edition. p. 6\. Bibcode:2007ess..bookD..17M., in Woolf (1985) (excerpts)
* Schulkind, Jeanne. Introduction. pp. 11–24., in Woolf (1985)
* Reminiscences. 1908. pp. 25–60.
* A Sketch of the Past. 1940. pp. 61–160.[a]

Memoir Club Contributions
* 22 Hyde Park Gate. 1921. pp. 162–178.
* Am I a Snob?. 1936. pp. 203–220.

#### Diaries and notebooks[edit]

* Woolf, Virginia (1990). Leaska, Mitchell A (ed.). A passionate apprentice: the early journals, 1897–1909. Hogarth Press. ISBN 9780701208455. Archived from the original on 16 December 2019. Retrieved 20 April 2018.
* -- (1978). The Diary of Virginia Woolf Volume Three 1925–1930. Harcourt Brace Jovanovich. ISBN 9780151255993. Archived from the original on 11 June 2020. Retrieved 13 March 2018.
* -- (1985). The Diary of Virginia Woolf Volume Five 1936–1941. Houghton Mifflin Harcourt. ISBN 978-0-15-626040-4. Archived from the original on 11 June 2020. Retrieved 9 March 2018.
* -- (2008). Rosenbaum, S. P. (ed.). The Platform of Time: Memoirs of Family and Friends. Hesperus Press. ISBN 978-1-84391-711-3. Archived from the original on 12 June 2020. Retrieved 9 March 2018.

#### Letters[edit]

* "Shut up in the Dark (Letter 531: Vanessa Bell, July 28, 1910)". The Paris Review. 25 January 2017. Archived from the original on 11 April 2018. Retrieved 10 April 2018.
* Woolf, Virginia (1982). The Letters of Virginia Woolf Volume Two 1912–1922. Harvest/HBJ Books. ISBN 978-0-15-650882-7. Archived from the original on 11 June 2020. Retrieved 9 April 2018.
* -- (1975). The Letters of Virginia Woolf Volume Three 1923–1928. Harcourt Brace Jovanovich. ISBN 978-0-15-150926-3. Archived from the original on 11 June 2020. Retrieved 30 March 2018.
* -- (1979). The Letters of Virginia Woolf Volume Four 1929–1931. Harcourt Brace Jovanovich. ISBN 978-0-15-150927-0. Archived from the original on 12 June 2020. Retrieved 13 April 2018.
* -- (1982). The Letters of Virginia Woolf Volume Five 1932–1935. Harcourt Brace Jovanovich. ISBN 978-0-15-650886-5. Archived from the original on 11 June 2020. Retrieved 22 February 2018.

#### Collections[edit]

* -- (2017a). The Complete Works of Virginia Woolf. Musaicum Books. ISBN 978-80-272-1784-7. Archived from the original on 11 June 2020. Retrieved 18 March 2018.

### Bibliography notes[edit]

1. ^ Originally published in 1976, the discovery in 1980 of a 77-page typescript acquired by the British Library, containing 27 pages of new material necessitated a new edition in 1985. In particular, 18 pages of new material was inserted between pp. 107–125 of the first edition. Page 107 of that edition resumes as page 125 in the second edition, so that page references to the first edition in the literature, after p. 107 are found 18–19 pages later in the second edition.[Bibliography 2] All page references to Sketches are to the second edition, otherwise to the first edition of Moments of Being. This added 22 new pages, and changed the pagination for the Memoir Club essays that followed by an extra 22 pages. Pagination also varies between printings of the 2nd. edition. Pages here refer to the 1985 Harvest (North American) edition (excerpts – 1st ed.)[clarification needed]

### Bibliography references[edit]

1. ^ Woolf 1976
2. ^ Schulkind 1985a

## External links[edit]

Library resources about
Virginia Woolf

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By Virginia Woolf

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### Written works[edit]

* Works by Virginia Woolf at Project Gutenberg
* Works by Virginia Woolf in eBook form at Standard Ebooks
* Works by Virginia Woolf at Faded Page (Canada)
* Works by or about Virginia Woolf at Internet Archive

### Archival material[edit]

* "Archival material relating to Virginia Woolf". UK National Archives.
* "Virginia Woolf: Author and publisher". E. J. Pratt Library, Victoria University, Toronto. 2018.
* "Virginia Woolf collection of papers 1882–1984". Archives and Manuscripts: Henry W. and Albert A. Berg Collection of English and American Literature. New York Public Library. 2018. Retrieved 11 March 2018.
* Virginia Woolf Papers at the Mortimer Rare Book Collection, Smith College Special Collections

### Audio media[edit]

* Works by Virginia Woolf at LibriVox (public domain audiobooks)
* "The Legacy". La Clé des Langues [en ligne]: Littérature britannique. École normale supérieure de Lyon. 1944.
* "The Searchlight". La Clé des Langues [en ligne]: Littérature britannique. École normale supérieure de Lyon. 1944.

### Visual media[edit]

* Virginia Woolf at IMDb
* "Virginia Woolf (Character)". Character. IMDb. Archived from the original on 27 February 2017. Retrieved 11 March 2018.

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Virginia Woolf

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Novels|

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*[m.]: married
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