Tag: Virginia Woolf

Titillating

Well, it is not very fair to comment without a full frontal view, but whether this is quite the right way to honour the great Mary Wollstonecraft is debatable!

Irrespective, there is one part of me pleased enough that some more diverse (if you count “women” as diverse!) historical figures, are finding their way into public spaces. And, of course, that Virginia Woolf should find a place now in Richmond, where she lived for a long period, is fitting. Though sitting on a park bench watching the day go by – is that not a bit too Mrs. Dalloway? As the tortured soul she does not have to be depicted, but… And, whether this trend is stretching to people of other ethnic or cultural backgrounds (beyond Gandhi and/or Mandela) I have not heard. Then, there is the sceptical me, one who can’t help but doubt whether any number of busts, statues, plaques, do very much in the way of taking the viewer (or casual passer-by) beyond the public space into the public consciousness; whether they really tell us anything of the person, the time and circumstance, and are in the end only sentimental reflections of a work’s creator and the society and time in which he/she/they lived, rather than that of the subject.

There are indeed enough that one could be well rid of – for instance, Cecil Rhodes; a hullabaloo that spans continents, and Sloane; now put under wraps at the British Museum. A couple of years old now, but this is an opinion on the greater global predicament of just what to do with some of these guys (they are mostly “guys”!). And Jonathan Jones questions the whole “folly of depicting history through the dead art of statues”, and pleads for “serious art” and a contemporary approach that remembers without the false promise of restoration. His “selfie in bronze” description is spot-on – and not unlike my reflections above.

All the above links are to The Guardian.

Magical mystery tour de force

“Time of the Magicians”, by Wolfram Eilenberger, trans. Shaun Whiteside

Whilst in the midst of reading Wolfram Eilenberger’s book Zeit der Zauberer (2018) in German, I was interested to see that now a couple of years later an English translation has been published by Penguin Press. Not that many German non-fiction works get that far. And not that many as well reviewed – a very good review indeed by Jennifer Szalai at the NYT that hopefully encourages some good sales and thoughtful reading on that side of the Atlantic.

Certainly, I enjoyed the book immensely, and Eilenberger’s interwoven portrait of four extraordinary men – Martin Heidegger, Walter Benjamin, Ernst Cassirer, Ludwig Wittgenstein – formulating their ideas into interconnecting but individual philosophies amidst the ruins, so to speak, of the First World War and the disintegrating Weimar Republic, is told in a very winning and readable way; some German critics found it to be too so. (Enough of the Feuilletonisten here have a tendency I think to want to keep “high” culture just that!) Believe me, an awful lot of German writers struggle with what one may call ‘accessibility’ – that is, not just informing and hoping for the best, but presenting difficult subject matter such that it reads as a narrative thereby capturing the attentive reader. This, then, foremost is an immensely readable book.

Cover “Zeit der Zauberer” by Wolfram Eilenberger

There is no denying that some of the stuff is indeed difficult, or as difficult as one wants to make it; one could go barmy trying to extricate the precise and nuanced meaning, especially in terms of the references to primary sources, and the stringency of formulation and terminology is a hurdle for those without a pertinent academic background (like, guess who!). My reading, then, concentrated on the living in the time, and I conquered my irritations at just how many ways these guys came up with of saying approximately the same thing and all in the interest of justifying their (to be fair, ‘our’) existence. When I was really irritated I would mumble something along the lines of: What hocus-pocus! But they were, after all, magicians of a special sort; all occupied with their own very special brand of magical thinking!

Continue reading….

“Ulysses” circa. 1922

Transatlantic reception

“Bloomsday” just gone reminded me to look again at what I knew to be Virginia Woolf’s complicated relationship with Joyce’s work, and in doing so an interest was sparked in general to the reaction to Ulysses on both sides of the Atlantic at the time. An encouraging gesture, if nothing else, towards sometime diving in and finally reading this classic of modernism myself!

Famously, with the exception of parts serialized in The Little Review between 1918 and 1920 (for instance, here is a link to Episode XI), Ulysses became the subject of scandal and extended obscenity trials, and was in fact banned in the United States and the UK until 1934 and 1936 respectively. Copies published and printed by Shakespeare & Co. in Paris did circulate, could be got to, and especially was so amongst the intelligentsia of the time, and consequently was reviewed by on both sides of the Atlantic.

And, that included by T.S. Eliot, with whom Woolf sparred with on the subject, and his November, 1923, review for The Dial can be read here that the British Library. Formally written and glowing in its praise, it is written as a refutation of an earlier review by Richard Aldington (English Review, 1921) – which I can not easily find, but does seem in tandem with the Eliot response a constant in the academic realm of Ulysses scholarship, and to that end this short article in the James Joyce Quaterly (Spring, 1973) that gives evidence that Aldington had in fact encouraged, or even initiated, a response from Eliot. (On another matter, I do know that this was all at a time when Aldington was, not only helping Eliot professionally, but also one of the initiators of a fund to help Eliot financially, a matter in which Woolf was also involved.)

This is a difficult to read facsimile, but unfortunately the best I can come up with, of the review by Gilbert Seldes that Leonard Woolf encouraged Virginia Woolf to read (upon which she decided she should temporarily stifle her verdict and take another look!). As I say, visually speaking, not an easy read, but it is to my mind at least a better read than Eliot’s. (May I say, Eliot may have few peers in twentieth century poetry, but his essay style is very highbrow to the point of pedanticism.)

And then there is this piece by the Irish critic, Mary Colum (who I don’t know, but do now!) in The Freeman on 19 July 1922. Perhaps lacking impartiality, due to an abiding friendship, but an excellent read just the same.

An old pupil writes…

Reading and writing a little in my continuous Virginia Woolf project (s), this 1920 diary entry had me looking about for more information on the classicist Janet Case, and led me to an academic journal article from 1982 which I liked so much that I include the JSTOR link here. (Alley, Henry M. “A Rediscovered Eulogy: Virginia Woolf’s ‘Miss Janet Case: Classical Scholar and Teacher.’” Twentieth Century Literature, vol. 28, no. 3, 1982, pp. 290–301. JSTOR, www.jstor.org/stable/441180. Accessed 23 May 2020.) Henry M. Alley’s piece written following the discovery of Woolf’s 1937 eulogy, says multitudes about both women; the conflicts between generations, the choices made, the hurdles surmounted and sometimes not.

Miss J.E. Case as Athena
in Aeschylus’ Eumenides (Cambridge 1885)

An anomaly, by virtue of her sex, at Cambridge at the end of the 19th century, the extraordinary young classics scholar, found her way into The Cambridge Greek Play (mentioned by Woolf in her eulogy), and that I can’t help but notice was first presented in 1882, the year of Virginia Woolf’s birth. And, one doesn’t have to go back to the Antique or Renaissance for evidence of the possessive hand men still held upon theatre and the classics, for her appearance seems to have been an exception – or at least a misunderstanding!

…in the Eumenides of 1885, the part of Athena was played by a woman, Miss J.E. Case, who had made her mark as Electra in an enterprising production of Sophocles’ play a the new Girton College in November 1883 […] despite her acclaimed success no woman featured again until 1950 …

The History of the Cambridge Greek Play
The London Times 22 July 1937

Janet Elizabeth Case became Virginia Woolf’s (or more precisely Virginia Stephen’s) Greek tutor in 1902, and over time her role evolved beyond that of intellectual mentor and into one as confidante and friend. Case entered the young Virginia’s life at a chaotic time; when her mental state was fragile, and into a dysfunctional familial and domestic situation, fraught by grief and power struggles. Obviously Case’s learnedness and intellectual rigour would have impressed, and her lessons would have offered some structure and discipline to her pupil’s often tortured days, but she may also have exemplified for Virginia an alternative life model of what a woman could be – a notion that was taking form in the stifling atmosphere of her Father’s house, and which was to become an essential component of her work and how she lived her life.

As the years passed, the relationship between the two women became complicated variously by age, tradition, expectation and circumstance, but in The London Times 22 July 1937 obituary (reprinted at the end of Alley’s article), the respectful tribute Woolf pens to her old tutor and friend, could be no finer, no more generous in spirit. For the older Woolf had long ceased craving the approval of her old teacher (or just about anyone else for that matter!), was confident enough in her fame and the literary route chosen, and was no longer tormented by petty irritations and jealousies. And she knew then what the younger had not, of the burden of intractability brought on simply by the years lived – of being ‘set in one’s ways’ – for they now were upon her. What remained for Woolf were the ideas sown and lessons learnt long ago, that were essential to the writer she became – and an appreciation for their giver. So, then, was the profound personal loss she felt for Miss Janet Case – the tutor who showed her the way to the Greeks – and without the grammar!

We are all Mrs. Dalloway

“We are all Mrs. Dalloway now.” says Evan Kindley in The New Yorker. Well, it may well be that many of us can’t afford to be – she is, after all, a lady of means, of a certain class. But I do get the point – the simple pleasures, the granted freedoms; of a walk in the streets, buying flowers, having a party – for us now laden with the aura of nostalgia and even adventure.

And, at the very least, we crave some moments, however fleeting, like those shrouding Clarissa Dalloway on that beautiful June morning in 1923 London; tempering her disquiet and apprehensions in the aftermath of war and illness, and allowing her instead to revel for a time in the bustle of city life.

From page to stage (II)

Continuing with a topic I have recently been thinking about, I have come upon an interesting essay; inspired by a stage version of Mrs. Dalloway, it is a couple of years old but makes pertinent observations just the same, and not necessarily specific to Virginia Woolf. It reminds me of just how often I wonder at the fortitude or foolhardiness of some theatrical or cinematic adaptations from the literary moderne of a century ago, and whether some forms are just better left as they were intended. The conservative in me speaks.

Considering the 2018 experimental production at the Arcola Theater in London, Michael Cunningham’s “The Hours” and its film adaptation, Jo Glanville ponders, with reference to renowned Woolf biographer Hermione Lee, how adequate any adaptation of Woolf’s work can ever be, and especially here Mrs. Dalloway, composed as it is of a fragmentary flow of imagination and memory – unordered, even chaotic.

… Woolf evokes the very experience of being alive through a ceaseless poetic chain of thoughts, responses and memories as the narrative shifts between the world within and the world outside. In an essay on the novel, Hermione Lee quotes from Woolf’s correspondence with the painter Jacques Raverat while she was writing Mrs Dalloway. Raverat wrote that it was not possible to represent the way our minds respond to an idea or experience in a linear narrative. Woolf responded that it’s the job of a writer to go beyond ‘the formal railway line of sentence’ and to show how people ‘feel or think or dream […] all over the place’.  How can an adaptation recreate that effect?…

Boundless, Unbound.com

Glanville doesn’t exactly answer the question she poses, and appears as sceptical as I tend to be, but nevertheless clearly admires the bravura in having a go, for better or worse, at transforming all the fleeting moments, shadings of emotions, muddled thoughts that make Mrs. Dalloway such a splendid work of literature, into a “real time” experience of sorts. When it’s all said and done, any attempt to capture the haunted past and let it mingle amongst the crowded present is very much in the spirit of Virginia Woolf. Perhaps an adequate enough reason after all. Bring them on – the reworkings, the inspired appropriations! The radical now raises her voice.

We’re all in the same club…

the lonely hearts club…
Cover of the Beatle’s Sgt Pepper’s Lonely Hearts Club Band, Wikepedia, By Source, Fair use

Covid-19 knows not social status, not race nor creed, nor national borders. We are in this together -or so we are told. (Do I alone wonder at the limits of our proclaimed solidarity?) And amidst these strangest of days in which we have been hurtled, many of us may wonder at the times ahead – how long? what to do? – we ponder philosophical and political questions on freedoms and responsibilites – individual and collective, reappraised is the role of the oft maligned State, and we even look beyond: at the “who we are” that comes out when it’s all said and done. More than anything we contemplate what this will be like, this “staying at home”, this “minimising social interaction”. Olivia Lange writing on ‘How to Be Lonely’ at The New York Times, offers her thoughts, and some from Virginia Woolf:

But loneliness isn’t just a negative state, to be vanquished or suppressed. There’s a magical aspect to it too, an intensifying of perception that led Virginia Woolf to write in her diary of 1929: “If I could catch the feeling, I would: the feeling of the singing of the real world, as one is driven by loneliness and silence from the habitable world.” Woolf was no stranger to quarantine. Confined to a sickbed for long periods, she saw something thrilling in loneliness, a state of lack and longing that can be intensely creative.

The New York Times, Opinion, March 19 2020

To put this a little more in context, the Woolf quote is part of a lengthy and fragmented diary entry on Friday 11 October 1929; finding herself “surrounded with silence”, not in a physical sense but what she refers to as a pervasive “inner loneliness”. Reflecting on all her personal and professional good fortunes, the triumphs of family and friends, she wonders at the disquiet that haunts her, and which she can not quite grasp; but this time at least she will “Fight, fight. If I could catch the feeling…”

And as Virginia Woolf fought (for most of her life & until she could no more) the demon lurking in her head, guised as an empty void, so then should we all give it a go – be creative; find new ways of occupying ourselves, of communicating, of sharing not only our anxieties but also little kindnesses, and be patient and alert not only to our own needs but those of others. And, as Laing says at the end of her piece:

Love is not just conveyed by touch. It moves between strangers; it travels through objects and words in books. There are so many things available to sustain us now, and though it sounds counterintuitive to say it, loneliness is one of them. The weird gift of loneliness is that it grounds us in our common humanity. Other people have been afraid, waited, listened for news. Other people have survived. The whole world is in the same boat. However frightened we may feel, we have never been less alone.

The New York Times, Opinion, March 19 2020

And I would add – a good dose of well placed humour. Returning to Virginia Woolf – often overlooked in any short telling focusing on the scathingly brilliant and problematic personality legend would have us believe, is that Woolf often displayed, and especially in her diaries and private correspondence, an abundance of humour and warmth, an appreciation of human frailty and no mean measure of self-deprecation. Some laughter and an awareness of the very smallness of ourselves and greater humanity in the continuum of history may help placate our fears. And a recognition that more likely than not there are many who are a whole lot worse off than ourselves.

And music – personal comfort music for when times are tough, and that for me always includes the Beatles.

The Diary of Virginia Woolf (1)

Volume One: 1915-1919

My Copy of Volume One of The Diary of Virginia Woolf

Posting here today only to note that I have finally completed my rereading and personal reflections on the first volume of The Diary of Virginia Woolf, covering the years from 1915-1919 – and I must say it was an enthralling and intellectually stringent endeavour, that led me off on wide tangents on occasions. Volume Two will now follow; more condensed and at a speedier pace to be hoped.