Podcast appearances and mentions of clarissa dalloway

Virginia Woolfs endagsroman Mrs Dalloway är en verklig klassiker. Men vad är det som gör den så bra? Karin Nykvist funderar över sin favorit. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Vad är det med Mrs Dalloway? Hur kommer det sig att jag bara måste återvända till henne gång på gång, år efter år, att jag tvingar alla mina studenter att läsa om henne och aldrig kan hålla litteraturvetarens förväntade distans utan bara måste förklara för alla som vill eller inte kan undgå att lyssna att hon finns i min absoluta favoritroman?Boken om henne handlar ju inte alls om något häpnadsväckande: en dam promenerar runt i London och ordnar en fest, samtidigt som en krigsveteran, skadad av första världskrigets skyttegravshelvete långsamt rör sig mot sitt självmord i samma stad. Och Mrs Dalloway är inte alls som jag – hoppas jag! Hon är snobbig, konservativ, dömande, arrogant – och inte helt lätt att tycka om. Trots att andra möjligheter fanns har hon valt det säkra livet och gift sig med en lagom ointressant man som gett henne en trygg position i samhällets societet. Själv broderar hon, handlar blommor, arrangerar fester och är – som hennes gamla kärlek Peter syrligt säger – en perfekt värdinna. Ytlig och lätt att glömma, med andra ord.Så varför gör jag inte det?Ja, grejen med Clarissa Dalloway är väl just att hon påminner mig om att den sorts människor som jag just beskrev faktiskt inte existerar: de ytliga, ointressanta, de som inte lämnar några spår. Vi bara tror att de finns. Virginia Woolfs mästerskap ligger i hur hon skriver fram den mänskliga erfarenheten, i all dess komplexitet. I Clarissa Dalloway får jag tillgång till en hel människa – på ett sätt som jag faktiskt inte kan få i verkliga livet. För porträttet av Clarissa tecknas inte bara genom hennes eget medvetande utan genom alla dem hon möter, de som känner henne väl och ser henne genom alla hennes tidigare, yngre versioner, och de som flyktigt korsar hennes väg på gatan.Virginia Woolf struntade blankt i sin samtids förväntningar på hur en roman skulle skrivas. I stället gjorde hon som Clarissa själv: kastade sig ut i den vackra Londonmorgonen och lät läsaren följa med i livet som ständigt pågår – överallt. Så byter romanen perspektiv utan förvarningar, från den promenerande Mrs Dalloway till hennes gamla pojkvän Peter Walsh – som just kommit tillbaka till London från att ganska mediokert ha tjänat det brittiska imperiet i Indien – till ungdomskärleken Sally Seton som blivit Lady och fembarnsmor, till butiksinnehavare, gatuförsäljare och nyfikna flanörer. Och så ger den perspektivet till den svårt sjuke Septimus Smith och hans förtvivlade fru Lucrezia, för att låta det gå tillbaka till Clarissa – och vidare igen. Hon tänker på dem alla och på sig själv – medan de i sin tur betraktar henne – och tänker på sig själva.Allt är relativt: tid, plats, minne, identitet – och människans sinnen och psykologi gör en objektiv upplevelse av världen omöjlig. ”Hon ville inte längre säga om någon människa i världen att hon eller han var det eller det [.…] ville inte säga om sig själv: jagär det eller det” tänker Clarissa. För dum är hon inte, hon vet: allt är i flux. Det enda vi verkligen har är ögonblicket, vårt här och nu. Berättelserna, före och efter-tankarna, den skenbara logiken skapar vi själva. Men det är ögonblicken vi minns, synintrycken, dofterna, ljuden, mötet med den andre.Ögonblick. Ordet återkommer genom romanen – i Eva Åsefeldts översättning hela femtiofyra gånger. För Woolf är det nämligen inte ett ord bland andra, inte en neutral beskrivning av en flyktig stund, utan centralt för hela hennes förståelse av livet. Hon kallar dem ”moments of being” – de ögonblick när livet plötsligt fylls av akut härvaro. De kommer sällan och oväntat. För Clarissa sker det till exempel när hon mitt på förmiddagen lägger av sig sin brosch i sitt sovrum. Woolf skriver att Clarissa: ”kastade sig […] ut i ögonblickets själva kärna, naglade fast det, där – ögonblicket denna förmiddag i juni som vilade under trycket av alla de andra förmiddagarna. Hon såg spegeln, toalettbordet och flaskorna som för första gången, samlade hela sitt jag till en enda punkt (med blicken mot spegeln), såg det späda rosa ansiktet hos den kvinna som samma kväll skulle hålla sin fest; Clarissa Dalloway, hon själv.”Ögonblick som dessa kan, som Runeberg skrev, ”bli hos oss evigt”. Som en annan morgon, mer än trettio år tidigare, när Sally plötsligt kysste henne på en terrass: ”det mest fulländade ögonblicket i hennes liv”.Clarissa återkommer ständigt till denna stund och till den hon var då. Då när alla dörrar till livet fortfarande stod öppna. Då, när hon gjorde slut med Peter Walsh – och kysste Sally. Sedan dess har livets dörrar stängts, en efter en. Har hon valt rätt? Var det rätt att tacka nej till allt det osäkra och otippade - och i stället bli fru Dalloway?Virginia Woolf hade hunnit bli fyrtio när hon skapade sin Clarissa. Hon bodde då tillfälligt i Richmond, där hon och hennes man Leonard hade startat Hogarth Press, mycket för att Virginia skulle ha något att göra – hon led sedan barndomen av bräcklig mental hälsa.Många läsare har funderat på hur mycket av författaren som finns i Mrs Dalloway. Det är lite roligt, för Woolf var knappast någon borgerlig societetsdam som gav fester för konservativa premiärministrar och andra noggrant utvalda medlemmar av societeten. Hon var ju bohem, ganska så fattig, gift med en socialist och uppslukad av konst och litteratur. Mrs Dalloway broderar – Virginia Woolf läste James Joyce. Mrs Dalloway planerar menyer – Virginia Woolf satte texten till T.S. Eliots ”Det öde landet” – som gavs ut som bok på paret Woolfs lilla förlag 1923, samtidigt som Virginia skrev på sin roman.Men jag förstår tanken - för visst finns likheterna där. Clarissa ser och noterar det mesta som har med samtidens sociala spel att göra. Men till skillnad från sin skapare Virginia väljer hon bara att spela med. Kanske är Clarissa Dalloway allt det som Woolf själv hade kunnat bli, om hon inte gjort uppror mot det viktorianska samhälle hennes samtid och stränga far uppfostrade henne till.Och det är väl just i det att vara människa i världen, bland andra människor, som jag och Clarissa – och för den delen Virginia Woolf – möts och är lika varandra. Upptagna med vardagens små planer, fasta i oss själva och våra sinnens och tankars begränsningar medan livet pågår och pågår – och plötsligt slår oss med sin storslagenhet, skönhet och korthet – i varats utsträckta ögonblick.Och alla har vi väl våra egna varianter av Sally Seton-kyssar där någonstans längst inne: minnen som vi vårdar och som kommer att försvinna med oss.En av litteraturens främsta egenskaper är att den får oss att känna igen människor vi aldrig mött. Jag känner igen Clarissa Dalloway – trots att hon är hundra år äldre än jag och bara ett stycke text, en uppfinning. För någonstans är det ju ändå så, att Clarissa Dalloway, ja, det är ju jag.Och du.Karin Nykvistlitteraturvetare och kritikerLitteraturVirginia Woolf: Mrs Dalloway. Översättning: Eva Åsefeldt. Albert Bonniers förlag, 2025.

In Part 2, Amy continues the discussion on Virginia Woolf'sMrs. Dalloway, delving deeper into its rich themes and contemporary relevance. She explores how the novel's portrayal of mental health, independence, and societal roles still resonates today. This episode highlights films that complementMrs. Dalloway—perfect for the movie lovers in our community!Tune in for an insightful conversation bridging classic literature and modern perspectives.Key Points:Introduction to Mrs. Dalloway: Amy shares her journey of choosing "Mrs. Dalloway" for her grad school thesis project, underlining its timeless insights into mental health and identity.Symbolism of Flowers: The significance of Clarissa Dalloway's choice to buy flowers herself is discussed, symbolizing independence, personal identity, and class dynamics.The Relevance of Themes: Themes from "Mrs. Dalloway" such as societal roles, life and death, class, and routine are examined in depth, showcasing their enduring relevance.The "The Hours" Connection: The episode draws parallels between "Mrs. Dalloway" and the film "The Hours," enhancing the understanding of Woolf's complex themes through modern storytelling.Spotlight on Modern Characters: Amy highlights the intertwined storylines of "The Hours," involving Virginia Woolf, Laura Brown, and Clarissa Vaughan, emphasizing the continuity of struggles with identity and societal roles.Mental Health Narratives: Virginia Woolf's own mental health struggles are explored, connecting her reality to her fictional creations and their significance in contemporary discussions about mental health.Encouragement for Exploration: Amy invites listeners to delve into both the novel and the film, offering a richer comprehension of the enduring challenges related to identity and society.Personal Growth Reflection: The episode blends the discussion of literature with Amy's own experiences, drawing on themes of recovery, spirituality, and personal transformation.Hosted by Amy Liz-HarrisonBuy Amy's Books: https://amzn.to/3ys8nuvhttp://amylizharrison.com/Subscribe on Apple Podcasts: https://apple.co/3Lgxy8FSubscribe on Spotify: https://spoti.fi/3vHHHoi#EternallyAmy #MrsDalloway #VirginiaWoolf #MentalHealth #PersonalGrowth #Independence #Identity #Society #ClassDynamics #TheHours #ExploringLiterature #PersonalTransformation #RecoveryJourney

In this Boozeless Bookclub episode, Amy delves into Virginia Woolf's "Mrs. Dalloway" through the lens of personal growth, societal pressures, and mental health. As part of her "Boozeless Book Club," Amy ties timeless themes from the novel to today's marginalized individuals and reflects on her own life experiences with recovery and transformation.Key Points:Literary Exploration: Amy introduces "Mrs. Dalloway" by Virginia Woolf, emphasizing the novel's relevance to those facing societal pressures and mental health challenges.Character Analysis: Discussion on central characters like Clarissa Dalloway, Richard Dalloway, Peter Walsh, Sally Seaton, and Septimus Warren Smith, highlighting their societal roles and internal struggles.Major Themes: Examination of the novel's key themes—time, death, mental illness, societal pressures, and sexuality—and how these resonate with modern readers.Virginia Woolf's Personal Influence: Woolf's experiences with loss, mental illness, and significant relationships as pivotal factors in her writing.Stream-of-Consciousness Writing: Amy explains Woolf's narrative technique, which immerses readers in the characters' emotions and thought processes.Adaptations: Recommendations to watch the film adaptations "Mrs. Dalloway" (1997) and "The Hours" (2002) for a deeper understanding of Woolf's work.Purpose & Relevance: Exploring how "Mrs. Dalloway" offers relatable experiences and insights into life's unpredictability, particularly for those in recovery.Hosted by Amy Liz HarrisonBuy Amy's Books: https://amzn.to/3ys8nuvhttp://amylizharrison.com/Subscribe on Apple Podcasts: https://apple.co/3Lgxy8FSubscribe on Spotify: https://spoti.fi/3vHHHoi#EternallyAmy #MrsDalloway #VirginiaWoolf #BoozelessBookClub #MentalHealth #RecoveryJourney #PersonalGrowth #SocietalPressures #StreamOfConsciousness #CharacterAnalysis #TimelessThemes #EternallyAmy #LiteraryExploration

“Mrs. Dalloway disse que ela mesma iria comprar as flores”. Temos aqui um dos começos mais célebres da literatura na tradução de Claudio Alves Marcondes. Clarissa Dalloway compraria flores em algum canto daquela Londres de um século atrás para a festa da noite. É esse dia na vida da personagem que está em “Mrs. Dalloway”, um dos principais romances da língua inglesa e o mais famoso de Virginia Woolf. Autora também de obras como “Orlando”, “Ao Farol” e “As Ondas”, Virginia é uma das gigantes da literatura no século 20. Nome incontornável do modernismo, essa britânica que nasceu em 1882 e morreu em 1941 costuma ser lembrada pela forma como explora a consciência de seus personagens. Há quem se intimide diante dos romances de Virginia. Mas não tenhamos medo. A ideia do papo com Mell Ferraz é mostrar caminhos para se entender com a obra da autora. Mell é formada em estudos literários pela Unicamp e mestre em estudos da literatura pela Universidade Federal Fluminense, onde fez pesquisas sobre o fluxo da consciência na obra de Virginia Woolf. Desde 2010 que a Mell toca o Literatura-se, canal de incentivo à leitura e à literatura que está no Youtube e em outras redes sociais. As marcas da escrita da Woolf, a mulher por trás da artista e outras vertentes de sua obra, como a Virginia ensaísta, também foram assuntos da nossa conversa. * Aqui o caminho para a newsletter da Página Cinco: https://paginacinco.substack.com/

Please join us as we read the first half of Virginia Woolf's modernist masterpiece, Mrs. Dalloway! Taking place on a single day in mid-June 1923, the book takes us in and out of the minds of our two main characters, society housewife Clarissa Dalloway (who is throwing a party), and World War One veteran Septimus Warren Smith (who is having some extremely concerning psychological issues), as well as basically everyone around them. It's extremely good! Jackie regrets becoming a slug; Rachel tells a tale of betraying a dear friend at the club (or was it????); Bekah describes her ultimate dental destiny. Topics include: Ernest Hemingway, Lord of the Rings, Sylvia Plath and her fig tree, slugging, skincare advice corner, dog psychologists, Tamagotchis, jelly sandals, Monkey Beach, the Big Bean, Belle & Sebastian, Malört, sippin' on that thang, Mary Karr, catcalling, explicit undertones, That's So Raven, gold-digging advice, Celine Dion, and riches to rags to riches/revenge. ★ Support this podcast on Patreon ★

Daniela Castillo, representante del grupo Contexto en Colombia, recorre en parapente un plano de historias de mujeres que lucharon por espacios de libertad. En este segundo episodio la ruta tiene seis paradas: Virginia Woolf llama la atención sobre las normas sociales en “Clarissa Dalloway y su invitada"; Karen Blixen, cuyas luchas personales están relatada en “Cartas desde Dinamarca”; la emancipación de las mujeres sobre la que Elizabeth Forsythe escribió en “Una mujer de recursos” de; “Vértigo” de Joanna Walsh, que toca temas como soledad; Con Iris Murdoch conversamos sobre “El unicornio”, una novela gótica de hadas y castillos con temas . Por último, Miriam Toews en “Pequeñas desgracias sin importancia” narra el suicidio como una alternativa.Para profundizar en los libros de estas arquitectas de historias echamos en el equipaje museos y películas. Encuéntralos en https://bit.ly/arquitectas-de-historiasCanciones para echar en el equipajeNina Simone – Feeling goodhttps://youtu.be/oHRNrgDIJfo?si=FzT7bMcthwDNbDUYMr Dalloway Wordshttps://youtu.be/U5ywofzN4xA?si=L0HzsMSVl-mGp_qoThe march of womenhttps://youtu.be/qTYv4wT8g4E?si=BICpf_XbHa97MH09&t=6Martha Argerichhttps://youtu.be/enJ6be4qLMs?si=6NiOYQ8xfQNPHVFB&t=24 Producción: Emisora HJUT 106.9 FM Bogotá#PodcastSiglo #CartografíasEditoriales #SigloEncuentros #HablaConSiglo

Mrs. Dalloway by Virginia Woolf audiobook. 'Mrs. Dalloway' recounts a day in the life of Clarissa Dalloway in the middle of June 1923. Clarissa Dalloway is a high society London lady. On that day, she is hosting a party, meeting people, going to the park, and reflecting on her choices. Where would she have been if she married Peter Walsh and not Richard Dalloway? What if she would not invite this or that person to her party? Her feelings about Peter Walsh grow because on that particular day he returns from India to settle some affairs in London. Other people also reflect on their choices. Mr. Smith who cannot move on from the horrors he saw in battle, his Italian born wife, members of Clarissa's family and friends. This book is considered a classic. It appears on many lists of best novels including the 100 best novels list by the Guardian. Indeed, some of the them are timeless and touch all of us. Learn more about your ad choices. Visit megaphone.fm/adchoices

Drei Werke der Weltliteratur am Literaturstammtisch im BuchZeichen auf SRF1: «Mrs. Dalloway» von Virginia Woolf, «Wem die Stunde schlägt» von Ernest Hemingway und «Die Abenteuer des guten Soldaten Švejk im Weltkrieg» von Jaroslav Hašek. London 1923, ein Tag im Juni. Mrs. Clarissa Dalloway, Anfang 50 und verheiratet mit Richard Dalloway, gibt am Abend einen Empfang. Die ganze High Society der Stadt ist eingeladen, inklusive Premierminister. Doch vorher muss noch viel erledigt werden. Das ist der Ausgangpunkt des Romans «Mrs. Dalloway» von Virginia Woolf, der nun in einer neuen Übersetzung von Melanie Walz vorliegt. Erzählt wird aber keine Geschichte. Was den Roman sensationell macht, ist Virginia Woolfs Sprache – und die Splitter, Wahrnehmungen, Erinnerungen und Reflexionen, die sie zu einem Panorama der Gesellschaft nach dem ersten Weltkrieg zusammensetzt. Für Nicola Steiner, die das Buch mit in die Sendung bringt, ist dies einer der besten Romane des 20. Jahrhunderts. Liebe, Krieg und Tod. Die drei grössten Themen der Literatur verdichtet Ernest Hemingway in seinem monumentalen Roman «Wem die Stunde schlägt» aus dem Jahr 1940, den Tim Felchlin vorstellt. Im spanischen Bürgerkrieg kämpft der amerikanische Sprengstoffspezialist Robert Jordan zusammen mit einer Schar widerständiger Republikaner gegen die Faschisten Francos. Während drei Tagen bildet sich eine Schicksalsgemeinschaft, in der Jordan Liebe findet und Verrat erfährt. In seinem vielleicht bedeutendsten Roman verarbeitete Hemingway seine Erfahrungen als Kriegsreporter. Dabei bringt er die Ambivalenz zum Ausdruck, die jedem Krieg eigen ist und jede Generation aufrüttelt. Der Tipp der Woche stammt von Michael Luisier. Zum 100. Todestag Jaroslav Hašeks am 3. Januar 2023 stellt er dessen Klassiker in Sachen satirisch-humoristischer Literatur «Die Abendteuer des guten Soldaten Švejk im Weltkrieg» vor. Buchhinweise: * Virginia Woolf. Mrs. Dalloway. Neu übersetzt von Melanie Walz. 400 Seiten. Manesse, 2022. * Ernest Hemingway. Wem die Stunde schlägt. Aus dem Englischen von Werner Schmitz. 624 Seiten. Rowohlt, 2022. * Jaroslav Hašek. Die Abenteuer des guten Soldaten Švejk im Weltkrieg. Übersetzung aus dem Tschechischen, Kommentar und Nachwort von Antonín Brousek. 1008 Seiten. Reclam Bibliothek, 2014.

Caminar por las calles de Londres esboza los pasos de los londinenses que añoran encontrar su trayecto por la ciudad. Virginia replicó las imágenes de estas calles a partir de los pasos de Clarissa Dalloway, la protagonista de su novela “Mrs. Dalloway”. Un recorrido literario donde la narrativa y el monólogo interno acompañan el trayecto de Clarissa por las calles de Londres.

In this episode, writers Andrea Pitzer (Icebound: Shipwrecked at the Edge of the World) and Matthew Hunte join host Catherine Nichols to discuss Virginia Woolf's 1925 novel, Mrs Dalloway. They discuss the paired stories of Clarissa Dalloway and Septimus Smith and what these two characters bring to one another, the book's private nihilism, its place in both Modernist and Edwardian literature, and the meaning of a party where the host dislikes the guests. Andrea Pitzer is a journalist whose writing has appeared in The Washington Post, The New York Review of Books, Outside, The Daily Beast, Vox, and Slate, among other publications. She has authored two previous books, One Long Night and The Secret History of Vladimir Nabokov--both critically acclaimed. She received an undergraduate degree from Georgetown University's School of Foreign Service in 1994, and later studied at MIT and Harvard as an affiliate of the Nieman Foundation for Journalism. She grew up in West Virginia and currently lives with her family near Washington, DC. Icebound is her most recent work. Matthew Hunte is a writer from St. Lucia, whose essays include “In Praise of Minor Literature,” and “Albert Murray and the Americas.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Dull account of one woman's day or rich and resonant masterpiece? Mrs Dalloway by Virginia Woolf has divided readers since it was published and continues to spark debate today. In London, one day in June, 1923, society hostess Clarissa Dalloway sets out to buy flowers for a party she is giving that evening. Returning home later she is visited by an old friend, Peter Walsh, who rekindles memories and feelings from her youth. Meanwhile making his own path through London traumatised soldier, Septimus Smith, is finding everyday life a torment and his young Italian wife cannot help him. Although they never meet, the two stories interweave as Woolf captures her characters and London on the page. Join Kate and special guest, prolific reader and Instagram book reviewer  Charles Pignal as they dive into Dalloway and debate the results. Could Woolf have used a few less semi-colons? Can Kate talk about the book without weeping? If you haven't read it, should you read it? Listen in for the answers to all these questions plus some great follow-on recommendations from Charles and from Kate and Laura picking up on the London theme. Whether you're wondering what to read next for book club or just want some good additions to your own reading pile we have the book for you. Book list The Annotated Mrs Dalloway, with notes by Merve Emre In Search of Lost Time by Marcel Proust Ducks, Newburyport by Lucy Ellman The Waves by Virginia Woolf Young Eliot and Eliot After the Waste Land by Robert Crawford Bring Up the Bodies by Hilary Mantel White Teeth and Intimations by Zadie Smith Open Water by Caleb Azumah Nelson On Golden Hill and Light Perpetual by Francis Spufford The Duchess of Bloomsbury Street and 84 Charing Cross Road by Helene Hanff A Week in December by Sebastian Faulks Queenie by Candice Carty Williams. Have thoughts on this episode, or a book to recommend? Go to the episode page on our website where you'll find full show notes for all the books discussed, a transcript and a comments forum. Comments go straight to our inboxes so get in touch, we love to hear from you. You can also keep in touch between episodes on Instagram @BookClubReview podcast, or Twitter @bookclubrvwpod or drop us a line at thebookclubreview@gmail.com.

Michelle Cahill is a poet, author and essayist. Her short story collection Letter to Pessoa (Giramondo) won the NSW Premier's Literary Award for New Writing and Michelle has a slew of awards and nominations. Michelle's latest novel is Daisy and Woolf.Daisy & Woolf works itself into the spaces between the seminal Virginia Woolf novel Mrs Dalloway.Woolf's novel expands across a single day in London society. Clarissa Dalloway embarks to order the flowers. She will host a party that night and she must be prepared. Across the city characters intersect and nearly miss each other in a web of events and reminiscences.One character, remarked upon but who never speaks in Daisy Simmons. It is Daisy who Michelle Cahill rescues from her literary silence to explore her lot and inner world. In doing so Cahill is opening up her novel to the silenced voices of Anglo Indian character who very much occupied Woolf's mind but failed to feature in her novel.1924 - Daisy Simmons works to arrange passage from Calcutta to London. She must leave her family, desperate to be reunited with her lover Peter Walsh. It is a journey that demands much from her and will extract a price. What can she expect on the other side of the world and is it worth her exercising this reckless freedom?2017 - Mina is a writer trying to pull together the threads of Virginia Woolf's work into a unique novel. Mina wants to restore agency and voice to Daisy, giving her the story Woolf glossed over.As Mina works to free Daisy from her fictional invisibility she must also reconcile herself to the bonds of her own world; career, family and duty all pulling on her. These are the so-called responsibilities a woman must meet and in shucking them off to write in London Mina must learn to make peace with the costs a writer must pay in bringing a life onto the page…I found Daisy & Woolf a delightfully literary novel. In writing into the cannon of modernist literature Cahill is challenging us to understand what the cannon means to us (and by way of clarification - by cannon I mean the books that are prescribed on syllabus, you know the ones you're told you simply have to read)With great affection for Woolf, Cahill also challenges the narrowness of the voices she presents to us. Daisy's world is rich and varied but also beset by its own power dynamics.It seems that in any story some voices will invariably be privileged over others. Just as Woolf failed to give us a whisper of Daisy, in turn Cahill must struggle with the story of Rhadhika. This is not a fault of the book, rather it challenges us as the reader to understand the limitations of storytelling (and I think in turn challenges us to read widely and of many authors with unique perspectives).The stories of Daisy & Woolf intersect to show us the ways that women are hemmed into ways of living and prescribed modes of being. Both Daisy and Mina struggle with their role as mother and the expectations that their own lives should be secondary to their child.Both Daisy and Mina adventure, but with consequence as the novel travels the reader across the globe.Daisy & Woolf is a lush and beautifully realized exploration of life as told through literature. It's both an homage and a challenge to the literary lives many of us love to get lost in and it left me with a fresh perspective on how I read a novel.Final Draft is produced and presented by Andrew PopleWant more great conversations with Australian authors?Discover this and many more conversations on Final Draft every week from 2ser.Get in touch with Andrew and Final Draft. We love to hear about what you're reading!Twitter - https://twitter.com/finaldraft2serInstagram - https://www.instagram.com/finaldraft2ser/Facebook - https://www.facebook.com/finaldraft2ser/

Clarissa Dalloway is having a party. Join her and a web of connections in exploring London, their memories and their innermost thoughts and feelings. This novel explores relationships, mental health, nostalgia, regret, and the multitude of reasons for which people make decisions which change the course of their life. Genre(s): Published 1900 onward Virginia Woolf (1882 - 1941) --- Support this podcast: https://anchor.fm/3daudiobooks0/support

Tonight's bedtime story is Mrs Dalloway by Virginia Woolf. Published in 1925, this is one of Woolf's best known novels. In this episode, Clarissa Dalloway walks to the flower shop on Bond Street while thinking of her past. If you like this episode, please remember to follow on Spotify, Apple Podcasts, or your favourite podcast app. Also, share with any family or friends that might have trouble drifting off.Goodnight and Sweet Dreams.... We are also now on Twitter: https://twitter.com/JustSleepPod  and Instagram: https://www.instagram.com/justsleeppod/

'I'm more fascinated by the Rezia and Septimus love story than by Clarissa Dalloway's privileged past. 'I'm more fascinated by their love story than by Clarissa Dalloway's privileged past. Rezia, a twenty-four year old Italian immigrant, is the character who shows most understanding of mental illness. The post Stephanie Norgate appeared first on The Royal Literary Fund.

durée : 00:28:48 - Personnages en personne - par : Charles Dantzig - Auteur : Virginia Woolf, 1882-1941, anglaise. Membre de la haute bourgeoisie. Homosexuelle, mariée à un homme avec qui elle fonde une maison d'édition qui publie, entre autres, la première édition anglaise des œuvres de Freud. Son mari est juif, elle est athée. - réalisation : Clotilde Pivin - invités : Christine Jordis Romancière, essayiste et éditrice

durée : 00:28:48 - Personnages en personne - par : Charles Dantzig - Auteur : Virginia Woolf, 1882-1941, anglaise. Membre de la haute bourgeoisie. Homosexuelle, mariée à un homme avec qui elle fonde une maison d'édition qui publie, entre autres, la première édition anglaise des œuvres de Freud. Son mari est juif, elle est athée. - réalisation : Clotilde Pivin - invités : Christine Jordis Romancière, essayiste et éditrice

Um dia na vida da aristocrática Clarissa Dalloway. Que vai dar uma festa. Ela é uma senhora da alta sociedade. Ela sabe organizar uma recepção. Ela tem um marido e uma filha. Clarissa sai para comprar flores. Ela prepara a casa. Ela orienta as empregadas. Ela passeia por Londres. Mas a cidade e seus personagens são só a moldura do que se passa dentro de Clarissa. Ela pensa, reflete, sente, reflete, conta, reflete, lembra, reflete... Um fluxo de consciência denso, difícil e pesado, como os anos do entreguerra, quando essa história acontece. O passado é violento e o futuro é incerto. O presente é um amontoado de consequências do que passou. Por vezes é delírio, por vezes é monotonia. Mrs Dalloway, de Virginia Woolf, é tema do sexto episódio da temporada Leia Clássicos. Nesta conversa, a apresentadora Gabriela Mayer recebe a jornalista Joana Suarez e o escritor Ricardo Terto. Este é um podcast apresentado por B9 e produzido por Rádio Guarda-chuva.  IG: @poenaestante  Twitter: @poenaestanteE-mail: poenaestante@gmail.comArte: Arthur Mayer Trilha: Getz me to Brazil, Doug Maxwell

What could seem further from our polarized, diverse world and abbreviated social-media discourse than Virginia Woolf’s 1925 stream-of-consciousness novel Mrs. Dalloway with its, aristocratic title character Clarissa Dalloway consumed with giving an elegant party, and its author’s long periodic sentences, full of metaphors, allusions, parentheses and interior hesitations? And yet, in a recent essay in The New York Times Book Review Yale University senior lecturer in creative writing, Michael Cunningham provides an introduction to a new issue of Woolf’s book that is so compelling it commands attention.

Virginia Woolf (1882-1941) es una de las grandes voces de la literatura universal. Es la autora de 'Al faro', 'Orlando' o 'Las olas'. Publicó 'La Señora Dalloway' en 1925. Seguir los vericuetos de Clarissa Dalloway el día que organiza una fiesta es un placer absoluto desde la primera línea.

What could seem further from our polarized, diverse world and abbreviated social-media discourse than Virginia Woolf’s 1925 stream-of-consciousness novel Mrs. Dalloway with its, aristocratic title character Clarissa Dalloway consumed with giving an elegant party, and its author’s long periodic sentences, full of metaphors, allusions, parentheses and interior hesitations? And yet, in a recent essay in The New York Times Book Review, Yale University senior lecturer in creative writing Michael Cunningham provides an introduction to a new issue of Woolf’s book that is so compelling it commands attention. Cunningham‘s own novel The Hours , which won the Pulitzer Prize for Fiction in 1999, pays homage to Mrs. Dalloway . As he reminds readers “The Hours” was Virginia Woolf’s working title for Mrs. Dalloway – a better choice, I think, because the novel covers a June day in 1923, the hours of which toll away on Big Ben throughout. Virginia Woolf wasn’t the first to adopt a free-association

La novela detalla un día en la vida de Clarissa Dalloway en Inglaterra posterior a la Primera Guerra Mundial. zacektc@gmail.com

"The New Dress" by Virginia Woolf was written in 1924 while Woolf was writing her novel, Mrs. Dalloway. The story follows Mable Waring and her thoughts at Clarissa Dalloway's party. In this episode, Hannah and Jon discuss how the story tackles issues of class and its effects on the main character's mental health, as well as background of the author.Please note: this episode contains themes that may be difficult for some listeners. Virginia Woolf was a victim of suicide and struggled with her mental health. Please approach with caution.Hannah and Jon also discuss how colors are huge symbols and how well Woolf uses them in the story. They also bring up the important point that no matter how well written something may be, it is important to note the jaded histories of the authors.Woolf's history was obtained from "Seagull Book of Stories" an anthology edited by Joseph Kelly, as well as https://en.wikipedia.org/wiki/Virginia_Woolf.AnaLITical is created, hosted, and produced by Hannah and Jon Newland.Edited by Jon Newland.Artwork by Hannah Newland, using Logomakr and is owned by Hannah and Jon Newland.Theme music is Robot Gypsy Jazz by John Bartmannm - https://johnbartmann.comWebsite design by Hannah Newland - https://analiticalpod.wixsite.com/analiticalSupport the podcast: https://www.buymeacoffee.com/analiticalpodYou can find the pod's social pages on Facebook, Instagram, and Twitter @analiticalpod and email us at analiticalpod@gmail.com

Caminar por las calles de Londres bosqueja los pasos de cualquier londinense que busca excusas para quedarse. Virginia replicó las imágenes de estas calles a partir de los pasos de Clarissa Dalloway, la protagonista de su novela “Mrs. Dalloway”. En un recorrido literario donde la narrativa y el monólogo interno describen el trayecto de Clarissa, Londres, el Big Ben y unas flores se convierten en un ícono de la literatura.

Confira os destaques do caderno Na Quarentena desta quinta-feira (04/06/20)See omnystudio.com/listener for privacy information.

Mrs. Dalloway covers one day from morning to night in one woman’s life. Clarissa Dalloway, an upper-class housewife, walks through her London neighborhood to prepare for the party she will host that evening. The celebrated classic looks at Virginia Woolf’s multitude of characters, from love interests, to party-goers, friends and philosophers, and explores the inter-war social structure of the time.

Toward the beginning of Virginia Woolf’s Mrs. Dalloway, the titular Clarissa walks around London buying supplies for a party she’s throwing that night. As she walks, she thinks with amazement that not only does the city still exist, vibrating with life, five years after World War I, but that people continue on, too: “She always had the feeling that it was very, very, dangerous to live even one day,” says the narrator. The sentiment may feel familiar to anyone making a grocery store run today, amid the coronavirus pandemic. As social distancing measures drag on and, in some states, are prematurely lifted, anxiety is everywhere about what life could look like once the COVID-19 outbreak ends. With few analogous examples to turn to, and living memory all but depleted, the literature that emerged after World War I offers a glimpse into what to do after a global trauma that changes people’s understanding of daily life. “No one has ever had any illusions about the glory of viruses or pandemics as they have had about war,” says Sarah Cole, Ph.D., the dean of Humanities at Columbia University and an expert in the literature that emerged from World War I. Despite this key difference, Jarica Watts, Ph.D., an assistant professor of English at Brigham Young University, says that like during “the Great War, the prevailing feeling [during the COVID-19 pandemic] is one of uncertainty.” Post-World War I literature was often “about the strangeness, the tedium, the ambient anxiety, the dread,” she explains — much like what people feel today. In case you don’t remember from high school English class, the years after WWI were a boom time for literature: Woolf, Ernest Hemingway, Gertrude Stein, T.S. Eliot, and others produced some of their most important works, a movement that became known as modernism. Modernist novels often use fragmentary language to build a nonlinear narrative, reflecting the sense of futility and loss created by the war — something that might be happening in your own brain space, too. “You open up Mrs. Dalloway or any Woolf novel and … it takes you a moment to locate yourself,” says John Lurz, Ph.D., an associate professor of English at Tufts University. The act of trying to orient yourself in a modernist novel “speaks to the kind of effort you have to put into navigating yourself through this moment,” Lurz says: As we lose track of days, weeks, routines, and even our sense of self as we adapt to pandemic life, works like Dalloway show us that it’s possible to find ourselves again. They also elevate everyday experiences to those of great cultural value. Woolf describes Clarissa’s front hallway like this: “It was her life, and, bending her head over the hall table, she bowed beneath the influence, felt blessed and purified, saying to herself, as she took the pad with the telephone message on it, how moments like this are buds on the tree of life, flowers of darkness they are.” If you’ve marveled at your sourdough during quarantine, you know what that humble kind of gratitude feels like. Lurz says modernist writers drew inspiration from daily life, thinking of it not as an “opportunity to not look away from what’s happening and totally escape,” but to analyze how the nuances of the everyday have the potential to represent so much more — something we can do in the present. “We are all paying attention now in a way that we weren’t able to do before,” Lurz says. “This echoes with the modernist novel and its focus on the small details and memories that blow up in a larger way, like we see in Mrs. Dalloway. You orient yourself through those details.” Almost a million British soldiers died in the Great War, and there was often no formal closure for the families left behind. Watts draws a parallel to the families of people dying from COVID-19. “By now we’ve all become accustomed to seeing the refrigerated morgue trucks line some of New York’s busiest, but now deserted, streets,” Watts says. “We, like those a hundred years before us, are forced to reckon with the impersonal nature of these deaths.” Just as post-World War I, “circles” of mourning formed that evolved into widows’ and veterans’ organizations, Watts suspects that families will likely create new social networks with others affected by the virus. (COVID-19 survivor support groups are already popping up online.) But many people who aren’t directly affected by the virus are coping with their own kind of grief. Clarissa Dalloway, too, struggles to make sense of her life after the war, knowing she didn’t have it as bad as others: “Did it matter then, she asked herself, walking towards Bond Street, did it matter that she must inevitably cease completely? All this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely?” “For far too long, we’ve believed in our own invulnerability,” says Watts. The literature of World War I forced its readers to recognize “how fragile our world really is, how easily we can lose so much, without anyone really understanding why,” adds Cole. “Great leadership was in short supply during WWI, but violence and seemingly meaningless death was all around.” Today, we’re asking ourselves the same kinds of questions as we did when the war ended in 1918: “How could this happen, and how do our human accomplishments stand up in the face of incredible, dramatic loss?,” says Cole. “World War I came to stand for a ‘lost generation,’ for a huge, tragic waste of life and resources, and this was a story told, in large part, in art and literature. Will the coronavirus pandemic have this effect for our current generation? It might.” But if modernism has taught us anything, as Lurz says, it’s that loss may not have to carry any kind of value: it can just be. “This isn’t a damaged version of real life, some imperfect version of how things should be,” Lurz says. “This is an extraordinary moment. Just because it wasn’t what you could have imagined, it doesn’t mean that it’s not worth anything.”

durée : 00:29:32 - Personnages en personne - par : Charles Dantzig - Agée de 52 ans, "avec une chevelure blanche étrange pour ses joues roses", Clarissa Dalloway n’est pas la banale femme du monde qu’elle paraît. Qui est Clarissa Dalloway, personnage créé par Virginia Woolf dans les brillantes années 1920 de la littérature européenne ? - réalisation : Clotilde Pivin - invités : Christine Jordis Romancière, essayiste et éditrice

durée : 00:29:32 - Personnages en personne - par : Charles Dantzig - Agée de 52 ans, "avec une chevelure blanche étrange pour ses joues roses", Clarissa Dalloway n’est pas la banale femme du monde qu’elle paraît. Qui est Clarissa Dalloway, personnage créé par Virginia Woolf dans les brillantes années 1920 de la littérature européenne ? - réalisation : Clotilde Pivin - invités : Christine Jordis Romancière, essayiste et éditrice

Part 2 of Mrs. Dalloway: in which Tom is made to feel uncomfortable by proxy of "Clarissa" never liking "Richard's" gifts. We debate who has better relationship energy, the star-crossed lovers or the ride-or-dies and finally find that single, completely unnecessary use of "oriental" (sure it was the 20's but-).

Part 1 of Mrs. Dalloway: in which Tom cements the origin story for the podcast, because one day maybe a WikiArticle will need to know. We talk about settling, reading your partners mind, and whether this whole novel isn’t just the romcom follow up to All’s Quiet on the Western Front.

This Christmas for Radio 3 five leading writers have picked a novel they love, and written an original piece of fiction imagining what happened to the characters after the story ends. Man Booker Prize winner Bernardine Evaristo first encountered Virginia Woolf's writing as a teenager, reading To the Lighthouse for her English Literature A Level. She loathed the book. But a few years ago, she gave Woolf another go, reading Mrs Dalloway. As a writer who experiments with language and form, she marvelled at the inventiveness, how Woolf's characters float in and out of the prose. In this Christmas Eve edition of Open Endings, Bernardine reveals her admiration for Woolf's work and imagines a different end for Clarissa Dalloway's extravagant party. Producer: Camellia Sinclair

Tonight we'll be reading from, "The Voyage Out" by Virginia Woolf, first published in 1915. In the story Rachael Vinrace embarks for South America on her father's ship and is launched on a course of self-discovery in a kind of modern mythical voyage. The novel also introduces Clarissa Dalloway, who would become the central character of Woolf's later novel, "Mrs Dalloway."Support the show (https://www.patreon.com/snoozecast)

This week on StoryWeb: Michael Cunningham’s novel The Hours. In her fascinating book Virginia Woolf Icon, Brenda Silver examines all the ways Woolf has become a potent international symbol. You can buy a Barnes and Noble canvas bag featuring Woolf’s face, and the British National Portrait Gallery sells thousands of Woolf postcards a month. And of course, the great American playwright Edward Albee famously asked Who’s Afraid of Virginia Woolf? American novelist Michael Cunningham is clearly not afraid of Virginia Woolf. He says of Woolf’s novel Mrs. Dalloway: I suspect any serious reader has a first great book, just the way anybody has a first kiss. For me it was this book. It stayed with me in a way no other book ever has. And it felt like something for me to write about very much the way you might write a novel based on the first time you fell in love. Cunningham’s 1998 novel, The Hours, is a kind of homage to and deep exploration of Mrs. Dalloway, which I discussed in last week’s StoryWeb episode. The Hours is not a rewriting of her 1935 novel per se, but a reimagining, a fractured retelling, both a sequel of sorts to Mrs. Dalloway and a wholly new work on its own. Cunningham says, “I think it’s like the way a jazz musician might do a riff on an older established piece of music. It doesn’t claim or conceal the older piece of music, but it takes that music and turns it into something else.” The Hours weaves together the stories of three women – Laura Brown, an American housewife who is reading Mrs. Dalloway in 1949; Clarissa Vaughn, a late-twentieth century American whose friend Richard, a prominent writer, is dying of AIDS; and Virginia Woolf herself in 1923 as she begins to write Mrs. Dalloway. All three women are presented on one key day in their lives. The novel’s prologue, which you can read online, tells the story of Woolf’s suicide in 1941. The women’s stories comment on each other in provocative ways, and the reader is in for some unexpected plot twists. Though some of have seen The Hours as a derivative knock-off of Woolf’s masterpiece, others see it as a postmodern tour de force, a bold intertextual response to Mrs. Dalloway. As it riffs on one of the most important modernist novels, The Hours is, I believe, a great postmodernist novel. Wondering just what I mean by postmodern? I won’t go all academic on you, but if you take the time to read Mrs. Dalloway and then The Hours, I think you’ll be fascinated by two key features of postmodernism -- intertextuality and palimpsest – and how they apply to Cunningham’s novel. Intertextuality, says Roland Barthes, recognizes that “[a]ny text is a new tissue of past citations.” A new piece of writing builds on the text of works that have come before. A writer cannot write anything wholly original, and as T.S. Eliot noted in “Tradition and the Individual Talent,” even the original work shifts and changes when a new piece of writing comes into the world. Mrs. Dalloway isn’t quite Mrs. Dalloway anymore, now that The Hours has been written. The notion of palimpsest also applies to The Hours. A palimpsest is “a manuscript on which an earlier text has been effaced and the . . . parchment reused for another [text].” In medieval religious circles, writers would “rub out an earlier piece of writing by . . . washing or scraping the manuscript, in order to prepare it for a new text.” The historical practice of creating palimpsests fascinates postmodernists, who self-consciously write their “new” words on the face of words that have gone before. Michael Cunningham symbolically writes The Hours on the manuscript of Mrs. Dalloway. If you want to dig deeper into what Cunningham was up to in creating this unique homage to a previous novel, check out John Mullan’s pieces in The Guardian: “Imitation” (on Cunningham’s take on Mrs. Dalloway), “Separate Reels” (on the parallel narratives between Woolf’s novel and Cunningham’s novel), and “Who’s Afraid of Rewriting Woolf?” (on intertextuality). And if you’re ready to learn more about Cunningham, read about his reaction to winning the Pulitzer Prize for The Hours or read the transcript of the PBS Online NewsHour interview with him just after the award was announced. Of course, Cunningham’s novel was made into an outstanding film, also titled The Hours. It stars Julianne Moore as Laura Brown, Meryl Streep as Clarissa Vaughn, and Nicole Kidman as Virginia Woolf. Kidman won the Academy Award for Best Actress. To learn more about the film, check out the New York Times’ excellent resource, “Virginia Woolf and The Hours,” which includes a slide show of the film. Be sure to read Matt Wolf's essay on the film, “Clarissa Dalloway in a Hall of Mirrors.” Carol Iannone’s reflective essay, “Woolf, Women, and The Hours,” is also insightful. You might also want to take a look at the BBC’s web project on the film. Finally, you can check out Cunningham’s reflections on the film. If you just can’t get enough of the film, you can learn about screenplay writer David Hare, director Stephen Daldry, and composer Philip Glass. Should we be afraid of Virginia Woolf and the darkness she confronts in her writing, the darkness she confronted in herself? Michael Cunningham doesn’t think so. He says: I can’t imagine wanting to write a novel that wasn’t about darkness in some way. I don’t feel like we need much help with our happiness. The Kodak moments we can manage on our own – I don’t mean to dismiss happiness. We can manage our happiness on our own. I feel like what we need art for is a little bit of solace, a little bit of company in trying to deal with the darker stuff. At the same time, I would never write a pessimistic book. I think writing is, by definition, an optimistic act. Or as Clarissa Vaughn asks herself in The Hours, “Why else do we struggle to go on living, no matter how compromised, no matter how harmed?” Her answer? “[W]e want desperately to live.” Ultimately, Mrs. Dalloway and The Hours are works of great optimism, strength, and courage – despite Septimus Warren Smith’s profound struggle with shell shock, despite Woolf’s ultimate decision to commit suicide, despite Richard’s AIDS and its outcome. Read these novels, watch these films, and see if you, too, aren’t reaffirmed in the celebration of life, its happiness – and its darkness. Visit thestoryweb.com/Cunningham for links to all these resources and to listen to Michael Cunningham read from The Hours. You can also watch the opening sequence from The Hours, which depicts Virginia Woolf’s suicide in 1941.  

This week on StoryWeb: Virginia Woolf’s novel Mrs. Dalloway. “Mrs. Dalloway said she would buy the flowers herself.” Has there ever been a more graceful first line of a novel than that? Virginia Woolf’s 1925 novel, Mrs. Dalloway, is graceful and poised, like her title character, ever one to have things “just so.” Her dinner party – toward which the whole novel rushes – is sumptuous, elegant, and in every possible way, “just so.” But of course, there’s much more here than meets the eye. Old bonds as well as old rifts and hurts swirl through the party as Clarissa Dalloway confronts Sally Seton (with whom she’d had a flirtation in her youth) and Peter Walsh (whose marriage proposal she had rejected in that same youth). In this modernist novel, all time is present at once, and as Clarissa, Sally, and Peter meet at the dinner party, they’re each – individually – transported three decades into the past, reliving the scintillating and very nearly risqué time at the country estate of Bourton when Clarissa kissed Sally, broke Peter’s heart, and met her future husband, Richard Dalloway. And yet there is even more seething underneath the surface of these upper-middle-class concerns. For this is London, 1923, post-World War I, a devastated London trying to pick up its bombed-out shards and rebuild itself. Running parallel to Clarissa, Sally, Peter, and Richard’s story is the plotline belonging to Septimus Warren Smith, a shell-shocked veteran. His Italian wife, Lucrezia, takes him on quiet walks in London parks and tries to soothe him. But Septimus won’t be soothed – just as Woolf seems to be saying that London, Europe, indeed the entire world won’t be soothed. As Septimus’s story makes abundantly clear, Septimus and his fellow veterans are not the walking wounded. They are very nearly the hobbling dead, passing time in a twilight evening. Woolf’s ability to pull Clarissa Dalloway together with Septimus Warren Smith is nothing short of miraculous. These two worlds – that of the privileged, moneyed class and that of the barely surviving veterans, the fodder for the aristocracy’s war – weave in and out of each other’s lives. Mrs. Dalloway is definitely worth reading – both on its own merits and as a way into American novelist Michael Cunningham’s 1998 retelling of it in The Hours. Clarissa Dalloway is a character you will not soon forget, whether you meet her as she was first conceived in the pages of Woolf’s novel or on the screen in Vanessa Redgrave’s portrayal of her or whether you meet permutations of Clarissa in Cunningham’s The Hours or watch Julianne Moore, Meryl Streep, and Nicole Kidman present their own takes on shades of Mrs. Dalloway and Virginia Woolf herself. If this is your first time reading Virginia Woolf, be gently forewarned. She is every bit the stream-of-consciousness modernist, playing, as she did, a central role in dismantling the traditional novel and then completely reinventing it. As Woolf said, “[It is] precisely the task of the writer to go beyond the ‘formal railway line of sentence' and to show how people ‘feel or think or dream . . . all over the place.’” British novelist E.M. Forster, a contemporary of Woolf’s, agreed with her description of what she was trying to do in Mrs. Dalloway. He said, “It is easy for a novelist to describe what a character thinks of. . . . But to convey the actual process of thinking is a creative feat, and I know of no one except Virginia Woolf who has accomplished it.” Given Woolf’s startling, groundbreaking, narrative-shattering approach to fiction, how does one actually set about reading Mrs. Dalloway? My advice is much the same as the advice I offered for reading William Faulkner’s The Sound and the Fury: simply let Woolf’s prose wash over you. Little by little, you’ll begin to grasp the story. And if you’re wondering what Woolf had in mind as she wrote Mrs. Dalloway, read excerpts from her diary! Much of the novel focuses on London walks taken by various characters. The Mrs. Dalloway Mapping Project is an excellent website, as is Clarissa Dalloway’s London. And if you ever find yourself in London and wish to retrace Mrs. Dalloway’s steps on her famous walk, you can download a written walking tour guide as well as an audio walking tour. You’ll also want to have with you Jean Moorcroft Wilson’s indispensable volume, Virginia Woolf's London: A Guide to Bloomsbury and Beyond. Numerous other resources tracing Woolf’s relationship to London and its outskirts can be found at the Blogging Woolf website. Learn more about Virginia Woolf by visiting the Virginia Woolf Society of Great Britain’s website. The Virginia Woolf Blog features an interactive timeline of Woolf’s life, complete with links to information about important people and events in her life. The New York Times also has a treasure trove of archived articles about Woolf. Of course, Woolf was a central figure in the Bloomsbury Group, which also had a country home in Charleston. A key part of Bloomsbury was Hogarth Press, which Woolf and her husband, Leonard, established as a vehicle for publishing modernist literature, including the poetry of T.S. Eliot. Learn more about the press at Yale University’s Modernism Lab website. In addition to her outstanding collection of writing, Virginia Woolf is also well known for her profound struggles with mental illness, which led her to commit suicide in 1941. An excellent multimedia website – Woolf, Creativity, and Madness – provides deep insight into this aspect of Woolf’s life. Ready to read Mrs. Dalloway? You’ll definitely want a hard copy of this complex novel (and besides, since the novel is still under copyright in the United States, there are no legal, free online versions). You might also find it interesting to read more of Woolf’s work. I recommend The Virginia Woolf Reader, edited by Mitchell A. Leaska. Whether you read the novel or not, you’ll definitely want to watch the outstanding film based on it. Vanessa Redgrave plays Mrs. Dalloway, and screenplay writer Eileen Atkins is known for her portrayal of Virginia Woolf in British theatrical productions. She has played Woolf in the one-woman show, A Room of One's Own, and she also played Woolf in Vita and Virginia, a play which Atkins herself wrote. In the New York production of Vita and Virginia, Redgrave played Vita Sackville-West opposite Atkins's Woolf. Visit thestoryweb.com/woolf for links to all these resources and to watch an excerpt from the film. The video clip features Clarissa and Peter at Bourton and moves ahead thirty years as Clarissa, Peter, and Sally reflect on that summer during Clarissa’s dinner party. You can then listen to the only known recording of Virginia Woolf’s voice. Recorded in 1937 as part of a BBC radio broadcast, the clip features Woolf’s thoughts on craftsmanship and language. Tune in next week, when StoryWeb will feature Michael Cunningham’s novel The Hours and the film based on it. The Hours will shift and deepen your understanding of Virginia Woolf and Mrs. Dalloway.

Mrs. Dalloway - Virginia Woolf Vicende si intrecciano intorno alla città di Londra nel giugno del 1923. Le vicende di Clarissa Dalloway sono del tutto ordinarie, non hanno nulla di ecatante o che possano suggerire un che di eccezionale. La particolarità del romanzo consiste proprio in questo: narrare di eventi qualunque di una persona qualunque ma senza tralasciare le impressioni e leriflessioni che ad essa si accostano. tralerighe_02x15.mp3 leggi tutto

Virginia Woolf spent the First World War on the Home front mainly in London. It was an anxious time; she lost several cousins in the conflict, and her brother-in-law Cecil Woolf died at the Front; in 1915 she suffered a mental breakdown.For Woolf the war had changed everything, and her three novels written soon after it - Jacob's Room (1922), Mrs Dalloway (1925) and To the Lighthouse (1927) - display a marked shift in style. 'There had to be new forms for our new sensations', she wrote in a 1916 essay, and in 1923 went further: "We are sharply cut off from our predecessors. A shift in the scale - the war, the sudden slip of masses held in position for ages - has shaken the fabric from top to bottom, alienated us from the past and made us perhaps too vividly conscious of the present."In 1925, Woolf's brilliant novel Mrs Dalloway would amaze readers with its literary techniques and its counterpointing of society hostess Clarissa Dalloway and war veteran Septimus Warren-Smith. Here was a work of fiction in which the principal characters never meet, where the Victorian staples of plot and family relationships are eclipsed by a new emphasis on what the characters think rather than what they do or say.For Dame Gillian Beer this thronging novel with its cast of war profiteers, war casualties, and passers-by ultimately has a positive message. In Mrs Dalloway Virginia Woolf draws the reader and the novel's characters together: "Whether known or unknown to each other, in a shared humanity," she says, "her work draws us all alongside, across time.".

Melvyn Bragg and his guests discuss Virginia Woolf's novel Mrs Dalloway. First published in 1925, it charts a single day in the life of Clarissa Dalloway, a prosperous member of London society, as she prepares to throw a party. Writing in her diary during the writing of the book, Woolf explained what she had set out to do: 'I want to give life and death, sanity and insanity. I want to criticize the social system, and to show it at work at its most intense.' Celebrated for its innovative narrative technique and distillation of many of the preoccupations of 1920s Britain, Mrs Dalloway is now seen as a landmark of twentieth-century fiction, and one of the finest products of literary modernism. With: Professor Dame Hermione Lee President of Wolfson College, Oxford Jane Goldman Reader in English Literature at the University of Glasgow Kathryn Simpson Senior Lecturer in English Literature at Cardiff Metropolitan University.

Melvyn Bragg and his guests discuss Virginia Woolf's novel Mrs Dalloway. First published in 1925, it charts a single day in the life of Clarissa Dalloway, a prosperous member of London society, as she prepares to throw a party. Writing in her diary during the writing of the book, Woolf explained what she had set out to do: 'I want to give life and death, sanity and insanity. I want to criticize the social system, and to show it at work at its most intense.' Celebrated for its innovative narrative technique and distillation of many of the preoccupations of 1920s Britain, Mrs Dalloway is now seen as a landmark of twentieth-century fiction, and one of the finest products of literary modernism. With: Professor Dame Hermione Lee President of Wolfson College, Oxford Jane Goldman Reader in English Literature at the University of Glasgow Kathryn Simpson Senior Lecturer in English Literature at Cardiff Metropolitan University.