By Jessica Schiff Berman (ed.)
"A better half to Virginia Woolf is an intensive exam of her lifestyles, paintings, and a number of contexts in 33 essays written through prime students within the field"--
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Additional resources for A companion to Virginia Woolf
A renewed interest in time and narrative (to include temporal structures such as “the moment,” “the everyday,” and “the event”), and in the object world of literary texts, including the focus on “things,”1 has further placed the short story form at center stage. These developments have led to growing interest in Virginia Woolf’s short fiction, formerly the least fully explored dimension of her work. The last few years have seen the publication of a number of essay collections and monographs devoted to Woolf’s short stories.
Booth, Alison. 1992. Greatness Engendered: George Eliot and Virginia Woolf. Ithaca, NY: Cornell University Press. The Lives of Houses: Woolf and Biography Bradshaw, David. 2003. ” In Virginia Woolf, Carlyle’s House and Other Sketches, pp. xiii–xxv. London: Hesperus. Caughie, Pamela L. 1991. Virginia Woolf and Postmodernism: Literature in Quest and Question of Itself. Urbana: University of Illinois Press. Clarke, Norma. 1990. Ambitious Heights: Writing, Friendship, Love: The Jewsbury Sisters, Felicia Hemans, and Jane Welsh Carlyle.
Writing in her diary of her plan for Jacob’s Room to be a novel without “scaffolding … all crepuscular,” Woolf stated that she conceived of three of the stories written in the late 1910s and early 1920s – “The Mark on the Wall,” “Kew Gardens,” and “An Unwritten Novel” – as “taking hands and dancing in unity” (Woolf 1978: 13–14) The steps of this dance were formed by Woolf’s experiments with wandering, digressive narrative voices and her explorations of consciousness and subjectivity, including the possibility, or impossibility, of entry into minds other than one’s own.