In this second volume of her acclaimed study of Virginia Woolf's multivolume diary, Barbara Lounsberry traces the English writer's life through the thirteen diaries she kept from 1918 to 1929. During these interwar years, Woolf began penning many of her most famous works, including Mrs. Dalloway, To the Lighthouse, Orlando, and A Room of One's Own. Lounsberry shows how Woolf's writing at this time was influenced by other diarists-Anton Chekhov, Katherine Mansfield, Jonathan Swift, and Stendhal among them-and how she continued to use her diaries as a way to experiment with form and her evolving modernist style.

Starting with fourteen-year-old Woolf's first palm-sized leather diary, Becoming Virginia Woolf illuminates how her private and public writing was shaped by the diaries of other writers including Samuel Pepys, James Boswell, the French Goncourt brothers, Mary Coleridge, Ralph Waldo Emerson Sir Walter Scott and Fanny Burney. These key literary connections open a new and indispensable window onto the story of one of literature's most renowned modernists.

In her third and final volume on Virginia Woolf's diaries, Barbara Lounsberry reveals new insights about the courageous last years of the modernist writer's life, from 1929 until Woolf's suicide in 1941. Woolf turned more to her diary-and to the diaries of others-for support in these years as she engaged in inner artistic wars, including the struggle with her most difficult work, The Waves, and as the threat of fascism in the world outside culminated in World War II.

Choice Outstanding Academic Title In this second volume of her acclaimed study of Virginia Woolf 's diaries, Barbara Lounsberry traces the English writer's life through the thirteen diaries she kept from 1918 to 1929-what is often considered Woolf's modernist ""golden age."" During these interwar years, Woolf penned many of her most famous works, including Mrs. Dalloway, To the Lighthouse, Orlando, and A Room of One's Own. Lounsberry shows how Woolf's writing at this time was influenced by other diarists-Anton Chekhov, Katherine Mansfield, Jonathan Swift, and Stendhal among them-and how she continued to use her diaries as a way to experiment with form and as a practice ground for her evolving modernist style. Through close readings of Woolf 's journaling style and an examination of the diaries she read, Lounsberry tracks Woolf 's development as a writer and unearths new connections between her professional writing, personal writing, and the diaries she was reading at the time. Virginia Woolf's Modernist Path offers a new approach to Woolf 's biography: her life as she marked it in her diary from ages 36 to 46.

In her third and final volume on Virginia Woolf's diaries, Barbara Lounsberry reveals new insights about the courageous last years of the modernist writer's life, from 1929 until Woolf's suicide in 1941. Woolf turned more to her diary-and to the diaries of others-for support in these years as she engaged in inner artistic wars, including the struggle with her most difficult work, The Waves, and as the threat of fascism in the world outside culminated in World War II. During this period, the war began to bleed into Woolf's diary entries. Woolf writes about Hitler, Mussolini, and Stalin; copies down the headlines of the day; and captures how war changed her daily life. Alongside Woolf's own entries, Lounsberry explores the diaries of 18 other writers as Woolf read them, including the diaries of Leo Tolstoy, Dorothy Wordsworth, Guy de Maupassant, Alice James, and Andre Gide. Lounsberry shows how reading diaries was both respite from Woolf's public writing and also an inspiration for it. Tellingly, shortly before her suicide Woolf had stopped reading them completely. The outer war and Woolf's inner life collide in this dramatic conclusion to the trilogy that resoundingly demonstrates why Virginia Woolf has been called "the Shakespeare of the diary." Lounsberry's masterful study is essential reading for a complete understanding of this extraordinary writer and thinker and the development of modernist literature.

"Explores the history of Woolf's diaries, not only to reveal heretofore unremarked sources but also to trace her evolving sense of possibilities in diary-writing, possibilities which helped shape Woolf as a fiction writer. A must-read for devotees of Virginia Woolf."--Panthea Reid, author of "Art and Affection: A Life of Virginia Woolf" "This revealing book gives us a diarist with greater literary range than Pepys and affords us a second pleasure: the infinitely varied voices of the diaries Virginia read. They fascinate us as they fascinate her: those writers who encouraged, warned, comforted, and trained a developing genius."--Nancy Price, author of "Sleeping with the Enemy" "Lounsberry's deeply researched and gracefully written book shows not only Woolf's development into a great diarist but also her evolvement into the fiction and nonfiction writer revered today."--Gay Talese, author of "A Writer's Life" Encompassing thirty-eight handwritten volumes, Virginia Woolf's diary is her lengthiest and longest-sustained work--and her last to reach the public. In the only full-length book to explore deeply this luminous and boundary-stretching masterpiece, Barbara Lounsberry traces Woolf's development as a writer through her first twelve diaries--a fascinating experimental stage, where the earliest hints of Woolf's pioneering modernist style can be seen.
Starting with fourteen-year-old Woolf's first palm-sized leather diary, "Becoming Virginia Woolf" illuminates how her private and public writing was shaped by the diaries of other writers including Samuel Pepys, James Boswell, the French Goncourt brothers, Mary Coleridge, Ralph Waldo Emerson, and Woolf's "diary parents"--Sir Walter Scott and Fanny Burney. These key literary connections open a new and indispensable window onto the story of one of literature's most renowned modernists.

The 1990s have seen a renaissance in short fiction studies. Today's short story writers are testing the boundaries of short fiction through minimalist works; extended short story cycles; narrative nonfiction forms, such as histories, memoirs, and essays; and even stories created interactively with readers on the computer. Short story critics, in turn, are viewing the short story from the perspective of genre, history, cultural studies, and even cognitive science. This volume brings together the opinions, theories, and research of many of today's best-known short story writers, theorists, and critics. Contributors include some of the most widely read contemporary authors, such as Joyce Carol Oates, John Barth, Gay Talese, W. P. Kinsella, Robert Coover, Barry Hannah, and Leslie Marmon Silko.

The authors and scholars who have contributed to the volume provide an entertaining and informative exploration of modern short fiction. The volume traces the origins of the short story back to Chaucer, the joke, and the instinct for play, and follows the development of the form through today's hyper-stories created interactively in cyberspace. Along the way, it presents essays on miminalism in short fiction, on the transformation of short stories into films, and even on AIDS and the short story. The broad scope of the volume includes a wide variety of critical approaches brought to bear on literature from around the world, including short stories from Africa, Australia, Great Britain, Canada, New Zealand, and the United States.

The artistry of nonfiction is the great unexplored territory of contemporary criticism. Although the American book clubs now emphasize nonfiction and The New York Times Book Review publishes almost three times as many reviews of nonfiction as fiction, critical appreciation of this work has lagged behind. The Art of Fact is the first comprehensive examination of five of today's most popular and important nonfiction artists: Gay Talese, Tom Wolfe, John McPhee, Joan Didion, and Norman Mailer. By discussing contemporary literary nonfiction in relation to the early prose narrative forms and to the news/novels of the seventeenth and eighteenth centuries, the opening chapter defines the discourse known as literary or artistic nonfiction. Dr. Lounsberry then describes four characteristics of literary nonfiction and grounds these characteristics in contemporary works. The five chapters which follow this introduction thoroughly examine the works of five prominent, contemporary nonfiction artists. While critics to date have tended to focus on only one or two of each writer's works, these chapters trace themes across each writer's entire body of work and even project likely future directions, given current artistic trajectories. Also addressed is the role of literary nonfiction in the American literary tradition and how each of the five writers exemplifies a strand of nonfiction narrative. The Art of Fact draws from personal interviews with Gay Talese and John McPhee and includes new interpretations of the works of Tom Wolfe, Joan Didion and Norman Mailer as well as unpublished material from Gay Talese's current book-in-progress. The Art of Fact is a timely call for critical appreciation of the artistry of nonfiction and offers valuable insights to both students and fans of contemporary nonfiction.