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Night and Day (Paperback)
Virginia Woolf; Edited by Suzanne Raitt
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R355
R293
Discovery Miles 2 930
Save R62 (17%)
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Ships in 9 - 15 working days
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Katherine Hilbery, torn between past and present, is a figure
reflecting Woolf's own struggle with history. Both have illustrious
literary ancestors: in Katherine's case, her poet grandfather, and
in Woolf's, her father Leslie Stephen, writer, philosopher, and
editor. Both desire to break away from the demands of the previous
generation without disowning it altogether. Katherine must decide
whether or not she loves the iconoclastic Ralph Denham; Woolf seeks
a way of experimenting with the novel for that still allows her to
express her affection for the literature of the past.
This is the most traditional of Woolf's novels, yet even here we
can see her beginning to break free; in this, her second novel,
with its strange mixture of comedy and high seriousness, Woolf had
already found her own characteristic voice.
About the Series: For over 100 years Oxford World's Classics has
made available the broadest spectrum of literature from around the
globe. Each affordable volume reflects Oxford's commitment to
scholarship, providing the most accurate text plus a wealth of
other valuable features, including expert introductions by leading
authorities, voluminous notes to clarify the text, up-to-date
bibliographies for further study, and much more.
Orlando, a novel loosely based on the life of Vita Sackville-West,
Virginia Woolf's lover and friend, is one of Woolf's most playful
and tantalizing works. This edition provides readers with a fully
collated and annotated text. A substantial introduction charts the
birth of the novel in the romance between Woolf and Sackville-West,
and the role it played in the evolution and eventual fading of that
romance. Extensive explanatory notes reveal the extent to which the
novel is embedded in Woolf's knowledge of Sackville-West, her
family history and her writings. Thorough annotation of every
literary and historical allusion in the text establishes its
significance as a parodic literary and social history of England,
as well as a spoof of one of Woolf's favorite forms, the biography.
It also includes all variants from the extant proofs, as well as
editions of the novel produced during Woolf's lifetime.
May Sinclair (1863-1946) was a bestselling novelist who was one of the first British women to go out to the Belgian front in 1914. May Sinclair: A Modern Victorian draws on newly discovered manuscripts to tell the story of this woman whose emotional isolation bears witness to the great price Victorian women had to pay for their intellectual freedom.
The essays in this volume on women's writing of the First World War
are written from an explicitly theoretical and academic feminist
perspective. The contributors - including a number of leading
female academics - challenge current thinking about women's
responses to the First World War and explore the differences
between women writers of the period, thus questioning the very
categorization of `women's writing'. The Great War stimulated a
sudden growth in the novel industry. Well known writers such as Mrs
Humphrey Ward and Edith Wharton found themselves jostled by authors
like Ruby M. Ayres, Kate Finzi, and Olive Dent. The trauma of the
war continued to reverberate through much of the fiction published
in the years that followed its inglorious end. This volume
considers some of the best known, and some of the least known,
women writers on whose work the war left its shadow. The writing of
some of the most famous 'modernist' women writers - including
Virginia Woolf, Katherine Mansfield, and H. D. - is reassessed as
war literature, and the work of long-neglected authors such as
Vernon Lee, Frances Bellerby, and Mary Butts is given serious
attention for the first time.
The Great War stimulated a sudden growth in the novel industry, and the trauma of the war continued to reverberate through much of the fiction published in the years that followed its inglorious end. The essays in this volume, by a number of leading critics in the field, consider some of the best-known, and some of the least-known, women writers on whose work the war left its shadow.
When Virginia Woolf first met Vita Sackville-West at Clive Bell's
home in 1922, she wrote that Vita made her feel 'virgin, shy, &
schoolgirlish'. But over the next three years Vita charmed away her
shyness, and at the end of 1925 made Virginia her lover. Vita and
Virginia examines the creative intimacy between the two women,
interpreting both their relationship and their work in the light of
their experience as married lesbians. The contradictions and
conflicts of their situation are worked out through the
construction of different narratives of femininity, in letters,
novels, diaries, and other texts. The book discusses the two
women's continual renegotiation of what it means to be female, and
suggests that the mutual exchange of different versions of
womanhood is crucial to the development of their friendship. Vita
and Virginia offers innovative readings of both women's fiction,
their autobiographical texts, and a long-overdue study of
Sackville-West's work as a biographer and novelist. Emphasizing
wider contexts, Suzanne Raitt assesses the links between homosexual
desire and literary innovation, public politics and private lives.
Her work provides an invaluable new perspective on the relations
between sexuality and feminism in modernism.
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