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Virginia Woolf and Vanessa Bell: Figuring Sisterhood Jenni Råback

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Virginia Woolf and Vanessa Bell: Figuring Sisterhood Jenni Råback Virginia Woolf and Vanessa Bell: Figuring Sisterhood Jenni Råback Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy 1 I, Jenni Råback, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below, and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Jenni Råback Date: 2 September 2019 2 Abstract This thesis argues that Virginia Woolf’s writing must be understood as enacting her sororal relationship with her sister Vanessa Bell. The argument is grounded in theorisations of kinship that regard relationships as actively performed and constructed and therefore allow interpretations of creative work as a site of ‘doing sisters’, or sistering. A focus on siblings provides a lateral alternative to conventional figurations of familial and social life, which tend to follow Oedipal models. Siblings’ relationships comprise the fabrication, management and negotiation of their inherent sameness as well their difference within that sameness. I argue that Woolf’s writing, which was often explicitly inspired by her relationship with Vanessa and her views on Vanessa’s character, participates in such a sistering process. By reading Woolf’s writing alongside this theory and auto/biographical material, this thesis explores various ways of textual sistering. Beginning with her earliest fictional and biographical compositions, Virginia constructed her relationship with Vanessa by attempting to portray her and by creating and repeating a version of the familial history they shared. Virginia’s first two novels, The Voyage Out and Night and Day, besides featuring characters modelled on Vanessa, continue to enact and traverse a range of sororal feelings, which substantiate the difficulties of handling and representing the difference or otherness of the sister. My reading of Flush completes the thesis by proposing that, as a significant rewriting of the sisters’ herstory, it revisions kinship as accepting of otherness. Overall, this study contributes to understandings of Virginia and Vanessa’s complex bond, and to theorisations of art’s ability to produce personal intimacy and distance. 3 Acknowledgements This work came into being under the wing of the English Department at Queen Mary University of London. The department has been my intellectual home since 2011 and I am lastingly grateful to each teacher, mentor, and colleague who has guided me through the years. My foremost thanks are to my supervisors, Professor Peggy Reynolds, whose faith in me and this project never wavered, and to Professor Scott McCracken, whose discerning feedback has been invaluable. Academics near and far have contributed to my work in numerous ways. I am thankful to Clara Jones, Diana Swanson, Denis Flannery, Saskia McCracken, and Jenny Lelkes for sharing their work with me, and to Vicki Tromanhauser and Sam McBean for reading suggestions, and to Ruth Webb for free run of her library. Co-panelists at conferences have provided stimulating discussions and moments of insight. Special thanks to Hana Leaper who brought me to the Famous Women Dinner Service and has shown heart-warming interest in my work. In an editorial capacity, Derek Ryan and Peter Adkins have provided useful feedback to one version of this research. Peter, Michael Whitworth, Mimi Lu, Ellie Mitchell, Rachel Crossland, and Bryony Randall were kind to me in a post-pandemic world. I have also benefited from the treasures, patience and expertise of librarians and archivists at the Berg Collection of New York Public Library, The Keep at the University of Sussex, the British Library, and the University of Exeter library. I believe that scholarly pursuits and other fun are best shared and therefore want to acknowledge my many friends who have also been the most inspiring and admirable academics in my life: Jade, Melissa, Laura, Kester, Lauren, Eret, and Beci. Other friends who have made a difference in these four years include Simon, CJ, Seidi, Mira, Mikko, Tom, Fran, and Anna. Karo and Tom—thank you for the beds and vegan cupcakes. Most fundamentally, a study of sisters is of course all about family. My grandparents Ingmar and Irma, never having doubted me, have been instrumental in making everything I have ever done possible. My uncle Peter has been an early inspiration. Äiti, thank you for being the most undemanding mother and for teaching me that the world is open and beautiful. Pepi is in Chapter 4. Sanna, I love you, and you are naturally inscribed on every page of what follows. Iina, where did you go? Taru, you have sistered me with such complete goodness that you risk turning me into an essentialist. And finally and completely inadequately, thank you, James, whose love composes my everyday with such steadfastness that I may have to spend a lifetime looking for a phrase to stand beside your name. 4 Table of Contents List of Illustrations ................................................................................................................................... 6 INTRODUCTION: VIRGINIA, VANESSA, AND WRITING AS SISTERING .................. 7 CHAPTER 1. THE FOUNDATION OF SISTERHOOD: ‘THE OTHER HELD POSSIBILITIES’ .................................................................................................................................... 41 CHAPTER 2. ‘INTRUDING UPON YOUR CIRCLE OF BLISS’: KINSHIP AND ITS RUPTURE IN THE VOYAGE OUT AND MELYMBROSIA .................................................. 89 CHAPTER 3. NIGHT AND DAY: A PORTRAIT OF THE SISTER AS A YOUNG WOMAN ................................................................................................................................................ 135 CHAPTER 4. FLUSH AND SIGNIFICANT SORORAL OTHERNESS ............................ 184 INCONCLUSIONS .............................................................................................................................. 235 BIBLIOGRAPHY ................................................................................................................................. 242 5 List of Illustrations Figure 1. G.F. Watts, Sir Leslie Stephen (1878).................................................................................................44 Figure 2. G.F. Watts, Julia Stephen (c.1870)......................................................................................................44 Figure 3. Vanessa Stephen, Lady Robert Cecil (1905).......................................................................................47 Figure 4. Julia Margaret Cameron, ‘My Niece Julia, full face’ (1867)...........................................................61 Figure 5. Julia Margaret Cameron, ‘My Favourite Picture of all my works, my Niece Julia (Jackson) (1867)...........................................................................................................................................................................61 Figure 6. Julia Margaret Cameron, Julia Jackson (1864)................................................................................61 Figure 7. Vanessa Bell, The Red Dress (1929)....................................................................................................61 Figure 8. Vanessa Bell, Iceland Poppies (1909)...................................................................................................97 Figure 9. Vanessa Bell, Virginia Woolf (1911-12)...........................................................................................104 Figure 10. Virginia Stephen, sketch 1 in the manuscript M32—VOL 2, Berg Collection, New York Public Library.........................................................................................................................................................128 Figure 11. Virginia Stephen, sketch 2 in the manuscript M32—VOL 2, Berg Collection, New York Public Library.........................................................................................................................................................129 Figure 12. Vanessa Bell, Self-Portrait (1915)..................................................................................................148 Figure 13. Vanessa Bell, The Tub (1917)..........................................................................................................165 Figure 14. Quentin Bell, The Two Miss Stephens (1925)...............................................................................203 Figure 15. Vanessa Bell, Still Life on Corner of a Mantelpiece (1914)..........................................................223 Figure 16. Vanessa Bell, Miss Mitford takes Flush for a walk (1933)...........................................................225 Figure 17. Vanessa Bell, The
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