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2. Phyllis Rose, Writing of Women: Essays in a Renaissance (Wesleyan University Press, 1985) P

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2. Phyllis Rose, Writing of Women: Essays in a Renaissance (Wesleyan University Press, 1985) P Notes Introduction 1. E. M. Forster, 'Virginia Woolf', Two Cheers for Democracy (Penguin, 1965) p. 250. 2. Phyllis Rose, Writing of Women: Essays in a Renaissance (Wesleyan University Press, 1985) p. 69, emphasis added. 3. Ibid., p. 71. See also Carolyn Heilbrun, Writing a Woman's Life (Norton, 1988). This model of identity is attributed to Erik Erikson. Both Rose and Heilbrun discuss its importance for the writing of biography. 4. MHPBll. Chapter 1 1. Vanessa Bell, 'Notes on Virginia's Childhood', cited by Louise De­ Salvo, Virginia Woolf: The Impact of Childhood Sexual Abuse on her Life and Work (Women's Press, 1989) p. 138. 2. Cited by Lyndall Gordon, Virginia Woolf: A Writer's Life (Oxford Uni­ versity Press, 1986) p. 15. 3. A Cockney's Farming Experience, ed. Suzanne Henig (San Diego State University Press, 1972). This juvenile work is quoted extensively by Louise DeSalvo, op. cit., but her analyses seem to me to be fanciful. 4. See Noel Annan, Leslie Stephen: The Godless Victorian (University of Chicago Press, 1984) p. 105f; also Moments of Being. 5. Annan, op. cit., p. 107. 6. Julia Margaret Cameron, Victorian Photographs of Famous Men and Fair Women, with Introductions by Roger Fry and Virginia Woolf (Hogarth Press, 1926): see also ed. Graham Ovenden, A Victorian Album: Julia Margaret Cameron and Her Circle (Seeker and Warburg, 1975). 7. Noel Annan, op. cit., p. 119-20. 8. Monks House Papers MHIA.5c (University of Sussex Library), cited and discussed in Martine Stemerick, 'Virginia Woolf and Julia Stephen: The Distaff Side of History' in eds Elaine K. Ginsberg and Laura Moss Gottlieb, Virginia Woolf: Centennial Essays (Troy, New York: Whitston, 1983). 9. On Dr Savage and his role in Woolf's life see Stephen Trombley, 'All that Summer She was Mad': Virginia Woolf and Her Doctors ijunction Books, 1981). 10. Annan, op. cit., p. 305. 11. Ibid., p. 113. 12. Add. MSS 61973 British Library. 13. Ibid. 14. Alice Fox, Proceedings of the Modern Languages Association of America, 208 Notes 209 1982, vol. 97, p. 103-4; this is in reply to Katherine Hill, 'Virginia Woolf and Leslie Stephen: History and Literary Revolution', PMLA, 1981, vol. 96, pp. 351-62. 15. Annan, op. cit., pp. 13~1. See also Louise DeSalvo, 'As "Miss Jan Says": Virginia Woolf's Early Journals', in ed. Jane Marcus, Virginia Woolf and Bloomsbury (Macmillan, 1987), p. 96f. and Virginia Woolf: The Impact of Childhood Sexual Abuse on her Life and Work (Women's Press, 1989). DeSalvo quotes extensively from the early diaries. In my opinion her speculations about Woolf often go far beyond anything that could be supported by the known evidence. 16. See the works cited in note 6 above. Woolf's essay was the introduc­ tion which is referred to there. See also Freshwater: A Comedy (Hogarth Press, 1976). Chapter 2 1. See Madeline Moore, The Short Season Between Two Silences: The Mystical and the Political in the Novels of Virginia Woolf (George Allen &t Unwin, 1984). 2. See Jane Marcus, 'The Niece of a Nun: Virginia Woolf, Caroline Stephen, and the Cloistered Imagination' in her Virginia Woolf and the Languages of Patriarchy (Indiana University Press, 1988). In my view Marcus seriously exaggerates the influence of Caroline Stephen on Woolf by neglecting the fundamental differences between them on questions of religion. Nonetheless, this chapter contains much useful information. 3. 'A Dialogue upon Mount Pentelicus', Times Literary Supplement, 11-17 September, 1987, p. 979. 4. These details I owe to the generosity of Andrew McNeillie who has informed me of 44 recently discovered Woolf essays in the TLS ar­ chives. They will be printed as an appendix to a future volume of The Essays of Virginia Woolf. 5. See Louise DeSalvo, 'Shakespeare's Other Sister' in ed. Jane Marcus, New Feminist Essays on Virginia Woolf (Macmillan, 1981). 6. See note 3. 7. 'Friendship's Gallery', Twentieth Century Literature, vol. 25, nos 3-4, Fall/Winter 1979, with an introduction by Ellen Hawkes. See also Ellen Hawkes, 'Woolf's "Magical Garden of Women'" in ed. Jane Marcus, New Feminist Essays on Virginia Woolf. 8. See, for example, S. P. Rosenbaum, Victorian Bloomsbury: The Early Literary History of the Bloomsbury Group, volume 1, StMartin's Press, 1986, pp. 161, 224. 9. Leonard Woolf, Sowing, in ed. S. P. Rosenbaum, The Bloomsbury Group: A Collection of Memoirs, Commentary and Criticism (University of To­ ronto Press, 1975) p. 104. 10. G. E. Moore, Principia Ethica (Cambridge University Press, 1962) p. 15. 11. J. M. Keynes, 'My Early Beliefs', in Two Memoirs (Rupert Hart-Davis, 1949)p. 85, reprintedined. S. P. Rosenbaum The Bloomsbury Group, p. 54. 210 Notes Chapter 3 1. For the history of The Voyage Out and its various drafts see Virginia Woolf, Melymbrosia: An Early Version of The Voyage Out, ed. Louise DeSalvo (New York Public Library, 1982) and Louise DeSalvo, Virginia Woolf's First Voyage: A Novel in the Making (MacmiUan, 1980). 2. The concept of the 'moratorium' derives from the work of Erik Erikson and is discussed in relation to Virginia Woolf by Carolyn Heilbrun, Writing a Woman's Life (Norton, 1988). Alex Zwerdling, Virginia Woolf and the Real World (University of California Press, 1986) applies the concept to the case of Jacob Flanders in Jacob's Room. 3. Leonard Woolf, The Wise Virgins cited Roger Poole, The Unknown Virginia Woolf (Cambridge University Press, 1978) p. 95. 4. Frances Spalding, Vanessa Bell (Macmillan, 1984) p. 61. 5. Cited by S. P. Rosenbaum, Victorian Bloomsbury, p. 66. 6. For more details see George Spater and Ian Parsons, A Marriage of True Minds: An Intimate Portrait of Leonard and Virginia Woolf Oonathan Cape and the Hogarth Press, 1977) chapter 6. 7. J. M. Keynes, 'My Early Beliefs', op. cit., also in ed. S. P. Rosenbaum, The Bloomsbury Group, p. 64. 8. Gerald Drenan, Personal Record 1920-72 Oonathan Cape, 1974) p. 156. For another excellent account of Virginia Woolf and her Bloomsbury friends by Gerald Drenan see the extract from his South from Granada reprinted in ed. S. P. Rosenbaum, The Bloomsbury Group, p. 283f. 9. Roger Poole, The Unknown Virginia Woolf, p. 62. 10. S. P. Rosenbaum, The Bloomsbury Group, p. 77. 11. Ibid., p. 67. 12. From a draft of The Voyage Out cited by Louise DeSalvo, Virginia Woolf's First Voyage, p. 43. 13. For the best class analysis of the Bloomsbury Group see Raymond Williams, 'The Bloomsbury Fraction' in Problems in Materialism and Culture (Verso, 1980). 14. Roland Barthes, A Lover's Discourse: Fragments (Hill and Wang, 1978) p. 73. 15. Cited by Louise DeSalvo, Virginia Woolfs First Voyage, p. 47. Compare the 'censored' version, VO 139. Chapter 4 1. Jane Marcus is right to emphasise the analogy with The Magic Flute in her 'Enchanted Organ, Magic Bells: Night and Day as a Comic Opera' in Virginia Woolf and the Languages of Patriarchy (Indiana University Press, 1988) p. 18f. 2. Sally Dennison, Alternative Literary Publishing: Five Modern Histories (University of Iowa Press, 1984) p. 73. 3. Eileen Traub, 'The Early Years of the Hogarth Press', American Book Collector, vol. 7, October 1986, pp. 32-6. 4. Peter Ackroyd, T. S. Eliot (Cardinal, 1988) p. 127. Notes 211 5. See Phyllis Rose, Woman of Letters: A Life of Virginia Woolf (Routledge & Kegan Paul, 1978) p. 279, note 17. 6. Suzette Henke, 'Virginia Woolf Reads James Joyce: The Ulysses Note­ book', in eds Morris Deja, Phillip Herring et al., James Joyce: The Centennial Symposium (University of Illinois Press, 1986) pp. 39-42. 7. Richard Ellmann, James Joyce (Oxford University Press, 1982) p. 403. Chapter 5 1. On the drafts of Jacob's Room see E. L. Bishop, 'The Shaping of Jacob's Room: Woolf's Manuscript revisions', Twentieth Century Literature, vol. 32, no. 1, Spring 1986, pp. 115-35. For useful contributions to other topics relevant to my discussion of Jacob's Room see Barry Morgenstern, 'The Self-Conscious Narrator in Jacob's Room' in Modern Fiction Studies, vol. 18, no. 3, 1972, p. 351£., and Judy Little, 'Jacob's Room as Comedy: Woolfs Parodic Bildungsroman' in ed. Jane Marcus, New Feminist Essays on Virginia Woolf (University of Nebraska Press, 1981). Alex Zwer­ dling's discussion in his Virginia Woolf and the Real World (University of California Press, 1986) is particularly good and in tune with the basic strategy of the present book, as he discusses Woolf's innovations in form in relation to her purposes as a writer, as means to her broader ends. 2. Phyllis Rose, Writing of Women, op. cit., p. 69. 3. See above, note 1. 4. John Mepham, 'Mourning and Modernism', in eds Patricia Clements and lsobel Grundy, Virginia Woolf: New Critical Essays (Vision Press, 1983) pp. 137-56. 5. Richard Jenkyns, The Victorians and Ancient Greece (Oxford University Press, 1980) p. 338. 6. Peter Parker, The Old Lie: The Great War and the Public School Ethos (Constable, 1987) p. 218. 7. Ibid. 8. Ibid., p. 219. See also John Mepham, 'Mourning and Modernism', op. cit. (note 4) on the 'Greek' theme in Jacob's Room and the significance of Woolfs 1924 essay 'On Not Knowing Greek'. 9. On Rupert Brooke see Samuel Hynes, Edwardian Occasions: Essays on English Writing in the Early Twentieth Century (Oxford University Press, 1972) pp. 144-52. 10. E II, p. 203; see also p. xiii. 11. B. J. Kirkpatrick, A Bibliography of Virginia Woolf, 3rd edn (Clarendon Press, 1980) p. 16. 12. This and many other letters from Forster to Virginia Woolf are in Monks House Papers, Sussex University Library and in eds Mary Lago and P.
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