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NUMBER 84 FALL 2013 – TABLE of CONTENTS – – EVENTS, INFO and Cfps NUMBER 84 FALL 2013 To the Readers night insects killed by contemporary bug-zapper Woolf and Animals – TABLE of CONTENTS – See page 8 technology. Twenty-first century Woolf scholarship has seen International Virginia Woolf Alison Lacivita’s “‘diamond-cut red eyes’: Insect a surge of interest in Woolf and the natural world. Society Column, Perspectives in To the Lighthouse and Between the Virginia Woolf and the Study of Nature, by Christina Officers and Members-at-Large Acts” examines the viewpoints of insects in two of Alt (2010); In the Hollow of the Wave: Virginia See page 52 (continued on 51) Woolf’s novels, examining the way in which Woolf Woolf and Modernist Uses of Nature, by Bonnie – EVENTS, INFO and CFPs– envisions what ants or bluebottle flies or butterflies Kime Scott (2012); Virginia Woolf and the Natural About MLA 2014 in Chicago experience in tandem with the human presence. World: Selected Papers from the Twentieth Annual See page 3 International Conference on Virginia Woolf, Louisville Conference Becky Tipper, in “Moments of Being and Ordinary edited by Kristin Czarnecki and Carrie Rohman 2014 Panel & 2015 CFP Human-Animal Encounters,” takes a sociological (2011); the “Eco-Woolf’ issue of the Virginia Woolf See page 3 and ethnographic approach when she considers how Miscellany, edited by Diana Swanson (2012); and About the 2014 Woolf’s concept of moments of being “offers an Virginia Woolf and the Materiality of Theory: Sex, Annual Conference on Virginia Woolf eloquent and evocative way to understand” human- Animal, Life, by Derek Ryan (2013), are among See page 4 animal encounters. After discussing several of works exploring the myriad aspects of nature Woolf’s own examples of moments of being, Tipper and the environment found throughout Woolf’s Virginia Woolf Miscellany recounts in-depth interviews she held with people Editorial note: While previously published work may oeuvre. As Swanson points out, for instance, be submitted for consideration, the original publication about their highly affecting experiences with the “Ecocriticism and ecofeminism are relatively new must be acknowledged at the time of submission. non-human other. She finds that “in such moments theoretical and methodological approaches in Guest Editors & CFPs of being, humans might indeed appreciate ‘what Woolf studies but have already proved to be fertile Issue #86—Fall 2014 it is like’ to be a creature” and that “people may avenues into her work” (1). In addition, the issue Virginia Woolf and Katherine Mansfield Articles on the topic may include Woolf’s and experience interspecies ‘fellowship’ or intimacy.” of Deleuze Studies, “Deleuze, Virginia Woolf, and Mansfield’s writings, friendship, rivalry, shared Modernism” (7:4 2013), includes two essays on interests; different ways they interconnect; Sandra Inskeep-Fox’s poem, “The Snail and animality: Carrie Rohman’s “A Hoard of Floating literary experiments; modernist agendas; the transcending time,” is the first of several Monkeys: Creativity and Inhuman Becomings in engagements with social, political, economic contributions concerning Woolfian snails. Her poem Woolf’s Nurse Lugton Story” and Derek Ryan’s concerns; attitudes to empire, nationality, adopts the snail’s perspective from “The Mark on cultural belonging. We also welcome critical the Wall” while integrating the human observer’s “‘The reality of becoming’: Deleuze, Woolf and the perspectives such as constructions of self and Territory of Cows.” These works are just a few of identity, sexuality, ecology, critical animal perceptions as well. “She is watching me,” the snail many. Virginia Woolfstudies, commodity culture and the marketplace,Miscellany states, “taking notes. / She wants to sink deeper, / the visual arts. Send submissions of no more […] Only / I know that to look is not to see.” Indeed, animals play a vital role in Woolf’s life and than 2500 words to: writing. From the lighthearted animal nicknames Kathryn Simpson E. D. Kort’s “The Snail in ‘Kew Gardens’: A <[email protected]> and Commentary on Ethical Awareness” offers a she shared with her family to the disturbing animal Melinda Harvey imagery in Between the Acts, creatures great and <[email protected]> meticulous investigation of the ethics of the snail small roam among Woolf’s letters, diaries, short Deadline: March 1, 2014 and its various endeavors. The snail’s diligence stories, novels, and essays. This special Miscellany Issue #87—Spring 2015 and intentionality contrast with the humans who issue on Woolf and Animals highlights the “1930s Woolf” wander randomly through the snail’s environment, innovative ways Woolf perceived and represented . This issue of VWM seeks contributions that preoccupied only with themselves. She argues that the nonhuman other. These contributions are explore Woolf’s relationship to the canonical Woolf “has drawn a careful contrast between the literature of the 1930s, such as but not limited snail’s world on the one hand and the insincerity, grouped on the premise of the living beings that are to Auden’s poetry, Isherwood’s Berlin fiction, discussed, and the perspectives focus on a range of Auden’s and Isherwood’s plays, Spender’s awkwardness, and self-absorption of humans on the beings including insects, snails, toads and snakes, commentary, and Waugh’s comedic novels. other.” fish, birds and four-legged creatures including In addition, this issue encourages responses rabbits and Elizabeth Barrett Browning’s animal to the following questions: How does Woolf Katherine Parker-Hay in “Reading a Woolfian scholarship, if at all, engage with the critical companion, Flush. Sexuality in the Poetry of Marianne Moore” study of 1930s literature? How does Woolf’s considers representations of sexuality in Mrs. modernism disrupt or complement the critical Dalloway and Marianne Moore’s poem “The Jeanne Dubino’s article, “Virginia Woolf’s understanding of 1930s literature? What can Dance-Drama: Staging the Life and Death of Woolf’s late fiction and essays reveal about Paper Nautilus.” Noting that critics have found the Moth,” combines a very close reading of the 1930s and its literature that the common both women avoiding sexuality in their texts, Woolf’s essay, “The Death of the Moth,” with scholarly narrative conceals or overlooks? Parker-Hay sees Woolf and Moore drawing upon the recent developments in the field of nonhuman Send submissions of no more than 2500 words animal imagery to “expand beyond the trappings to: Erica Gene Delsandro of the classic sexual metaphor.” Both writers take animal studies. She positions the argument in the <[email protected]> context of our increasingly rapid planetary mass Deadline for submission: up the image of exterior protective armor, such as extinctions. She also pairs the demise of this single August 1, 2014 Clarissa’s party dress, Doris Kilman’s defiance, moth, which is entirely due to natural causes, and the paper nautilus, in considering women’s For information or questions about autonomy over their sexuality, domesticity, and with Monica Youn’s poem, “Against Imagism,” the Virginia Woolf Miscellany which illuminates the annihilation of millions of contact Vara Neverow maneuverability in patriarchal spaces. <[email protected]> 1 The “‘The curious phenomenon of your occipital horn’: Spiraling around “What Does Power Smell Like? Canine Epistemology and the Politics Snails and Slugs in Virginia Woolf” by Elisa Kay Sparks provides a of the Pet in Virginia Woolf’s Flush” by Anna Feuerstein considers thorough overview of snails and slugs throughout Woolf’s writings. At how canine epistemology in the novel “disrupts the dominant empirical times, they signify “cozy self-sufficiency” as when Woolf wonders in epistemology of the period, allowing readers to experience animal her diary whether a “dark dry little house [. .] a little snail shell of a alterity as a non-empirical mode of knowing.” In doing so, she counters place [. .] could be made habitable for the summer.” Snail shells also “the dominant critical belief that the novel’s use of anthropomorphism serve as “metaphors for human endeavor” and “houses of fiction,” while discounts the possibility of animal alterity.” Relying primarily on scent, exploring the world from a snail’s viewpoint yields fresh insights into Flush’s canine epistemology opposes Victorian empiricism while also both animal and human subjectivity. Sparks finds “that, as with many of highlighting “the troublesome power relationships associated with [Woolf’s] natural references, there is a lifetime of observation, emotional pet keeping” and “the ‘smelly’ side of gender oppression in Victorian resonance, and symbolic elaboration underwriting the many tenors of England.” these miniature vehicles.” In the same vein, Jamie Johnson, in “Virginia Woolf’s Flush: In“‘Like Snake that Swallowes toad’: Woolf and Male Cultural Power,” Decentering Human Subjectivity through the Nonhuman Animal Jim Stewart begins the argument by noting that Woolf, by setting Character,” cites studies that emphasize Woolf’s anthropomorphizing out to read Andrew Marvell’s entire oeuvre during 1921, the poet’s of Elizabeth Barrett Browning’s dog and a critique of Victorian tercentenary, was also engaging in “a subterranean resistance . to mores as the novel’s principal tropes. Johnson, in turn, sees Flush [T. S. Eliot’s] ‘magisterial’ (D2 292) paternalistic cultural authority.” showing the “complex workings of human-animal relationships with Stewart aligns a contested passage in The Loyall Scot,
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