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Virginia Woolf: A Biography, by Quentin Bell
PDF Download Virginia Woolf: A Biography, by Quentin Bell
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The first full-scale biography of the eminent British writer, written by her nephew. Index; photographs.
- Sales Rank: #369358 in Books
- Published on: 1974-03-20
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 1.44" w x 5.25" l, 1.43 pounds
- Binding: Paperback
- 576 pages
- ISBN13: 9780156935807
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
About the Author
JULIA BRIGGS is a professor of English at De Montfort University in Leicester, England. She was professor of Woolf studies at Hereford College, Oxford, for many years and is currently the editor of the reprint series of Woolf's novels. She lives in Leicester.
Most helpful customer reviews
159 of 165 people found the following review helpful.
A definitive source...
By Dianne Foster
I read VIRGINIA WOLFE: A BIOGRAPHY by Quentin Bell after I had read several other books about Wolfe. I was pleased to discover that Bell included some of the more unsavory aspects of Woolfe's life even though he was a blood relative and wrote his book in an age that frowned on revealing "dirty" family secrets. I am referring to the presumed incestuous behavior of Woolfe's brothers towards Virginia and Vanessa.
Quentin Bell was the son of Virginia's sister the artist Venessa Bell. Virginia and Vanessa were the daughters of the very prominent English Victorian Leslie Stephen. Stephen married Virginia's mother Julia after her first husband Herbert Duckworth died. The brothers accused of incest were sons from the first marriage and much older than Virginia who was the next to the youngest child of Julia and Leslie.
Much has been written about the end of Virgina's life, how she placed several heavy stones in her pockets and walked into the river Ouse near her home and drowned herself in the early 1940s. As recently as last week on Garrison Keilior's "Writer's Almanack" on NPR on the anniversary of her birth this event was mentioned again as if it was the only thing she ever did of interest.
But Virginia did not take her life easily. She had survived some horrific events including the death of her beloved brother Thoby--her closest sibling, and the deaths of many other loved persons during WWI, as well as the death of Lytton Strachey her best friend. Moreover, at the time of her death, her London home in Bloomsbury had been bombed and Hitler was threatening to invade England. Virginia's husband Leonard was Jewish and they were both aware of what Hitler was doing to the Jews.
The most wonderful aspect of Bell's book is that he tells the complete story of Virgina's life--how she coped with sorrow and used her life experiences to frame her art. She was probably the most original writer of the 20th Century, and much of the glory that went to James Joyce should have gone to her. At the very least, she was his equal. She wrote in a 'stream of consciousness subjective voice' before James, but she wrote in an era when women writers found it difficult to become published. In fact, Virginia and Leonard started their own publishing press to deal with this deficiency. Even so, Virginia's work remained relatively obscure until it was "discovered" during the women's movement of the 1960's.
This is an illuminating, sad, and reflective book written by a man who knew and loved her. If you want to know more about Virginia Wolfe this is the place to begin.
11 of 12 people found the following review helpful.
A Most Interesting Perspective
By kristy cacciapaglia
An amazing and unique look at the life of Virginia Woolf, through the thoughts and studies of her own nephew--Quentin Bell. Filled with history, quotes, parts of letters and diary entries, this makes a wonderful and educational read. A peek into the society of Bloomsbury and beyond. This biography follows Virginia and all who were close to her through turbulent times and the happiness and stress of new households.
5 of 5 people found the following review helpful.
A Brilliant Author Who Lived in Pain
By not a natural
Before I read Quentin Bell's biography of his aunt, Virginia Woolf, I knew next to nothing about her. I had read her two best known novels, Mrs. Dalloway and To the Lighthouse, and found them brilliantly illuminating. Literary scholars have characterized her as an early Twentieth Century modernist, and my reading casts her in the literary role of an existentialist. I take it that modernism and existentialism are not mutually exclusive, at least not in the work of Virginia Woolf.
I doubt, however, that Virginia Woolf, would have been interested in such categories or her place in them. For the most part, the same seems true of her biographer. Woolf, as rendered by her nephew, was committed to language, the written word, as a medium that could give true rendering of all human experience. From the time that she she began to take writing seriously, Bell makes clear that Woolf rejected claims that prose was inevitably linear and chronologically conventional, dealing with one thought or one character or one social setting at time. Instead, Bell does a fine job of making clear that his aunt was a member of a truly worthy literary avant garde, one that rejected conventional accounts of what it's like to participate in everyday life and what language could do to capture that experience.
In Virginia Woolf's written world, a family, friends, and acquaintances may be sitting at a dining table, eating and engaged in innocuous chatter, and giving the appearance that, for now, these activities are all-consuming, that they are what the social arrangement is about. However, Woolf is enormously skillful at making abundantly clear that each of the participants, in his or her own way, may be cognitively and affectively disengaged, each occupying a separate and distinct world that has little or nothing in common with the activities in which they are observably immersed. More than in the observable world, people live inside their heads, experiencing life in ways unknown to others, and investing the components of their ambience with different meanings.
That Virginia Woolf should be brilliantly accomplished at making this overlay of differentiated participation and engagement comes as no surprise to readers of Bell's biography or Woolf's novels. As with her characters, Virginia Woolf lived an extraordinarily rich interior life, self-absorbed to a fault, treating all experiences as worth having only insofar as one could regard them as objects of intellectual examination, things that she thought through in terms of their proper place in the realm of ideas that she acquired in a life socially limited to the British upper middle class.
Though intellectually powerful and occupying a conspicuous place among the great writers of her time, Woolf lacked social spontaneity and was, throughout her life, frequently ill. Her friends, moreover, including members of the famous and admired Bloomsbury Group, were eccentric, idiosyncratic, overly intellectual hot-house plants, people like Virginia, with life experiences limited to the same social milieu. As Quentin Bell presents them, they give every appearance of being manifestations of social in-breeding from generation to generation, and they are afflicted with the limitations born of that process.
Undoubtedly, the constraints and peculiar character of Virginia Woolf's social experience contributed to determining what she wrote. After all, the characters in her novels are middle class and upper middle class men, women, and children. However, insofar as there is universality to the purely existential determinants and processes of what it is like to be a human being, Virginia Woolf's books are unbounded in their importance. If we read her novels and think about them, we come to see the world in a very different way, as is skillfully made clear by the author of her biography.
Most people know that Virginia Woolf's life ended in suicide. As Quentin Bell presents it, her death was a predictable outcome of her madness. However, Bell also makes clear that with a Nazi invasion perhaps imminent, the Woolf's, Virginia and her husband Leonard, had already thought about and planned to kill themselves rather than being a Jew and his wife in an England ruled by Hitler. Virginia Woolf's madness may have taken her to the end, but given the time and place in which she lived, this judgment may put things too unambiguously, especially if we are to be true to the existentialist world of early Twentieth Century modernism, with life perhaps imitating art.
Bell's biography is long and in some places detailed to the point of tedium. Nevertheless, I think he has done justice to the painful life and brilliant work of his aunt, and that she, a perfectionist, would be pleased with his efforts.
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