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The Death of the Moth and Other Essays, by Virginia Woolf
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A highly acclaimed collection of twenty-eight essays, sketches, and short stories presenting nearly every facet of the author's work. "Up to the author's highest standard in a literary form that was most congenial to her" (Times Literary Supplement (London)). "Exquisitely written" (New Yorker); "The riches of this book are overwhelming" (Christian Science Monitor). Editorial Note by Leonard Woolf.
- Sales Rank: #667099 in Books
- Color: Black
- Published on: 1974-10-23
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .64" w x 5.25" l, .66 pounds
- Binding: Paperback
- 248 pages
- ISBN13: 9780156252348
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
Review
A posthumous collection of her essays, written over a twenty year period, but issued ten years after her Second Common Reader. For the most part, the essays fall into two classes slight, charming, almost idyllic bits of atmosphere writing; and critical essays, chiefly on figures of a period past (Coleridge, Sara Coleridge, Shelley, Henry James, George Moore and others). There are a few - a very few - more personal bits - one on the subject of her horror of being thought middlebrow - high??, yes, but never the other. Only one even touches on the war. Interesting to read immediately after the Forster Virginia Woolf, and to trace and check with him through a fresh approach to unread material. (Kirkus Reviews)
About the Author
VIRGINIA WOOLF (1882–1941) was one of the major literary figures of the twentieth century. An admired literary critic, she authored many essays, letters, journals, and short stories in addition to her groundbreaking novels.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Kicking Against The Pricks
By reading man
Virginia Woolf had an unfortunate life, beginning with her family relationships, notably having the ill-tempered and depressive Leslie Stephen for a father. Early on, she exhibited the symptoms of mental illness (most likely bi-polar disorder for which there was no effective treament in her lifetime) and had several psychotic episodes and hospitalizations. Leonard, her husband, was apparently an understanding and supportive man, though her sex life with him was unsatisfactory, even less than her affair with Vita Sackville-West, who by all accounts was a bitch supreme, who managed to have a happy marriage with Harold Nicholson mostly because he and she were more homosexual than heter.
With all this misfortune, you almost have to hope that Virginia's career as a writer had been more successful. Primarily, she hoped to be a major novelist, but the majority of her fiction, written in part to demonstrate the irrelevance of "realism", is mediocre, excepting perhaps TO THE LIGHTHOUSE, which survives largely because of the animus towards her father, the inspiration for one of the characters. (Her first novels--THE VOYAGE OUT and NIGHT AND DAY--are realistic, but they're minor works, if not exactly juvenilia.)
As someone has said, her books are like paintings with lots of color and texture but no draughtsmanship. The "luminous halo" she sought to portray eludes her and stultifies her reader.
Her real gift was for the essay form and literary criticism. The book under review and her two volumes of THE COMMON READER are her greatest achievements. Why she wasn't satisfied with being a good essayist and critic mystifies me. How many good essayists and critics have written worthwhile fiction? Trilling's lone novel is second-rate, Edmund Wilson's fiction the same, Raymond Williams and V.S. Pritchett wrote bad novels (though something could be said for the latter's short stories). And going back further Sainte-Beuve's VOLUPTE is far inferior to his causeries. Hazlitt never attempted fiction, neither did Matthew Arnold or T.S. Eliot; and I can only speculate how awful a novel F.R. Leavis or Queenie would have produced.
Doing what you do well ought to be enough, but apparently writers like Virgina Woolf never think so.
5 of 5 people found the following review helpful.
A new look on life
By Judith Paley
I was lying on the floor, nominally exercising but really just taking time off from gravity, when I noticed a small piece of fuzz on the carpet. Pinching it between forefinger and thumb, I realized it was a small moth crushed now in my fingers, as soft as lint. Oh yuck, I thought, and good riddance too, darned thing and its cousins probably feasting on my winter wool wardrobe.
Virginia Woolf, however, has more moth compassion in her four page essay than I've mustered in a lifetime. "The possibilities of pleasure seemed that morning so enormous and so various that to have only a moth's part in life...appeared a hard fate, and his zest in enjoying his meagre opportunities to the full, pathetic." She stuck with Moth-Guy to his end, musing over life force and death. And that is why I loll on floors and she authors books.
Best essay of all in this book was "Street Haunting" wherein an early evening walk in winter through London streets "gives us the irresponsibility which darkness and lamplight bestow. We are no longer quite ourselves." She proceeds on a 14 page meditative journey through the streets and shops of central London.
The bulk of the book's entries are literary criticism for which I have no background to appreciate. But the first five essays are definite jewels.
7 of 9 people found the following review helpful.
A supreme artist at work
By Shalom Freedman
Woolf is an outstanding essayist. This work edited and put together by her husband Leonard Woolf is her last volume of essays. It contains essays on a wide variety of subjects beginning with her careful depiction of the 'Death of a Moth' and containing essays on Henry James, Madame de Sevigne, the historian Gibbon, Sara Coleridge, George Moore, E.M.Forster, . She also has essays on 'The Art of the Biography''A Letter to a Young Poet' 'Middlebrow' 'Craftsmanship' ' Professions for Women' 'Thoughts on Peace in an Air Raid'.
One of her most revealing set of insights is given in the essay on 'The Art of Biography' There she defends the aesthetic supremacy of her own mode of writing, the novel.
"It seems, then, that when the biographer complained that he was tied by friends, letters and documents he was laying his finger upon a necessary element in biography; and that it is also a necessary limitation. For the invented character lives in a free world where the facts are verified by one person only- the artist himself. Their authenticity lies in the truth of his own inner vision. The world created by that vision is rarer, intenser, and more wholly of a piece than the world that is largely made of authentic information supplied by other people."
Woolf makes an especially beautiful description of the distinguishing character of a writer whose greatness she defends, Henry James.
"For ourselves Henry James seems most entirely in his element , doing that to say what everything favours his doing , when it is a question of recollection. The mellow light which swims over the past, the beauty which suffuses even the commonest little figures of that time, the shadow in which the detail of so many things can be discerned, which the glare of day flattens out, the depth, the richness, the calm, the humour of the whole pageant- all this seems to have been his natural atmosphere and his most abiding mood."
Her stylistic brilliance and acute aesthetic perception pervades these outstanding essays.
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