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Contact the director at for information. Cover portrait etching of Virginia Woolf by Helene Orr. Frontispiece: Virginia Woolf. The Henry W. Endpiece: Virginia Woolf. Thursday, 20 June Reel Three D Ramsay: or, "8 Qualities of Mrs. Ramsay That Could be Annoying to Others" Where is the Lighthouse? Leslie Stephen edited Cornhill Magazine from to , publishing, besides his own series of literary and occasional sketches, such major Victorian authors as Matthew Arnold, Thomas Hardy and ex-patriot Henry James.

Currently Cambridge University Press, under the general editorship of Jane Goldman and Susan Sellers, is publishing new scholarly editions of the novels, three of whose editors are represented in this conference collection. Of the papers delivered in 32 panels at the conference we are pleased to present a representative sampling of most of the panels.

These two lectures serve as bookends to this collection. Chapter Two, Woolf and the Presses, moves outward to investigate the role of Hogarth Press and the periodical presses in the United States, United Kingdom and Italy in relation to editorial decisions and public reception. Joanne Tidwell tackles the dilemma of how one might approach editing personal diaries for public consumption, comparing shorter versions to their un-silenced longer volumes.

The pa- pers in this collection detail the conception and performance of both pieces. In addition, we were pleased to have a fourth panel participant, distinguished Woolf editor and current literary editor for Oxford University Press, Andrew McNeillie. Notes 1. See John W. Bicknell, ed. Selected Letters of Leslie Stephen. See J. Stape and James M. Leonard Woolf, 4 vols. Andrew McNeillie, 6 vols. Edward L. Nigel Nicolson and Joanne Traut- mann, 6 vols. Ramsay when I started teaching To the Lighthouse.

The year was ; I was a newly hired assistant professor, and I was team teaching the course on Twentieth- Century British Fiction with a senior male colleague. He was a mild man, a tolerant man, who had studied with Lionel Trilling and saw his role as encouraging his junior partner rather than competing with her; but when, in my lecture on To the Lighthouse, I implied that perhaps Mrs.

Ramsay was not the idealized vision of womanhood, motherhood, unity, continuity, fertility that critics at that time painted her to be, and that in fact she dies, he became apopleptic. I begin with this anecdote because it introduces my topic: the shifting attitudes to- wards Mrs. This is in many ways a generational story, one that those of you who have been around as long as I have will be familiar with; those who came to Woolf more recently might be surprised at the passions swirling around the topic, especially at the time I gave my initial talk.

Shortly after, while teaching To the Lighthouse, I mentioned that someone should study whether changes in the mother-daughter relation- ship translate into changes in the reading of the novel, so when Eleanor McNees invited me to speak at the Virginia Woolf conference in Denver, I thought, why not me?

Originally, I planned to use the introductions to successive editions of the novel as my primary source, but I soon realized that the project far exceeded what I could pres- ent. Instead, I have concentrated on the period around my original lecture in when feminism and other critical trends were radically reframing—or editing—not only Mrs. Ramsay but the mother-daughter relationship itself. When the replies began arriving, I knew they had to be included: in part because they were so fascinating, but for the most part because this talk, oh so sadly, is in memory of Julia Briggs.

I began to feel that the best way to honor Julia was to incorporate as many voices as I could: to make this tribute a conversa- tion among individuals and generations. This is exactly the kind of conversation Julia was so brilliant at starting, whether in the talks she gave or the conferences she helped organize or her extensive writings, and exactly the kind of conversation she would have relished. Back, then, to winter Ramsay were when I read the novel in at age 22; nor do I remember re-reading it until I began to teach it. At this point my memories become very clear, for my encounter with my colleague paled before my next experience of the outrage directed toward my so-called feminist distortion of the text by two far younger men at Middlebury College when I served as an outside reader for a senior thesis on the novel.

I, of course, was not alone. This was also the experience of at least one of the leading women scholars at the time who, she wrote me, faced opposition to her questioning of Mrs. In order to understand this rage, one needs to look at the critical discourse about Mrs. Ramsay that framed that moment. Ramsay reveals a range of opinion from one extreme of sexual politics to the other. At one extreme we have those who see Mrs.

Ramsay as Prototypal Mother and Mr. Ramsay as Tyrannical Male; at the other extreme those who see her as Devouring Female and him as her Victim. Ramsay 3 always function. For the archetypally antithetical view of Mrs. Ramsay is a beautiful, positive creature, but gradually.

Only after her death can James and Cam go to the lighthouse, and thus symbolically to their father. Es- sentially Mrs. Ramsay refuses to subordinate her individuality to community, to become one with Mr. Ramsay, to share with him the forming of the family into a unity, with the father as head and the mother as heart. She demands dominion and exacts it. Moore in Passage to India. My own view was. An earlier attempt, by Glenn Pedersen. Ramsay villainous, even monstrous. Ramsay are the one-sided stereotypes critics made them out to be; and next, her insistence that we understand Mrs. Lily Briscoe recognizes how Mrs.

The other dominant reading of Mrs. Ramsay in presented her as the feminine complement to the masculine Mr. Ramsay herself. Using two scenes characterized by their strong and highly unconventional use of sexual imagery—the one where Mr. Ramsay comes to Mrs. Ramsay for comfort, and the one where Mrs. We might consider Mrs. Ramsay, and Heilbrun played that role for many women over the years. Ramsay during the memorial panel for her four years ago and again in their notes to me.

Ramsay represented and that ultimately killed Prue. Ramsay, an enemy of the sea that becalms his boat, is a stronger resister than Mrs. What I wanted was a woman who was a survivor; what I wanted was Lily, who tended to be absent from the critical discourse or portrayed as a means to the restoration of Mrs. Ramsay, who embodied everything they felt they had to reject. During this period I found myself not so much questioning Mrs.

Ramsay in the classroom as defending her, pointing out her positive attributes, insisting she is not one thing only. As Gillian Beer recalls this moment: I well remember the shock I felt when one of my students—a thoughtful, intel- ligent young woman—wrote an essay denouncing Mrs. This would have been in the late s. Ramsay 7 cause I had always been very close to my own mother who brought me up alone I had tended to see Mrs.

Ramsay as benign if sometimes wrong headed. So this heartfelt diatribe pulled me up short and made me think hard about the traps that custom laid for women who wanted to do well by their families. This statement, I am well aware, is not without controversy. Ramsay or as a link to Mr. For Ruddick, who provides a nuanced reading of Mrs. More than a celebration of the wonderfulness of Mrs.

Ramsay, To the Lighthouse is plotted to take the reader and characters through a successful reconsideration and rejection of Mrs. Over the next decade, the mother-daughter relationship ceased to be an unwritten story, and To the Lighthouse often served as the exemplary text. But judging from the re- sponses I got to my query, the story continues to resonate powerfully for women, coloring their reading of Mrs.

Ramsay and Lily. Ramsay is often compared or con- trasted to her feelings about her own mother, and this crosses generations. Ramsay was in itself odd, since my mother was more talkative than Mrs. Ramsay, more open, less guarded. But my mother inspired the same kind of overwhelming love and trust. Katherine Hepburn. Ramsay to a more wary one that was common to my generation, most women who came to novel after the s described initial feelings of annoyance or rejection, followed by a shift in attitude to- ward empathy and respect, particularly when they became mothers themselves.

Ramsay 9 Johnson, Mrs. I am somewhat appalled when I think about how unsympathetic I was to Mrs. Ramsay when I read as a daughter but I suspect that it had to do with my own relationship with my mother, which followed what I think was a pretty typical pattern of breaking away and then seeking out a friendship with her once I had asserted my independence. But now, reading as a mother. I am much more attuned to Mrs. Or do I identify with Mr. Ramsay because I am a professor? Or with Carmichael, because I published some new things recently? The artist and the mother. Ramsay not so much a threat to their independence as out-of-date, even as they grow to under- stand her more.

Several people noted a similar response in their students. Ramsay as well as they understand Lily, and they often react negatively to her investment in marriage. They were enraptured by the evocation of Mrs. Ram- say and the references to her beauty and saw Lily as pinched and sad. I have long felt that one cannot really appreciate the representation of Mrs. Ramsay until you are around 40, but my students did surprise me in their passionate defense of her tyrannical views. Perhaps you know the answer? All I can say with certainty is that Mrs. Note 1. This and all subsequent emails are cited with the permission of their authors; I wish to thank them for participating in this project.

The First World War was primarily a war of distance; not only was there great separa- tion between the English soldiers in the trenches and those they fought, but there was also a notable gap in communication between these soldiers and the civilians at home. This made written communication crucial and powerful in negotiating these gaps. Newspapers reporting the war relied heavily on positive framings, romantic language, and euphemism. Levenback has shown in Virginia Woolf and the Great War that Woolf was made aware of the mental ravages of war through the misfortune of her brother-in-law, Philip Woolf, who returned from the war injured by the same shell that killed his brother, Cecil.

It is rather like Napoleonic times I daresay, and being Bank holiday of course makes us more remote from life than ever. The stop-press news revision par- ticularly demonstrates how quickly printed matter becomes irrelevant or erroneous. Like Woolf, the majority of the British public relied on newspapers for their information and, naturally, those reporting on the war could spin the information they received in whichever way they pleased.

War reporting was a tool of political power and as propa- gandistic as the pro-war posters produced by the Parliamentary Recruiting Committee at this time. Truth became falsehood, falsehood truth. Sentences not required may be erased. If anything else is added the postcard may be destroyed. In earlier years, war poetry was largely produced by civilians. Woolf thus champions Sassoon as a breaker of euphemism and an awakener of anesthe- tized language.

George on a white steed slaying a dragon. In her novel Mrs. Dalloway, Woolf is intent on revealing the tension between the artist and the post-war culture of erasure by placing shell-shocked war veteran and soldier- poet Septimus Warren Smith into a society which has no room for him. But Septimus is not quite so outspoken; he is a character who scribbles in margins instead of writing letters and who mutters rather than yells. In the opening pages of Mrs. Foxcroft at the Embassy last night eating her heart out because that nice boy was killed and now the old Manor House must go to a cousin; or Lady Bexborough who opened a bazaar, they said, with the telegram in her hand, John, her favourite, killed; but it was over; thank heaven—over.

For the other characters, however, Septimus is too free with his speech. Septimus, like so many, has been changed by the war. Editing a love poem seems a bit cruel, an act stripping emotion and context from expressive language. But Septimus does not write an organized autobiography. Crucially, though, he never seems to use a whole sheet of paper for his ideas. Septimus seems more like the writer of the text, the misunderstood visionary, with Bradshaw representing the practical but unimaginative editor.

They cannot make an acceptable art object, and instead must be destroyed. See Levenback, London: The Hogarth P, Quoted in Philippa Lyon, Ed. Twentieth-Century War Poetry.

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New York: Palgrave Macmillan, Syracuse: Syracuse University Press, The Lusitania was a British luxury ocean liner torpedoed by the Germans in May This Parliamentary Recruiting Committee poster appeared in June For instance, Septimus E. Works Cited Brooke, Rupert. Stephen Greenblatt and M. New York and London: W. Ecksteins, Modris. New York: Doubleday, Hussey, Mark. Fussell, Paul. The Great War and Modern Memory. Levenback, Karen L. Virginia Woolf and the Great War. Lyon, Philippa, Ed.

Twentieth Century War Poetry. Sassoon, Siegfried. Showalter, Elaine. New York: Penguin, Woolf, Virginia. The Diary of Virginia Woolf. Anne Oliver Bell. The Letters of Virginia Woolf. Nigel Nicolson. Andrew McNeillie. London: The Hogarth P.

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Interestingly, the Russian Formalist Victor Shklovsky utilized this particular work to demonstrate his concept of defamiliarization. Although Woolf would not have known Shklovsky or his Formalist terminology, she, like many other modernists, nevertheless intuits the value of this literary technique, using it often within her own work and indirectly defending its necessity in a post-war era of stagnation and barbarity.

The omission of many war references in the published form likewise transforms the role of death in the novel by diminishing much of the original em- phasis placed upon destruction. Paradoxically, by limiting and re-contextualizing images of war and death, their appearance in the novel is all the more startling. Her defamiliarized representations of fatality begin to dismantle the implicit disparity between life and death.


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Ramsay stumbling along a passage stretched his arms out one dark morning, but Mrs. Ramsay having died rather suddenly the night before he stretched his arms out. Within a few suc- ceeding pages, the deaths of Prue and Andrew also appear within brackets as if they were insipid details, deserving no more than minimal attention.

Unfortunately, during the war and thereafter, death and news of death were common occurrences. Therefore, a straightforward depiction of these fatalities, such as the one present in the holograph draft, presumably would have elicited minimal attention from the reader. Modifying the form and positioning of the fa- miliar enables a previously unremarkable entity or concept to be perceived in a new way. Through her writing, Woolf transforms such moments so that her readers, too, may experience a portion of the impact.

Ramsay, Prue, and Andrew are nevertheless unexpected. In the manuscript, however, Woolf does not use the bracketed form to ad- dress death; she simply writes their fatalities into the body of the text without substantial attention. Rather than devoting individual moments to each of the deceased, Woolf con- veys the news in rapid succession, separating their names and deaths only by a semicolon and a conjunction. Their individual lives are further diminished by the reported wide- spread losses occurring as a result of the war. So Mrs. A very similar collection of sentences appears in the published work.

In both versions of the text, when the deaths appear consecutively in the plain typography above, they are followed by an aloof comment regarding the recent rise in commodity prices. The bracketed sentences become distinct from the surrounding text thereby eliciting additional attention and consideration. Ramsay in the published version. Like Cam and James, Woolf ultimately softened her antagonistic feelings toward her parents by the conclusion of the novel.

He would have been 96, 96, yes, today; and could have been 96, like other people one has known: but mercifully was not.

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His life would have entirely ended mine. What would have happened? No writing, no books;— inconceivable. I used to think of him and mother daily; but writing the Lighthouse laid them in my mind. I believe this to be true—that I was obsessed by them both, unhealthily; and writing of them was a necessary act. Fixating upon the overriding presence of war within her novel likely would have elic- ited a perfunctory perception, for much of the world still felt the devastation of the Great War that had ended less than a decade before. Although the novel still maintains traces of war, many references in the holograph draft have been omitted in published form.

James M. The novel thus focuses primarily upon the domestic motions and concerns generated indirectly by the war rather than the motions of the war itself. Within the holograph draft, Mrs. McNab exhibits more restorative power over the havoc caused by war and nature. But despite her revelation and her restorative presence, certain things appear to be beyond repair. The devastation of war has resulted in more than broken china and an infestation of rodents. Civility and progress have been mocked by violence and bloodshed, with nature mirroring and condoning this barbarity.

In the edition, her remark about the dilapidation of civilization has been excised, leaving only the china and glass destroyed, and allowing for the possibility of a greater faith in humankind to prevail. Evidently, life has not been halted. There is a stirring experienced even by the sleepers, who retain their desire to persist in this war-torn universe.

Her eyes opened wide. Here she was again, she thought, sitting bolt upright in bed. We, too, are reminded of the necessity to awaken from our own stupors and to live our lives with intention rather than drift through a habitual existence. Mass atrocities should not be familiar images for a literary audi- ence. Although Mrs. In examining this metaphor of subtraction, coupled with the frequent appearance of Mrs. These enigmatic moments suggest that Mrs. Tolstoy warns of a meaningless life dominated by unconscious existence.

Overextended, Mrs. Despite rare moments of transcendence, such as the experience at the dinner party, Mrs. This same lack of consciousness perpetuated by way of a mechanical existence was a palpable fear for Virginia Woolf herself. Lily, too, is confronted by this problem within the novel, but is ultimately released from the bondage of habitualization by her ability to re-envision the ordinary and the commonplace: Notes 1. Thus, in the midst of the monotony of existence, it is the remaking of the vision that restores vitality to life. Friedman makes use of a metaphor of subtraction, as well.

He utilizes the metaphor, however, to account for the absence of Mrs.

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Ramsay as the text fails to provide physical evidence of her passing. See Friedman The brackets perform a similar corridor on the level of typography. Fictional Death and the Modernist Enterprise. Cambridge: Cambridge UP, Froula, Christine. New York: Co- lumbia UP, Haule, James M. Mark Hussey. Oxford English Dictionary. Oxford UP. Shklovsky, Victor. Lee T. Lemon and Marion J. Russian Formalist Criticism: Four Essays. Paul A. Lincoln: U of Nebraska P, Moments of Being. Jeanne Schulkind. San Diego: Harcourt, To the Lighthouse. London: Hogarth, To the Lighthouse: the original holograph draft.

Susan Dick. Toronto: U of Toronto P, Leonard Woolf. New York: Harcourt, An article from as early as notes what must have been a common contemporary reading of them: that they serve to marginalize the con- tent they surround. Frank M. On the other hand, modern scholars agree that Woolf places the important matter in brackets, but they understand that move as an oblique reversal of center and margin.

Their digressive insertion transforms the sentence, and they scrutinize the categories of center and margin. Since its development punctuation has provided vocal and bodily gesture to disembodied or lifeless texts, and the curved parenthesis is the most bodily and intimate mark of punctuation. Woolf also surrounds identifying, clarifying phrases in parentheses. Often they attribute speech or thought to a particular character, or as is even more interesting, they insert simultane- ous gesture or physical presence into the sentence.

These parentheses visually and literally return the disembodied text to the materiality of the human subject. Style manuals con- temporary to Woolf agree that it is used for three main purposes: as providing explanation, as an editorial rather than an authorial interpolation, and as marking a correction or omission. That is to say, in contrast to parentheses, brackets enclose the straightforwardly necessary inser- tion.

In translations, brackets supply the original language as that which is already replaced and rendered readable. Editors bracket language to be removed. When the writer brackets the language he adds to a quote, he designates precisely what is not quoted. This is to say brackets present and memorialize what is absent. She was looking at the drawing-room steps; they looked extraordinarily empty. Lily, as she grapples to represent the space of Mrs. Ramsay on the canvas, struggles also with a bodily grief that extends beyond words. At the close of the chapter Lily is still occupied by the empty space on the drawing room steps.

The mutilated body it was still alive was thrown back into the sea. The living body is located in the parentheses, and its parts removed and mutilated with the square brackets. In this way, brackets perform the editorial excision style handbooks attribute to them when used to announce Mrs. Ramsay, stumbling along a passage one dark morning, stretched his arms out, but Mrs. Ramsay having died rather suddenly the night before, his arms, though stretched out, remained empty. The bracket, like the fact of death, is composed of uncompromising lines, which shut away the living Mrs.

Ram- say. Involved in the architecture of textual construction, it represents both the emptiness housed by the walls of the vacation home and the faraway, outstretched and empty arms of Mr. The spatial articulation of loss invites the reader to take notice of the vi- sual character of the brackets on the space of the page. James Krasner calls Mr. The bracket does not evoke for us the extended and empty arms of Mr.

Ramsay, but the round parenthesis marks that would so suitably represent them were they embracing a living body. Ramsay could momentarily merge. Editorial Deletion 27 Like Mr. He or she stumbles over the narrative loss and spatial rupture of this passage. Thus, embodied grief might be enacted not only through the narration of the scene, but also through the materiality of the brackets on the printed page, which incite a textual phantom pain for the reader.

This is to say it acts on its own; it is simultaneously subject and verb. This subjectless action aligns it with the editorial. Twenty or thirty young men were blown up in France, among them Andrew Ramsay, whose death, mercifully, was instantaneous. This suggests that Andrew has been bracketed both by the enemy shooter and by the author-editor who desires to represent his death.

To bracket also means to classify or group. In this sense, all seven passages are bracketed together by the enemy: the passing of time and war. It was midnight. The kitchen door shuts itself, which is followed by the closed passage of the bracket, in which Mr. The visual aspect of the bracket echoes and repeats the content of the passage it frames and closes. A private, individual action becomes the emblem of an historical and narrative turning point.

Read collectively, we see that the bracket publicizes the parenthetical round bracket and extends the import of events beyond the domestic space as it changes the voice from the whisper of a direct address to the metallic tone of a loudspeaker. The bracket as an editorial, not authorial tool is noteworthy, even as it is used by the author herself. Woolf displaces au- thorship to the institutional authority of the state and military, whose hand has intruded into and corrupted the domestic space of the novel.

History becomes a force that inserts itself with the brackets and edits out the characters whose deaths they enclose. Rather than representing war and loss propositionally, the bracket actually performs the movement of war on the text. Works Cited Barrett, Michele. Imagination in Theory: Essays on Writing and Culture. Cambridge: Polity P, Oxford: Oxford UP, DeKoven, Marianne. Krasner, James. Patterson, Frank M.

San Diego: Harcourt Brace Jovanovich, Gradually as the sky whitened a dark line lay on the horizon dividing the sea from the sky and the grey cloth became barred with thick strokes moving, one after another, beneath the surface, following each other, pursuing each other, perpetually. A bird chuckled outside. It was a daylight bird, chuckling over the substance and succulence of the day, over worms, snails, grit, even in sleep. In an attempt to understand critical responses to these two novels, I turn to the work of Les Fehmi, a psychologist and pioneer in the use of neurofeedback.

In Mrs. Dalloway, for example, when Peter Walsh focuses on his failure as lover or civil servant, his world contracts and he reaches for his pocket knife—as a defense against the world that threatens his sense of self Both Mrs. Dalloway and Mrs. Ramsay acknowledges that to Mr. In The Waves, however, Woolf focuses on the mystery of individual consciousness and the tragedy of its dissolution. Then one of them. We are trapped within a landscape where the waves beat upon the shore and, ultimately, no self can escape the ravages of time.

But what is the light? And, because of this focus, the author, characters, and readers feel the strain. The narrating consciousness, however, is not trapped. She shrank; she cowered. From the earth green waters seemed to rise over her. It was like the eclipse when the sun went out and left the earth. My Neighbor Seki, 1. Echo From Mount Royal. Halloween Heat Mnage by Various. Teaching Gong Yoga. Right Recovery for You. Math Girls Talk About Integers. Math Girls Talk About Trigonometry.

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