Leonard Woolf: A Life by Victoria Glendinning (2006)

Leonard and Virginia were agreed that his chief fault was cowardice, and hers was snobbery.
(page 151)

‘If it were not for the divine goodness of L. how many times I should be thinking of death.’
(Virginia Woolf diary 28 May 1931, quoted p.291)

Having read most of Virginia Woolf’s adult work, why read a biography of her husband, Leonard, and not her?

1) Because I’d had enough of Virginia: the essays finished me off, my cup overflowed with Woolf style, snobbery and delirium. 2) I’d learned most of the important facts about her life from the short biographies and notes in each of her novels, and the essays. 3) These notes sometimes referred to books by Leonard, notably a book he wrote called Quack! Quack! mocking the 1930s dictators, Mussolini and Hitler, which intrigued me. He wrote two novels, over 15 books of political science, was a committed socialist, literary editor, publisher, and wrote six volumes of autobiography. Does anyone ever read these? No.

So 4) Leonard is the underdog. The critical industry around Woolf is now mountainous – as Glendinning puts it, ‘There is a small mountain of books and articles on the life and work of Virginia Woolf’ (p.502) – and will only increase year by year. She is a patron saint of feminist writing, as iconic as fellow feminist saints Frida Kahlo and Sylvia Plath. There are lots of biographies of her, hundreds of books and tens of thousands of critical essays about her writing. But what about the mystery man who loved and supported her throughout the years of her great achievements, who tried to manage her recurring bouts of mental illness, who co-founded and ran their famous Hogarth Press? Let’s find out.

Jewish

Woolf was Jewish. He came from a large and extensive Jewish family. I enjoyed Glendinning’s handy summary of the history of the Jews in England, their slow liberation from various legal and customary restrictions during the nineteenth century, and then the transformation in the size of the Jewish population and in attitudes towards them triggered by the mass immigration of Jews from Russia in the 1880s and ’90s.

This more than quadrupled the size of the Jewish community in England and, because so many of them were very poor, from peasant communities, and often settled in the slummiest parts of the East End, it was this mass influx which gave rise to the casual antisemitism you find (distressingly) in so many Edwardian and Georgian writers (Saki and D.H. Lawrence spring to mind. The fact that Virginia includes antisemitic comments in some of her novels, and was regularly casually antisemitic in her letters and diaries – ‘I do not like the Jewish voice, I do not like the Jewish laugh,’ (p.189) – requires a separate explanation).

Father

Woolf was born in London in 1880, the third of ten children of Solomon Rees Sidney Woolf (known as Sidney Woolf), a barrister and Queen’s Counsel, and his wife Marie, maiden name de Jongh). Both parents were Jewish, and from extended families. This is why Glendinning needed four pages to depict the full, extended family trees of both parents. At various points, family members are quoted jokingly referring to it as ‘the Woolf pack’. From time to time grown-up Leonard, feeling sorry for himself, referred to himself as ‘a lone Woolf’.

The family lived at 101 Lexham Gardens off the Earl’s Court Road. The household was:

an example of a typical, well-to-do Victorian way of life, underpinned by an unquestioned social hierarchy and set of values. (p.13)

As a young man Leonard was conscious of ‘the snugness and smugness, snobbery, its complacent exploitation of economic, sexual and racial classes’ (quoted p.15).

We are told all kinds of things about Sidney Woolf but the single most important fact is that he died in his prime, in 1892, aged 47 (p.23). He had earned a lot as a lawyer and that income ended overnight. Now relatively impoverished his widow, Marie, was fortunate enough to have a legacy to live off. She hung on at Lexham Gardens for two years then moved the family to a smaller house further out of town – 9 Colinette Road, off the Upper Richmond Road in Putney.

School

After prep school, Leonard was sent to the prestigious St Paul’s School in west London. Lots of anecdotes, prizes and whatnot, but the important thing is that it was as a slight, shy, Jewish teenager that he developed what he called his ‘carapace’, the protective shell he was to deploy for the rest of his life.

Trinity College, Cambridge

In 1899 he won a classical scholarship to Trinity College, Cambridge. Glendinning vividly paints how he encountered a small group of fellow undergraduates who became soul mates, including the flamboyant Lytton Strachey and the hulking great Thoby Stephen, nicknamed The Goth, son of the biographer Sir Lesley Stephen and brother of the sisters, Vanessa and Virginia Stephen, the second of which Leonard was, of course to marry. But Strachey was the man. Before he’d arrived at Cambridge Strachey was a fully-formed individual with outrageous views and a particular way of speaking which influenced all his friends. Leonard became closer to Lytton Strachey than anyone else in the world, calling him ‘the most charming and witty of human beings since Voltaire’ (p.189).

I tend to think of E.M. Forster as being an old man, but he was actually a year younger than Leonard and they got to know each other at Cambridge.

Leonard was elected to the elite discussion society called The Cambridge Apostles and it is fascinating to learn the rules of this elite club and the kind of topics they discussed. When I was a sixth-former I read A.J. Ayer, learned about Logical Positivism, and went on to read Wittgenstein, all of which convinced me that talk of Beauty and Love and Truth and God is enjoyable, entertaining but ultimately meaningless.

More precisely, they may have a psychological importance and impact on the people who discuss, write and read about such topics, but they don’t really relate to anything in the real world. They derive from a misunderstanding of language. Because we talk about a good meal, a good person and a good day, it’s easy to be deluded into thinking there must be something they have in common. Plato started the ball rolling by writing dialogues in which Socrates and his followers endless debate the True Nature of The Good. Two and a half thousand years later, clever undergraduates at Cambridge were doing just the same.

I follow Wittgenstein in believing there can be no answer to these kinds of questions because they are non-questions based on a misapplication of language. Viewed from a correct understanding of language i.e. that language consists of a vast number of language games – then any given use of language may or may not be appropriate to the vast number of language games people continually play, invent and evolve and self-important Oxbridge discussions of these great big concepts simply take their place among myriads of other linguistic interactions.

Anyway, all this was to come. For the time being these clever young men thought Truth and Beauty were excellent subjects to write long papers about and present at gatherings of like-minded chaps who all considered themselves part of a literally self-selecting intellectual elite, the Apostles. Members of the Apostles included Leonard, Strachey, E. M. Forster and a year or so later, John Maynard Keynes. Thoby Stephen (his future wife’s brother) was friendly with the Apostles, though not a member himself. What comes over from Glendinning’s comprehensive accounts of these meetings and discussions is how absolutely irrelevant everything they discussed is to us today. Here are the dates of Leonard and significant contemporaries:

  • E.M. Forster b. 1879
  • Lytton Strachey b.1880
  • Thoby Stephen b.1880
  • Leonard Woolf b. 1880
  • Clive Bell b.1881
  • John Maynard Keynes b.1883

G.E. Moore

All of them were deeply in thrall to the moral philosopher George Edward (G. E.) Moore (1873 to 1958), himself an older member of the Apostles. They were still undergraduates when Moore published his influential book, Principia Ethica, in 1903, which was concerned with that age-old problem, What is the good? Moore decides that ‘the good’ is ultimately unknowable, so that:

By far the most valuable thing, which we can know or can imagine, are certain states of consciousness, which may roughly be described as the pleasures of human intercourse and the enjoyment of beautiful objects.’ (p.63)

1. The pleasures of human intercourse and 2. the enjoyment of beautiful objects. Friends, lovers and art. Or, as Wikipedia summarises it:

that the summum bonum lies in achieving a high quality of humanity, in experiencing delectable states of mind, and in intensifying experience by contemplating great works of art,

Moore’s conclusions led his book to be treated as a kind of Bible by the network of friends which came to be known as the Bloomsbury Group, validating their belief that human relationships are what count most: Love and Beauty. Sounds like Keats, doesn’t it, from almost a century earlier? Glendinning quotes John Maynard Keynes’s extravagant response to Moore’s theory: ‘It seemed the opening of a new heaven on a new earth’ (p.64).

The thing to understand is that the younger generation experienced this as a tremendous liberation from the oppressive burden of Victorian beliefs in duty and honour and nation and empire and queen and country and all the rest of it. For believers like Leonard the book stripped away centuries of oppressive religious beliefs, shedding the calm light of common sense on the agonising questions of how to live and what to believe.

‘Isn’t that the supreme, the only thing – to be loved.’ (Strachey, quote p.98)

But there were plenty of critics who mocked these earnest young believers. Glendinning quotes Beatrice Webb’s shrewish view that the book had little or no value and simply gave the young generation who worshipped it ‘a metaphysical justification for doing what you like’ (p.65).

Glendinning herself criticises the Principia because:

  1. Its unquestioning definition of The Beautiful was heavily Victorian and becoming out of date as the new aesthetics of the 20th century kicked in
  2. Moore’s idea of the good life was very passive and quiescent i.e. simply ignored the active life of politicians, engineers, administrators, people who did things. It was a privileged academic’s conclusion that the best possible way of life was… to be a privileged academic.
  3. No sex please, we’re British: Moore’s ‘asexual mind-set seemed to preclude the “intrinsic value” of any “state of consciousness” elicited by anything more urgent than affection’ (p.63). In other words, Moore’s was a very pallid, underpowered, sexless view of human emotions.

Choice of career and the Civil Service exam

Woolf was awarded his BA in 1902 but stayed on at Cambridge for another year to study for the Civil Service examinations which he took in the summer of 1904. He got a low pass, 69th in the list, and was offered a job as an imperial administrator in Ceylon. First he went the round saying goodbye to his uni friends and this included dinner at the Stephens new house. Sir Leslie Stephen had recently died (February 1904) and his children had moved out of the gloomy family house in Hyde Park Gate to a roomier lighter one in Bloomsbury. Visiting his friend Thoby (the Goth), meant meeting the two beautiful sisters, Vanessa and Virginia. Glendinning points out that the latter was still recovering from the nervous breakdown triggered by her father’s death, one of what was to become a string of breakdowns and mental health problems. During this breakdown she had made the first of several suicide attempts (p.129).

Ceylon

Woolf was in Ceylon for 7 long years, 1904 to 1911. Glendinning makes the point that he met hundreds of native Sinhalese and Tamils but never became friendly with one of them. He liked Ceylon, some of the scenery was breath-taking. He wrote that the jungle:

‘is a cruel and dangerous place, and, being a cowardly person, I was always afraid of it. Yet I could not keep away from it.’ (quoted p.109)

, but he became an increasingly conflicted imperialist. As he was slowly, systematically promoted, he found himself adjudicating law cases and arguments and realised the only thing to do was be as strict and impartial as possible. At the same time he came to hate the impact many imperial laws and restrictions had on the natives.

Glendinning gives a vivid and fascinating account of all this, based on the twin sources of the official diary he kept of his duties, along with the many letters he exchanged with his friends back in England, Thoby, a friend called Saxon but above all Lytton Strachey.

He lost his virginity to a Singhalese woman and seems to have had occasional sexual encounters, but didn’t keep a native mistress as many other young male imperial administrators did.

The conversation of whores is more amusing than the conversation of bores.

The correspondence with Lytton back in England, in Cambridge, is extraordinarily candid about sex. Lytton deploys what he himself calls ‘the dialect of their intimacy’ (p.146). Lytton was a promiscuous homosexual who needed to be falling in love with new young men all the time. Glendinning quotes liberally from his letters which depict not just his sex life, but the sex lives of those in their set or circle, including Duncan Grant, Clive Bell and Keynes. For example, where he explains that he is having an affair with Duncan Grant, who is also sleeping with Keynes. Lytton and the others delighted in using the word ‘copulate’, in a self-mocking tone.

‘I copulated with him [Duncan] again this afternoon, and at the present moment he is in Cambridge copulating with Keynes.’ (p.115)

As always, it’s the promiscuity of gay men which staggers me, compared with the, as far as I can tell, complete chastity of their female contemporaries, specifically Virginia and Vanessa.

A note that Leonard’s sister, Bella, came out to Ceylon in 1907. She married a colonial administrator, Robert Heath Lock, Assistant Director of the Peradeniya Botanical Gardens, near Kandy in 1910. She wrote children’s books and the first tourist guide to Ceylon. She was one of many voices advising Leonard to get married. She merits a Wikipedia page of her own.

The Longest Journey

While Leonard was in Ceylon, his friend E.M. Forster published an autobiographical novel, The Longest Journey which describes the coming-to-maturity of young Frederick ‘Rickie’ Elliott, including lengthy descriptions of his time as an undergraduate at Cambridge. Critics think the character of Stewart Ansell, the clever student which Rickie’s and their circle look up to, is at least partly based on Woolf. Certainly the flashy pseudo-philosophical conversations at Cambridge which the novel opens with, are based on The Apostles. Woolf and Strachey both hated it.

Back from Ceylon

After seven years service Leonard was given an extended leave to return to England. Glendinning quotes many of the colleagues and managers in the Colonial Service who advised him to get married. it’s interesting to read the opinions of quite a few contemporaries all advising that marriage is the best thing or only thing which a young man can do to acquire focus and purpose in his life. ‘Marriage was the only way forward’ (p.120).

We know from their letters and diaries that it was Lytton who first proposed to Virginia, in a panic that she might accept (p.114). You have to have followed the text quite closely to understand why this flamboyant queer would even consider such a mad move in the first place. She sensibly turned him down.

Virginia’s character As the focus of the story turns towards Virginia Stephen, Glendinning gives a useful profile and description of her (pages 128 to 130). The bit that stood out for me was the notion that her mother was aloof and distant, so that the girl Virginia hardly ever had time with her alone.

In adolescence and beyond, she became emotionally attached to older women. (p.128)

Aha, I thought – this sheds light on the warmth and fondness for mother figures and older women which you find in her fiction – Betty Flanders, Clarissa Dalloway, Mrs Ramsay, Lucy Swithin.

Virginia’s physicians We learn about the wonderfully named Dr Savage, the physician treating her mental illness, and that he had treated her father for depression, and one of her cousins, who ended up committing suicide. Also, we learn that her sister, Vanessa, was also prey to anxiety and depression. She had her own ‘nerve doctor’, Dr Maurice Craig of 87 Harley Street. So was it genetic?

Brunswick Square The Stephens children moved again, to 38 Brunswick Square, and invited several friends to move in and take rooms. Among these was Leonard who moved in on 20 November 1911. Their wooing was slow and painful.

The Aspasia Papers Constant company led Leonard to fell deeper and deeper in love with the beautiful, mercurial, charismatic Virginia, who he came to nickname Aspasia. This was the name of the wife of Pericles (495 to 429 BC), leader of Athens during its so-called Golden Age. He wrote descriptions of her and these expanded to become sketches of the entire social circle or set, all under pen-names, eventually called the Aspasia Papers. The whole gang he joking referred to as The Olympians.

Leonard proposes to Virginia On 10 January 1912 he proposed to her. This upset her so much she took to her bed. But over the following weeks he maintained his suit and the great day came on Wednesday 29 May when she acknowledged the loved him. They told the gang who reacted in different ways. Rupert Brooke claimed it was Leonard’s sexual know-how that got her. He described her eyes lighting up when Leonard described having sex with prostitutes in Ceylon. Put simply, he was the only man she knew who wasn’t gay and had had sex. With a woman!

He was 31, she was 30, both getting on a bit.

Quits the Colonial Service The Colonial Office required him to end his leave and return to Ceylon by May at the latest but Leonard realised he couldn’t go back, and after some surprising shows of flexibility by Whitehall, he eventually resigned his position. Now what was he going to do? He was writing a novel and had written some short stories, but hadn’t made any money from them.

Wedding They were married on Saturday 10 August 1912 at St Pancras Registry Office, a very small low-key affair. As Glendinning puts it:

Leonard and Virginia were agreed that his chief fault was cowardice, and hers was snobbery.
(p.151)

And both faults lay behind his failure to invite his mother to the wedding. Not being invited to the most important day of a son for whom she had made such sacrifices as a single mother deeply hurt her.

Sex

Glendinning (like all their friends) moves onto the subject of sex. Virginia seems to have got to the ripe old age of 30 without every experiencing sexual feelings. This is what you’d deduce from her novels and essays which have a kind of hallucinatory sexlessness. So she didn’t have a clue and he wasn’t savvy enough to be a teacher. He’d only slept with a few Singhalese prostitutes and prostitutes are 1) experienced and 2) compliant. Apparently when Leonard went to make his move, Virginia became increasingly anxious and over-excited in the way which preceded her breakdowns so he had to desist. Permanently.

Glendinning cites a letter exchange of 1933 with Ethel Smyth the feminist composer, where they talk about a news story that young women are having operations to break their hymens ahead of getting married, and joke about going to have the operation themselves. Woolf was 51 and apparently serious. Glendinning concludes from this and plenty of other evidence that Leonard and Virginia never had penetrative sex, so the marriage was never consummated in the normal way. Within a year they took to sleeping in separate rooms and never again slept together.

Events

Breakdown and suicide attempt After the marriage Virginia’s anxiety, nerves and depression grew worse. She became extremely anxious about the likely reception of her first novel, ‘The Voyage Out’. They went to the country hotel to celebrate the first anniversary of their honeymoon but it was a disaster. Virginia had high anxieties about food and refused to eat. Back in Brunswick Square, unattended for a few hours, she took an overdose of veronal (100 grains of veronal) sleeping pills. Prompt action by Keynes’s brother, Geoffrey who was staying in the house, and a stomach pump, saved her life but this necessitated a round of carers, nurses, consultations with the three physicians now treating her.

The Village in the Jungle In the middle of all this Leonard’s first novel, The Village in the Jungle, was published to good reviews. It’s set in Ceylon but not among the white ex-pat and colonial community, instead it entirely habits the minds of poor Singhalese villagers. And it’s written in what, for the times, was very plain factual English, what Glendinning calls ‘spare and unmannered’. Woolf’s old boss, Sir Hugh Clifford, wrote that:

‘Your book is the best study of Oriental peasant life that has ever been written, or that I have ever read.’ (p.168)

It’s available online and I’ve read and reviewed it for this blog.

Virginia Woolf was five feet ten inches tall. She had a ‘cut glass accent’ (p.299).

The Women’s Co-operative Guild The misery with Virginia lasted for months. Throughout this period Leonard became involved with the Women’s Co-Operative Guild, led by its young and energetic president, Margaret Llewelyn Davies. He went to meetings and the annual conference and write articles to promote their work.

He was by this stage writing lots of articles and reviews for a variety of journals, including the New Statesman.

Exempted from war service When the war came the army was at first fuelled with volunteers. The Military Service Act of 1916 widened the age of conscription to all men aged between 16 and 41. Leonard was 35 but underweight and anxious, with a permanent tremor in his hands. In the next three years he underwent three medical examinations but each time presented a letter from his doctor exempting him, predicting that if he were conscripted he would have a physical and mental breakdown within months.

The Fabian Society As well as the Women’s Co-Operative, Leonard had been collared by Sidney and Beatrice Webb, leading lights of the Fabian Society, who were always recruiting likely young chaps for their cause. Sympathetic to gradualist socialism based on facts and figures, Leonard was commissioned to research and write various reports. Thus in 1916 was published the result of extensive researches, his International Government. The book’s central proposal was for an international agency to enforce world peace, and he went on to join a number of the organisations lobbying for a League of Nations to be set up, becoming friendly with the genial H.G. Wells in the process.

Labour Party Leonard joined the Labour Party and helped research and write policy papers. Women’s Co-Operative, League of Nations charities, Fabians and Labour, he wrote research papers, pamphlets and books for all of them. His next book was the thoroughly researched Empire and Commerce in Africa.

1917 Club As a left-winger Leonard welcomed the Russian Revolution. As promptly as December 1917 he helped set up the 1917 Club in Soho as a discussion forum.

The Hogarth Press In 1917 the couple bought an old printing press for £19 and set it up on the dining room table of Hogarth House in Richmond and taught themselves how to use it, to print pages and stitch them together into books. Their first publication was Two Stories, one by Leonard, one by Virginia. Hers was The Mark On The Wall, a free-associating flight of fancy. It was her first published story. His old friend Lytton Strachey immediately saw it was a work of genius. But as Virginia’s confidence grew, Leonard’s shrank. He had published two novels but began to lose faith. He was happier writing factual books.

Mark Gertler, Lady Morrell, Katherine Mansfield They make friends with Mark Gertler, self-obsessed Jewish painter and lover of Dora Carrington. At Garsington Manor, home of Lady Ottoline Morell, they meet the New Zealand short story writer Katherine Mansfield and her husband, the editor John Middleton Murray. They agreed to published Mansfield’s 68-page story The Prelude on their press

Leonard produced another book, Co-operation and the Future of Industry and agreed to edit a journal called International Review. The publishing sensation of 1918 was his old friend, Lytton Strachey’s debunking work of biography, Eminent Victorians.

In the war one of Leonard’s brothers, Cecil, was killed and one, Philip, badly wounded.

Recap When the war ended Glendinning summarises that Woolf had established himself as a documentary journalist and political propagandist, an experienced public speaker and author of distinguished books, as well as a seasoned book reviewer, and publisher in his own right. He was a behind-the-scenes figure in the growing Labour Party and was offered a seat to contest as an MP but, after some hesitation, turned it down.

James Joyce In April 1918 Harriet Weaver, patron of The Egoist magazine, approached them with the unfinished manuscript of James Joyce’s Ulysses but they had to turn it down. Far too big for their expertise, it was rejected on the grounds of obscenity by the two commercial printers they approached. Obscenity was Virginia’s central objection to Joyce, see her essay Mr Bennett and Mrs Brown (1923). She couldn’t get past her snobbish aversion to his references to peeing, pooing and the male anatomy. (The book’s central character, Leopold Bloom, has a bath and idly watches his willy floating in the water.) In her own fictions, almost all references to the body, let alone sex (God forbid) are rigorously excluded, which helps to give them their strange, bloodless, ethereal character.

Woolf’s problematic reaction to Joyce (admiration, envy, rivalry, disgust at his physicality) are explored in two excellent essays by James Heffernan:

T.S. Eliot Conversation with Weaver turned to her other protegé, T.S. Eliot, who they invited to tea to discuss whether he had anything to publish. As a result they published seven of his poems in a small edition of 140 in November 1919. Initially stiff and inhibited, Eliot became friends with Virginia who referred to him, unpretentiously, as Tom. He, like Leonard, was to become carer to a mad wife. He was six years younger than Virginia (born 1888 to Virginia’s 1882). (Later Glendinning wryly notes that ‘Eliot continued to consult Leonard as an expert on mad wives,’ p.265. Ten years later they could have both helped Scott Fitzgerald with Zelda.)

Monk House In 1919 they were meant to go down to Cornwall to join the ménage which had been set up by D.H. Lawrence, his wife Frieda, Middleton Murray and Mansfield – but never did. They had been used to a place in the country named Asheham House but it was sold by the owner. They looked around and settled on Monks House in the village of Rodmell in Sussex. They paid £580 plus £120 for the freehold. This is now a National Trust property. When they moved in it had no running water, electricity or toilet facilities. These two highbrows put up with conditions which would nowadays as unfit for human habitation. Leonard became addicted to working in the garden and had to be dragged away to take Virginia for constitutional walks.

Back in London they bought a bigger press and began to consider the Hogarth Press as a commercial venture. They published Virginia’s story, Kew Gardens. It was 1919 the year of the Paris Peace Conference and Leonard nearly went. They printed Leonard’s Three Tales from the East with a cover by Dora Carrington, to very positive reviews.

Friends’ success Lytton had become a famous name with his Eminent Victorians and Keynes became famous for writing a scathing indictment of the peace terms imposed on Germany in The Economic Consequences of the Peace (December 1919). But although much of Leonard’s research for International Government was used by the British government or other organisations at the Conference, he got little recognition.

Empire and Commerce in Africa: A Study in Economic Imperialism (1920) a scathing indictment of British imperial policy in Africa. He was writing for the New Statesman and wrote leading articles on foreign affairs for the Nation. He was secretary to the Labour Party Committee on International and Imperial Questions. He was in the loop.

The Memoir Club Molly McCarthy set up the Memoir Club to bring together old pals from Cambridge to read works in progress. A propos of this you realise that Leonard, the man, was the objective authoritative and grounded one; Virginia, the woman, was flighty, solipsistic, experimental (p.237).

Gorki and the Russians In 1919 Maxim Gorky sent a friend of theirs, Kotelianski, a manuscript of his life of Trotsky, which he brought to the Woolfs. Thus began a series of careful translations of contemporary Russian literature by the Hogarth Press.

Teeth out In June 1921 Virginia had another nervous collapse. It is mind-boggling to read that some experts thought that having your teeth extracted was a cure from mental illness. On this occasion she had three pulled out. By the end of her life she’d had all her teeth pulled out by these experts.

Jacob’s Room In November 1921 she finished writing Jacob’s Room but with the end of any book came a rush of doubt, anxiety and sometimes collapse. She had come to rely on Leonard entirely, and he had evolved to know his place was by her side and supporting. At the time of the peace conference he had been asked to travel abroad, the Webbs asked him to visit Bolshevik Russia and report back, but he turned all offers down in order to remain by Virginia’s side. This makes him a hero, doesn’t it?

Passage To India Leonard played a key role in helping Morgan Foster complete his most important novel, A Passage To India, when Forster had severe doubts and thought of abandoning it (p.242). Passage was published in 1926 and made Forster famous and financially secure. Leonard was the grey eminence behind it.

Stands for Parliament Leonard stood as a Labour candidate for Liverpool in the 1922 General Election but, thanks to his lacklustre speeches about international affairs and against imperialism, came bottom of the poll. It was a relief.

Literary editor

‘I expect you have heard that, having failed as a) a civil servant b) a novelist c) an editor d) a publicist, I have now sunk to the last rung… literary journalism. I am now Literary Editor of The Nation and Athenaeum.’ (letter to Lytton Strachey, 4 May 1923)

The salary, £500 a year, gave the couple some financial stability and coincided with the start of ‘the most prolific and successful period of Virginia’s writing life’ (p.248). She had published Jacob’s Room and started the long process of writing Mrs Dalloway and was, in addition, writing important essays and reviews.

Leonard’s literary positions Wikipedia gives a handy list of Leonard’s editorial positions:

  • 1919 – editor of the International Review
  • 1920 to 1922 edited the international section of the Contemporary Review from 1920 to 1922
  • 1923 to 1930 – literary editor of The Nation and Athenaeum (generally referred to simply as The Nation)
  • 1931 to 1959 – joint founder and editor of The Political Quarterly from 1931 to 1959

The Waste Land It’s a bit mind-boggling to learn that the Hogarth Press published The Waste Land and the type was set in the household larder. ‘Tom’ was pleased with the typescript and layout. In the same year he established a literary magazine of his own, the Criterion and he and Leonard now were friendly and conspiring literary editors, swapping reviewers and ideas. Tom became a regular visitor to their house, mostly alone, in fact maybe a bit too often as his marriage with the mentally unstable Vivian sank into misery.

Glendinning very entertainingly punctuates the key events of Leonard’s life with a roundup of what all the other Bloomsburies were doing, which is mainly having hetero or bisexual affairs with each other. A little grenade was thrown into the mix when Keynes announced he was not only in love with, but going to marry a dancer from the Ballets Russes, Lydia Lopokova (p.249).

52 Tavistock Square Virginia felt out of it in Richmond and wanted to socialise more. So they sold Hogarth House (for £1,350) and rented 52 Tavistock Square for £140 a year.

Vita Sackville-West At this time Virginia met and became friends with socialite and author Vita Sackville-West. She was married to diplomat Harold Nicholson but they led separate lives, he with a string of boyfriends, she having affairs with women and, eventually, with Virginia. They became ‘tentative’ lovers for about three years. But sex was alien to Virginia’s nature and Vita was a passionate collector of conquests.

Labour As well as working full time as literary editor of the Nation, he continued to be secretary to Labour’s Advisory Committee on International and Imperial Questions. He drafted the foreign policy section of Labour’s 1929 manifesto. Throughout the 1920s he campaigned for India and Ceylon to be given independence. If they had, he later wrote, the murder and mayhem of the independence struggle and the catastrophe of partition would never have happened.

Freud The Hogarth Press embarked on publishing the complete works of Freud being translated by James and Alix Strachey. This project carried on into the 1960s, long after Leonard had parted company with Hogarth, and they’re the edition I own, as republished by Penguin. Despite this, Leonard grew more anti-analysis as he grew older. I’ve reviewed quite a few of Freud’s works:

Vita It became a love affair in December 1925. They took trouble to conceal the full depth of it from Leonard.

Car In August 1927 he bought a car. He drove Virginia all round the country. They drove to the south of France. He wrote that nothing changed his life as much as owning a car.

Mrs Dalloway was published by the Hogarth Press on 14 May 1925. The Common Reader, a volume of 21 short literary essays, was published the same year, and the following year was the first one in which Virginia’s income exceeded Leonard’s. In 1927 her masterpiece To The Lighthouse was published. In 1928 she earned £1,540 to his £394.

Nicknames Virginia never called him Len, she called him Leo. From the start of the marriage they had numerous nicknames for each other but the enduring ones were the Mongoose and the Mandrill. Before she married, Virginia’s nickname in the Stephen household was ‘the Goat’.

They went to Berlin to visit Harold Nicholson, it was a long draining visit with many late nights, and on her return she had a relapse and was in bed for three weeks. Glendinning quotes her as saying she really wanted ‘the maternal protection which… is what I have always wished from everyone’. Suddenly, reading that, I saw how Woolf was a child, endlessly seeking reassurance. And it made me see her novels as essentially childlike, a sexless, jobless, workless, child’s-eye view of life.

Orlando: A Biography was published on 11 October 1928 and sold well, securing their finances. A year later, in October 1929, A Room of One’s Own was also successful.

Richard Kennedy, 24, was the latest young graduate taken on to help out at the Hogarth Press. He describes how Leonard was:

the magician who keeps us all going by his strength of will… and Mrs W is a beautiful, magical doll, very precious but sometimes rather uncontrollable.’

He describes how, when she was lifting off into one of her manic spells, Leonard would gently tap her on the shoulder and she would stop talking, and quietly follow him, go to her bedroom where he talked quietly, read to her and calmed her down. Leonard had to warn new people what they could not say to Virginia to avoid a problem/getting her over-excited. I hadn’t realised she was this on the edge, all the time.

Ethel Smyth During 1930 Virginia gets to know the deaf, feminist composer Ethel Smyth and they become regular, and sometimes bawdy, correspondents. Smyth was 72, Virginia 48. Here’s Smyth’s most famous work, The March of The Women. Very worthy, but heavily Victorian and boring.

New Fabian research Bureau Leonard is appointed to its executive committee in 1931.

Kingsley Martin, an earnest young nonconformist, is appointed editor of the New Statesman which he would remain for 30 years. Leonard became joint editor of the Political Quarterly which he remained for the next 27 years.

The Hogarth Press published 31 books or pamphlets in 1930, 34 in 1931.

John Lehmann just down from Trinity Cambridge, was hired to work on the Press. He lasted two years. While here he published New Signatures, the selection which introduced the poets of the Auden generation. He introduced the Woolfs to Christopher Isherwood. They published Laurens van der Post’s first book. The more I read about the Hogarth press, the more impressive it becomes.

Glendinning cites eye witness accounts from Lehmann, Barbara Bagenal and Harold Nicholson of how Virginia needed Leonard to calm her when she got over-excited or had a fugue, a loss of awareness of where she was or what she was doing (p.294).

There are plenty of eye witnesses testifying to how happy Leonard and Virginia were at Monks House, how relaxed with each other and a civilised routine. Visitors heard Virginia endlessly talking to herself, in the bath, as she pottered round the big garden, and along country lanes, so that the locals came to think of her as bonkers. The servant Louie Everest came to recognise when Virginia was having one of her bad headaches because she pottered round the garden, bumping into trees.

1932

21 January: Lytton Strachey died of cancer. Leonard wrote a sensitive obituary. He had been Leonard’s best friend in their youth. His death confirmed Leonard was middle aged.

11 March, Lytton’s partner, the painter Dora Carrington, shot herself.

Mains water is brought to Monks House and they get a telephone, Lewes 832. Virginia buys new beds from Heals.

1 October Oswald Mosley founded the British Union of Fascists. Marches, rallies and violence in the East End. The Woolfs were connected to all this because up till this point Virginia’s lover, Vita Sackville West’s husband, Harold Nicholson, had been secretary to Mosley. Now he quit.

Conversely, T.S. Eliot‘s mentally unstable wife, Vivian, joined the Fascists. Eliot separated from her and never saw her but she stalked him and made public scenes. Virginia sympathised and ‘Tom’ became a good friend and regular visitor to their London or Sussex house.

1933

1933: Victor Gollancz asked Leonard to edit An Intelligent Man’s Way to Prevent War. This is the same subject as prompted Virginia’s great book, Three Guineas. In April Mosley held a rally for 10,000 followers at the Albert Hall. Leonard and the Fabians thought he might be in power in five years’ time.

1934

July: they visited the fabulously wealthy Victor Rothschild and promised to look after his pet marmoset while he went abroad. It was called Mitzy and became so attached to Leonard’s kindness that she never went back. She perched on Leonard’s shoulder or head and the back of his jacked was routinely strewn with her poo.

5 to 10 September: Leonard listens to the Nazi Nurenberg rally, relayed on the radio. He was inspired to write his satire on the totalitarian regimes, Quack Quack!

9 September: art critic and populariser of the French post-impressionist painters, Roger Fry, died. Vanessa had had a fiercely sexual affair with him (13 years older than her) and was inconsolable. Slowly the idea crystallised that Virginia should write his biography. This was to turn into a chore and produce a not very good book.

1935

May: Driving to Italy Leonard decided to take a detour through Nazi Germany. Glendinning points out that in his autobiographies he doesn’t mention the antisemitism of the 1930s, doesn’t mention Mosley or the British Union of fascists. She thinks this is because he didn’t want to put down in black and white even the possibility of his country’s rejection of himself, as a Jew. The British Foreign Office advised Jews not to visit Hitler’s Germany. Brief description of their journey through Nazi Germany, soldiers everywhere, public notices against Jews, mobs of children giving the Nazi salute. They had taken Mitzy the marmoset with them who made people laugh and defused tensions.

June: published his attack on the Fascist governments, Quack Quack!

September: Nazi Nuremberg Race Laws Jews legally different from their non-Jewish neighbours introducing all kinds of legal discrimination.

September: Leonard and Virginia attended the Labour Party Conference where Ernest Bevin argued that Britain had to rearm to face the Fascist powers, annihilating pacifist speaker in the process.

2 October: Mussolini invaded Abyssinia. Sanctions were useless as didn’t include Germany or the USA. Leonard wrote bleakly about the failure of the League of Nations. He had spent 20 years arguing that the only way to keep peace was international co-operation. Now he was forced to abandon that position and agree with Bevin that Britain needed to re-arm and make itself strong.

1 November: UK General Election in which Labour were thrashed and the new coalition government of Conservatives along with small breakaway factions of the Labour and Liberal parties, was headed by Conservative Stanley Baldwin.

Tom Eliot brought Emily Hale, a former love and confidante, to meet Leonard and Virginia, who left a record of their tea, finding Leonard more sympathetic, warm and tired.

1936

20 January: King George V died, succeeded by his son, Edward VIII.

6 March: Hitler’s troops reoccupied the Rhineland in breach of the Versailles Treaty. The atmosphere of growing antisemitism in Britain. British Union of Fascists symbols drawn on the walls.

Trying to finalise The Years and separate out the polemical book which was to become Three Guineas brought Virginia closer to breakdown than she’d been since 1913. She lost half a stone and for over three months was unable to work, an unusual hiatus. Only in the last 3 months of the year could she resume work on what was to be her longest novel.

July: Spanish Civil War broke out with the army’s coup against the republican, anti-clerical socialist government. Leonard concluded the international system had collapsed and a European war was inevitable.

Sunday 4 October: the Battle of Cable Street as anti-fascists attacked a march by the British Union of Fascists through the East End.

5 to 31 October: the Jarrow march.

19 December: after a prolonged constitutional crisis, Edward VIII abdicates because of the Establishment’s refusal to let him marry the American divorcee, Wallis Simpson.

1937

Leonard was ill for an extended period of time. Glendinning thinks it expressed his anguish about the international situation and dread for the plight of the Jews. He tried various consultants who thought it was diabetes or prostate trouble i.e. didn’t have a clue.

April: the bombing of Guernica.

24 June: Leonard and Virginia were among many artists and performers onstage at the Albert Hall for a concert to raise money for Basque orphans.

20 July: the terrible news that Virginia’s nephew (Vanessa’s son) Julian Bell had been killed after volunteering to drive an ambulance in Spain.

Leonard was diagnosed with numerous ailments and prescribed loads of medicines none of which worked. He even went to see the inventor of the Alexander technique, Frederick Alexander, but gave it up as too arduous. His ongoing illness prompted love and support from Virginia. Glendinning quotes Virginia’s diary describing them walking round Tavistock Square like a lovestruck couple:

‘love-making – after 25 years can’t bear to be separate…you see it is enormous pleasure being wanted: a wife. And our marriage so complete.’ (Virginia’s diary 22 October 1937)

21 October: after a long gestation, Virginia’s final and longest novel, The Years was published. It received good reviews and was her most commercially successful novel although Leonard thought it was her worst.

In late 1937 John Lehmann became a partner in the Hogarth press, buying out Virginia’s share for £3,000.

1938

March: Lehmann started full time as co-director of the Hogarth Press. Endless bickering with Leonard. But it was making more money than ever, £6,000 in this tax year.

March: Leonard installs a wireless in 52 Tavistock Square. He himself makes regular radio broadcasts.

12 March: the Anschluss, Nazi Germany marches into Austria and takes it over. At the Labour Party Executive Leonard argues for a coalition with the Conservatives and the introduction of conscription.

April: Lady Ottoline Morrell, hostess of the literary salon at Garsington Manor, died.

June: Three Guineas published. Leonard thought it typified Virginia’s impeccable feminism but their friends didn’t like it. Forster thought it cantankerous, Keynes thought it silly, Vita thought it unpatriotic. I think its structure (like a lot of Woolf’s writing) is eccentrically oblique and sometimes confusing, but the picture she builds up, especially through the extended notes, of the patriarchy which held back British women, is magnificent, radiating scorn and quiet rage.

August: Tom Eliot’s wife Vivian was certified insane and sent to a lunatic asylum where she spent the last 9 years of her life. Eliot never visited her.

September: the Munich Crisis, Neville Chamberlain flies to Munich and along with the French Prime Minister allows Hitler to annex the Sudetenland, part of Czechoslovakia with a large German population. Leonard predicted war. Virginia is still very much in love with him. She bakes a loaf of bread and calls out to the garden, where he’s up a ladder ‘where he looked so beautiful my heart stood still with pride that he had ever married me’ (letter to Vanessa Bell, October 1938).

9 November: Kristallnacht when the Nazis unleashed stormtroopers on Jewish homes, business and synagogues across Germany. Hundreds of synagogues throughout Germany, Austria and the Sudetenland were damaged, over 7,000 Jewish businesses were damaged or destroyed, and 30,000 Jewish men were arrested and incarcerated in concentration camps. Leonard has a recurrence of the painful rash which covers his back and other parts. He sees doctors but Glendinning thinks it was psychosomatic, stress, and to do with the persecution of the Jews.

December: Leonard finished the first volume of After the Deluge, an analysis of Enlightenment thought into the early nineteenth century. His aim was to show the psychological and sociological process which bring about wars, and so avoid them. Fat chance. When it was published in September 1939 it sold pitifully.

1939

January: Leonard and Virginia go to tea with Sigmund Freud, recently escaped from Nazi Vienna. The Hogarth press had been publishing his works for 15 years. Leonard was struck by Freud’s aura of greatness. Freud died a few weeks into the war, on 23 September 1939.

15 March: German army annexes the rest of Czechoslovakia and claims the country has ceased to exist. France and Britain bring forward their rearmament programmes. Leonard’s psychosomatic rash returns with a vengeance.

23 June: their friend the artist Mark Gertler gassed himself. He was suffering from financial difficulties, his wife had recently left him, his most recent exhibition had been slammed, he was still depressed by the death of his mother and the suicide of Dora Carrington with whom he’d been madly in love, and was fearful of the imminent world war.

Victor Gollancz commissioned Leonard to write a book in defence of civilisation and tolerance for the Left Book Club for £500. But the final manuscript of Barbarians at the Gate contained criticisms of the Soviet Union which were unacceptable to the communists at the club, leading to a prolonged exchange of angry letters.

2 July: Leonard’s mother died. He was unsentimental.

The Woolfs moved to 37 Mecklenburg Square, taking their thousands of books and the Hogarth printing press.

23 August: Germany and Russia signed their non-aggression pact. 1 September Germany invaded Poland. 3 September Britain was at war with Germany.

November: The Barbarians at the Gate was published and slated by left-wing fellow travellers.

1940

The War for Peace published in which Leonard defended what critics called his utopianism in international relations.

June: France collapsed. Hitler enters Paris. Dunkirk. Leonard was shaken.

September: the Blitz began and was to last until May 1941. The blackout is enforced in Rodmell (the village where they had their country home). Virginia spoke to the local Women’s Institute then became its secretary. Like many others they equipped themselves with means of committing suicide should the Germans invade (p.353).

Correspondents: Virginia was still writing letters about her everyday life to Ethel Smyth who didn’t die until May 1944. Leonard still wrote letters to Margaret Llewelyn Davies of the Women’s Co-operative Guild.

They drove to London but couldn’t get as far as Mecklenburgh Square because of the bombing. A pill box was built in the field beyond their garden. German planes flew overhead every day. The flat in Mecklenburgh had its windows blown out by bombs, but their old place at 52 Tavistock Square was reduced to rubble. The Hogarth press machinery was evacuated to Letchworth. The books from Mecklenburgh were shipped down to Monks House where they packed the corridors.

23 November: Virginia finishes first draft of Between the Acts. She slowly fell into a depression, Her hand started to shake.

1941

25 January: Virginia turned 59 and Leonard began to be worried about her persistent depression. She was revising Between the Acts, always a dangerous time. They socialise, Virginia telling people her new novel is no good, though Leonard praised it.

March: she went for a walk in the fields and fell into the river whose banks had broken and flooded some of their land. Leonard returned from giving a talk to find her staggering back towards the house, wet and upset. Vanessa visits and tries to cheer her up.

Monday 24 1941: he realised she was becoming suicidal. The situation was as bad as her collapse in 1913. He consults a friend, Octavia Wilberforce, about whether to his nurses and force 24 hour supervision on Virginia against her will. But this is what had triggered furious psychotic breakdowns in the past so they decided to try and gentler approach, of Leonard calmly supporting and encouraging her.

Next day was a series of humdrum chores, recorded by Leonard and the house servant, and Virginia said she was going for a walk before lunch. An hour or so later Leonard went up to his sitting room and found two letters there, one for Vanessa one for himself, suicide notes. The letter to him is so full of love it made me cry. She thanked him and said she had had a wonderful life but she could feel her madness coming on, she was hearing voices, she couldn’t read, he would be better off without her.

Obviously he came running downstairs, hailed all the servants, sent one to get the police and help and spent the day till sunset searching the flooded river Ouse. He found Virginia’s walking stick lying on the bank. In subsequent days the river was dragged for the body. Eventually the authorities gave up the search for her body.

Three weeks later he body was discovered floating in the river by some teenagers having a picnic. They called the police. Leonard had to identify it. Coroner’s report etc. Leonard drove on his own to the cremation.

All his friends tried to console him, saying she was better off dead than really mad, but Leonard swore she would have recovered from this attack as from previous ones. He buried her ashes under two elm trees in the garden at Monks House which they had jocularly named after themselves.

Joyce and death Born February 2, 1882, Joyce was precisely eight days younger than Virginia. Two days after his death on January 13, 1941, she noted in her diary that he was ‘about a fortnight younger’ (D 5: 352-53). She outlived him by just a little over ten weeks.

Virginia asked Leonard to destroy all her papers

He disobeyed and in the years to come Virginia Woolf’s diaries and letters, autobiographical writings and unpublished works, were to be published and pored over in ever greater detail. The shape of her legacy, and the broader picture of the Bloomsbury Group, would have been very different if he’d obeyed her wishes.

Was he right to ignore her explicit, direct request, as Max Brod disobeyed Kafka’s request to burn his papers?

The shocked response of friends and family, other writers, journalists, and the wider world, are described and done with by about page 380 of this 500-page book. Leonard Woolf still had 28 years to live (died 14 August 1969). A man who was born the year Gladstone replaced Disraeli as Prime Minister (1880) lived to see men land on the moon. The twentieth century, century of marvels but also cataclysmic disasters.

After Virginia

What’s interesting is the power of the biography completely evaporates with Virginia’s death. I hadn’t realised how much Leonard’s story had come to be entwined with hers, and his existence justified by his support of her as she wrote her masterpieces. When it’s back to just him it remains sort of interesting in a journalistic gossipy way but the pressure drops right down.

Twenty-eight more years of living, writing, politicking, editing, publishing and loving – one year less than his marriage to Virginia (1912 to 1941). According to Glendinning ‘Few people are so fortunate in their later life as Leonard Woolf’ and he had many happy years. But for this reader, at any rate, all the life went out of the book when Virginia died.

Trekkie

In the next few years he fell in love with a woman called Trekkie (real name Margaret Tulip) Parsons, a keen but nondescript painter, married to Ian Parsons, an editor at Chatto and Windus, a handsome charming man. Ian sort of permitted a menage a trois to develop though it’s doubtful that Leonard and Trekkie ever had sex, and I hate myself for reading about other people’s sex lives, though this is an unavoidable aspect of modern biography. Ian meanwhile was having an affair with his editorial assistant Norah Smallwood so… so people will be people.

Superficial though it sounds, the relationship with Trekkie lasted for the rest of their lives.

The growth of Bloomsbury

The other theme which emerges is the slow steady growth of the Bloomsbury industry. Post-war interest in Virginia and other figures just kept on growing. The surviving members of the network –published books every year and fed the market throughout the 1950s (p.433). The advent of the swinging 60s, sexual liberation, the decriminalisation of homosexuality in 1967, a greater openness about sex, made the Bloomsburies, with their fluid sexuality and open relationships, seem forebears and founders.

The members wrote autobiographies and memoirs, and a steadily growing tribe of academics wrote books about them. Glendinning describes some of the early Virginia scholars who began to approach Leonard asking for help, advice, an interview, and whatever papers he could spare.

Glendinning records Leonard’s growing involvement with not just American scholars but professional buyers of manuscripts such as Hamill and Barker, to whom he sold off packets and parcels of letters, manuscripts and diaries, through the 1950s and ’60s, for lucrative sums (pages 427, 450).

The schism between academics and public intellectuals

This move to biography was encouraged by the growing schism between general, freelance public intellectuals such as Leonard, and the growing number of professional academics housed in the growing number of postwar universities. When Virginia and Leonard started writing all intellectuals were on about the same level, with some being experts at universities, but many freelance writers knowing quite as much across a broad range of subjects. The tone of discourse across public writers and academics was comparable. In the new era of academic specialisation, academics developed technical terms and jargon, assumed specialist knowledge, which increasingly cut them off from generalists let alone the man in the street.

Leonard fell victim to this specialisation with his book on international politics, After the Deluge, published in 1955. He intended it to form the third part of a trilogy (the previous books published in 1931 and 1939) which he allowed himself to be persuaded to give the grandiose title Principia Politica. This begged comparisons with the masterworks of Newton (Philosophiæ Naturalis Principia Mathematica), Whitehead and Russell’s Principia Mathematica or GE Moore’s Principia Ethica, but it was nothing of the kind, as reviewers were quick to point out. Compared to the new ranks of professional academics, Leonard appeared discursive, repetitive, anecdotal and amateurish (p.444).

The spread of universities and growth of a class of specialist academics was epitomised by the opening, in 1961, of the University of Sussex, just outside Brighton and only 5 miles from Leonard’s rural retreat in the village of Rodmer (p.465).

For the public intellectual locked out of the growing ivory tower of academia, there remained publishing (he continued to be a director of the Hogarth Press), ‘the higher journalism’ (he continued to edit the Political Quarterly, and biography and memoirs. So this feeds back into the growth of Bloomsbury books – none of the survivors (Vanessa, Duncan, Quentin and so on) were really expert, scholarly expert-level on anything except… themselves.

Leonard himself epitomised the trend. Having had his masterwork of political commentary rubbished he retreated to the safer territory of his own life, and commenced his own autobiography which ended up taking no fewer than six volumes:

  • Sowing: An Autobiography of the Years 1880 to 1904 (1960)
  • Growing: An Autobiography of the Years 1904 to 1911 (1961)
  • Diaries in Ceylon 1908 to 1911, and Stories from the East: Records of a Colonial Administrator (1963)
  • Beginning Again: An Autobiography of the Years 1911 to 1918 (1964)
  • Downhill All the Way: An Autobiography of the Years 1919 to 1939 (1967)
  • The Journey Not the Arrival Matters: An Autobiography of the Years 1939 to 1969 (1969)

I’d never heard of these but they won him prizes. Beginning Again won the W.H. Smith book prize and the handy sum of £1,000.

Michael Holroyd’s two-volume biography of Lytton Strachey published in 1967-8 proved to be a turning point. Its openness about Strachey’s homosexuality, his numerous affairs, his thousands of camp letters, shed a completely new light on the Bloomsburies, rendering much that had been written up to that point obsolete, but confirming their reputation as sexual pioneeers (p.475).

Pointless

In the last volume of his autobiography Leonard candidly, devastatingly, adjudged that a lifetime of political activism, sitting on innumerable committees, spending years researching and writing position papers and polemical books (calling for international co-operation for peace) achieved more or less nothing.

‘I see clearly that I achieved practically nothing.’ (quoted p.484)

Thoughts

Authoritative, thorough, empathetic, insightful, fascinating and often very funny, nonetheless Glendinning’s definitive biography becomes increasingly focused on the mental illness of poor Virginia, relentlessly building up to Virginia’s suicide which is so terrible, so upsetting, so devastating, that I could barely read on and stopped trying to review it after that point.


Credit

‘Leonard Woolf: A Life’ by Victoria Glendinning was first published by Simon and Schuster in 2006. Page references are to the 2007 Pocket Books paperback edition.

Related links

Virginia explaining and justifying her technique in ‘Modern Novels’ (TLS 10 April 1919):

The mind, exposed to the ordinary course of life, receives upon its surface a myriad impressions–trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms, composing in their sum what we might venture to call life itself; and to figure further as the semi-transparent envelope, or luminous halo, surrounding us from the beginning of consciousness to the end. Is it not perhaps the chief task of the novelist to convey this incessantly varying spirit with whatever stress or sudden deviation it may display, and as little admixture of the alien and external as possible.

Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness. Let us not take it for granted that life exists more in what is commonly thought big than in what is commonly thought small.

Revised as ‘Modern Fiction’ in The Common Reader (1925).

The Years by Virginia Woolf (1937)

‘What could be more ordinary?’ she said. ‘A large family, living in a large house…’
(Rose Pargiter, thinking back on her childhood, page 161)

He looked clean, he looked starched and ironed like his robes. But what did he mean by what he was saying? She gave it up. Either one understood or one did not understand, she thought. Her mind wandered.
(Typical behaviour from one of Woolf’s female protagonists [in this case, Delia], detached from male discourse and dreamily drifting into her own world)

Her mind was a perfect blank for a moment. Where am I? she wondered. What am I doing? Where am I going? Her eyes fixed themselves on the dressing-table; vaguely she remembered some other room, and some other time when she was a girl…
(Kitty Malone expressing the dissociation and bewilderment typical of so many Woolf women)

The Years is Woolf’s longest novel. The strange thing is how this big and traditional novel punctuated her run of much shorter, much more experimental works, coming after the run of Jacob’s Room (1922), Mrs Dalloway (1925), To The Lighthouse (1927) and before her last, normal-length work, Between The Acts (1941).

It’s a sad and mournful book, lyrical and nostalgic. I like the suggestion by Nuala Casey (see below) that it’s a sort of ghost story, the ghosts being Woolf’s own family who the Pargiter family are clearly based on.

‘The Years’ and ‘Three Guineas’

‘The Years’ had a long, complicated and painful gestation. It was intimately tied up with the long feminist essays which became Three Guineas. According to Wikipedia:

Although Three Guineas is a work of non-fiction, it was initially conceived as a ‘novel–essay’ which would tie up the loose ends left in her earlier work, A Room of One’s Own (1929). The book was to alternate between fictive narrative chapters and non-fiction essay chapters, demonstrating Woolf’s views on war and women in both types of writing at once. This unfinished manuscript was published in 1977 as The Pargiters. When Woolf realised the idea of a ‘novel–essay’ wasn’t working, she separated the two parts. The non-fiction portion became Three Guineas. The fiction portion became Woolf’s most popular novel during her lifetime, The Years, which charts social change from 1880 to the time of publication through the lives of the Pargiter family. It was so popular, in fact, that pocket-sized editions of the novel were published for soldiers as leisure reading during World War Two.

The soldiers’ version

Regarding its popularity and the publication of a pocket edition for soldiers, as I read through The Years I came to understand why. It is gentle and beautiful, sad and nostalgic. Each of the book’s 11 sections opens with a description of the English countryside or the busy London streets, in winter and in summer, in rain and shine, and these slowly build up into a composite portrait of the country those soldiers were fighting for.

And you can put The Years down and pick it up at any point, on any page, without worrying about forgetting the plot, because there is no plot. The characters waft around London in the same lyrical, detached, dreamlike state for hundreds of pages.

Similarly, although we know Woolf was incensed by the oppression of women by the patriarchy of her day, and although her fury is hinted at at various points in the narrative, ironically it is the very exclusion of women from education, the professions and public life, from activities of most kinds, which permits the novel’s lazy, hazy, dreamy tone.

The person who emerges as the central protagonist, Eleanor Pargiter, is the one who suffers most from patriarchal exclusion, finding herself obliged to stay at home to look after her widowed father, never benefiting from a proper school let alone university education, excluded from all the professions and any kind of paid employment. No wonder she grows up into the detached, dreamy, forgetful woman she’s depicted as – what alternative was there for women of her era and class?

There is also a pleasing irony that the great pamphlet The Years grew out of, Three Guineas, is furiously against war and against the entire patriarchal, masculinist system of hierarchy, competition and militarism which encourages it, and yet the fiction which evolved alongside it was mass published to help and succour… soldiers, becoming, in its particular way, part of the vast machinery of war which Woolf claimed to hate so much.

‘Three Guineas’ feminism

As explained, The Years was originally conceived to be interspersed with factual chapters detailing the oppression of women in England during the period covered (1880 to 1937). Eventually Woolf realised the two books had to be separated out and from her factual material created the great pamphlet, Three Guineas.

Three Guineas is a powerful feminist polemic. Reading it changed my opinions, shifting me to a markedly more feminist point of view of English social history and in particular the literature of this period, the late Victorian and Edwardian era. It is more difficult to read but, in the end, much more powerful than the shorter, more popular A Room of One’s Own.

Three Guineas is a searing indictment of all aspects of the patriarchal system developed during the Victorian era, which Woolf felt still strangled women’s aspirations in the 1930s. One aspect of this is her compelling portrait of the classic Victorian family home as a prison for daughters. Middle-class daughters were deprived of the private education given to their brothers, prevented from going to university, prevented by law from entering any of the professions, prevented from earning money and having any kind of financial or personal independence. Instead they were trapped in the prison of the Victorian family home ‘like slaves in a harem’, subject to the tyrannical whims of an all-powerful paterfamilias and, more often than not, confined to tending family members, especially if they were sick. Millions of women were forced to squander their talents, living lives blighted by endless legal, financial and cultural restrictions. This boredom crops up throughout the opening chapters.

‘I’ve nothing whatever to do,’ [Delia] said briefly. ‘I’ll go.’

This, then, is why the young women of Woolf’s day obsess about marriage and spend so much time fantasising about the young men they meet at this or that party or reception. Because marriage represents the only means of escape from the stifling family home. Deprived by law and tradition from all other channels of expression and achievement, pursuit of the perfect marriage is the only ‘profession’ allowed them.

She [Eleanor] wished Milly did not always bring the conversation back to marriage. And what do they know about marriage? she asked herself. They stay at home too much, she thought; they never see anyone outside their own set. Here they are cooped up, day after day… (p.31)

My reading of Three Guineas heavily influenced my reading of The Years, the weight of Woolf’s angry critique of Victorian oppression of women hanging very heavily over the text of the novel.

The character of the damaged, angry, unpredictable Colonel Pargiter is straight out of the essay, as is the permanent gloom caused by their mother’s long illness, the heavy curtains, the sense of trapment and stasis. Then, after the mother dies, Eleanor finds herself even more trapped in the role of her father’s carer and household manager, while all the time she watches the boys of the family go off to their private schools, then to Oxbridge colleges, and then on to professions in the army, academia or the law. All forbidden to the daughters of the family.

Presumably the dominance of this factual or even political agenda is one reason why the novel is so unlike her experimental ones, so much more conventional, much closer to the big novels about family dynasties which were so popular in the Edwardian era (for example, the series of novels by John Galsworthy making up The Forsyte Saga published 1906 to 1921).

Structure

How do you ‘chart social change? Well, Woolf picked a series of specific years, like snapshots in a family scrapbook. Hence the structure, the chapter titles and title of the novel as a whole.

  1. 1880 (82 pages)
  2. 1891 (37 pages)
  3. 1907 (15 pages)
  4. 1908 (12 pages)
  5. 1910 (29 pages)
  6. 1911 (20 pages)
  7. 1913 (8 pages)
  8. 1914 (52 pages)
  9. 1917 (20 pages)
  10. 1918 (3 pages)
  11. Present Day (123 pages)

Curious to see if the section lengths indicated any sort of pattern, I turned them into a graph. No particular pattern emerges except the obvious fact that the first and last chapters are the longest, with the final chapter as long as all the short ones put together. The book is heavily weighted towards the ‘Present Day’

The Waves and The Years

Each of the 11 sections starts with a paragraph or so describing the time of the year and the weather, giving lyrical natural descriptions before the text zooms in onto the human characters. This tactic of natural setting followed by human interaction is very similar to the structure of The Waves, in which each of the sections is preceded by a description of the passage of the sun through the sky and the effect of the changing light, wind and weather on the sea beneath it – before moving on to focus on the lives of the characters. Not quite identical but a very similar idea.

And it’s not just using an introductory section about the weather that both novels have in common. The idea of following half a dozen or so characters, from childhood through to adulthood by giving snapshots of particular moments or events scattered over a period of 40 or more years, this is exactly the method of The Waves.

The similarity extends to the tactic of giving the children a couple of childhood events or moments, and then having these same events be remembered in each successive section, so that they slowly build up significance and resonance. Thus it was with the childish incident of Jinny kissing Louis in The Waves which gains significance as the various characters remember it throughout their lives. Here it is incidents like defiant little Rose sneaking out of the house to run along to Lamley’s shop or Maggie’s memory of the cheap necklace Eleanor bought for the Colonel to give her (Maggie) on her birthday.

1880. The Pargiter family at Abercorn Terrace wait for their mother to die (82 pages)

It was an uncertain spring. The weather, perpetually changing, sent clouds of blue and of purple flying over the land…

Colonel Abel Pargiter is in his 50s. He served in India where he lost two fingers during the Mutiny of 1857. He lives in a comfortable family home in Abercorn Terrace, off the Bayswater Road, north of Hyde Park.

An online article by Nuala Casey tells me that:

The Pargiter family home in Abercorn Terrace is a replica of 22 Hyde Park Gate where Woolf grew up with her father, the Victorian biographer Leslie Stephen, her mother Julia, a former Pre-Raphaelite model, her siblings Vanessa, Thoby and Adrian and step-siblings Stella, Gerald and George Duckworth.

The colonel’s wife is dying of some slow wasting illness, so he has taken a mistress, Mira, who lives in a dingy house near Westminster Abbey. Mira herself is no longer young, being about 40 and with a daughter at school.

Back at the family home wait the Colonel’s children – Milly, Delia (‘his favourite daughter’), Rose, Eleanor and Martin. They are all terrified of his bad moods. Eleanor, in her early twenties, is already the household manager and accounts keeper. Martin is 12, Rose is 10.

There are several servants. The main housekeeper is named Crosby, silent and efficient. The butler is named Hiscock, rarely talks, always mumbles.

Morris is another son but is old enough (after his private education) (in his early 20s) to have a job, as a junior in a barristers chambers (‘devilling for Sanders Curry’).

Cut to rooms in an Oxford college. Here we meet Edward Pargeter and his two friends, hulking great Gibbs and more effete Ashley. They’re not really friends, they don’t get along. When he’s got rid of them Edward hears laughter from the Lodge of the college and wonders who’s there with young Kitty who, presumably, he has a thing for.

Cut to the Malone household. Father is a don, Dr Malone. The interest is on young Miss Kitty Malone. She’s spent the day showing Mrs Fripp, the wife of American tourists, round Oxford. At the end of the day she undresses to go to bed. She’s a large girl who’s self conscious about her size.

Next morning she gets up and goes to see her tutor, Miss Craddock who’s tutoring her in history. Miss C is very harsh and says a child of ten could have written Kitty’s latest essay. We don’t even find out that the subject of the essay is, before their hour is up and Kitty goes on to visit the Robson family in Prestwich Terrace.

She despises their bad taste, their rooms cluttered with pretentious junk, and they’re all so small, until the son of the house, Jo, comes in from the back garden where he’s been repairing a hen coop. Kitty fancies him; she’d like him to kiss her. Jo thinks she’s a ‘stunner’.

She returns to the Lodge and sits with her mother as the latter reads The Times. Then a note arrives to say that cousin Rose has died. This is obviously Mrs Pargiter. Mrs Malone remembers sitting with Rose out on the moors in Yorkshire when young Abel Pargiter rode up from his barracks to propose to her (Rose).

Cut to the house in London, in Abercorn Terrace. it is dark and full of wreaths. The coffin containing their mother’s body is carried out. Rose’s funeral is seen through the eyes of Delia who loved and hated her. Delia feels excluded by her father and brothers who manage everything.

1891. Eleanor goes to watch brother Morris in the law courts, Colonel Pargiter visits his brother, Sir Digby Pargiter. Death of Parnell (37 pages)

The autumn wind blew over England. It twitched the leaves off the trees, and down they fluttered, spotted red and yellow, or sent them floating, flaunting in wide curves before they settled…

It is October. Kitty has married Lord Lasswade, has a little boy, lives at his grand house in the North of England. Milly has married Edward’s student friend, big Hugh Gibbs. She is pregnant. Edward is an academic at Oxford, in Classics. Morris is a barrister walking through the Inns of Court.

Eleanor, now in her early 30s, still lives at home with her father, still does the household accounts, as well as running round taking part in various committees and managing the family’s other properties, dingy rented houses called Rigby Cottages, dealing with dishonest traders; plus buying a last-minute present for her father to take to Aunt Eugénie for her little girl, Magdalena (Maggie)’s, birthday.

After a morning of chores and lunch with her father, Eleanor hurries off to the Law Courts to watch Morris prosecute a case. On the way she reads a letter from Martin who is 23 and serving in India. She rendezvous with Morris’s small, cat-faced wife in furs, Celia Chinnery.

I read the scene of Morris in court through the prism of Three Guineas. Woolf’s fierce condemnation of the way the patriarchy excluded women from all the professions brings out the outsiderness of Eleanor, excluded from a good education, prevented from attending university, she views proceedings as an outsider. She notes the palliness of all the barristers, their awe of the judge, but without following any of it, her head full of her own impressions and memories. All this makes a lot more sense if you bear in mind Three Guineas explanation of women’s exclusion from every aspect of public life.

Out in the busy Strand she reads a newspaper announcement that Charles Stewart Parnell, the Irish independence leader, is dead (6 October 1891). Her sister, Delia, was a supporter of Home Rule so she takes a cab out to the squalid square where Delia lives, but she’s not there.

Cut to Colonel Pargiter visiting Aunt Eugénie in her house in Browne Street. She is married to his younger brother, Sir Digby Pargiter, and her two young daughters, (Sara and Magdalena) are playing in the garden round a bonfire of autumn leaves. Sir Digby arrives, 5 years younger than the Colonel, though the Colonel has more money. After some chat and chaffing the children, the brothers have no more to say to each other, so the Colonel leaves.

En route to their house he’d read a letter to him from his old mistress, Mira, who’s now in her 50s and fat. She had gone off with some other chap who has now, predictably, dumped her and she wants money from him. The Colonel had wanted to tell Eugénie about her, Mira, to unburden himself of his secret life but the moment never occurs, and he leaves, frustrated.

1907. Digby and Eugénie attend a party then come home to their daughter, Sara (15 pages)

It was midsummer; and the nights were hot. The moon, falling on water, made it white, inscrutable, whether deep or shallow…

Each chapter opens with a bird’s eye description of London or the countryside. This one opens with a long description of all the carts of agricultural produce lumbering along roads into London towards Covent Garden (compare and contrast Oscar Wilde’s description of the same thing in Lord Arthur Saville’s Crime and D.H. Lawrence’s description in Aaron’s Rod).

Eugénie and Digby and their older daughter, Magdalena (Maggie) are riding in a coach through Hyde Park towards a party. Back in their house in Browne Street their teenage daughter Sara is too young to attend, so has been left behind. She’s trying to sleep but is kept awake by the waltz music from a nearby party. She opens a present from her cousin Edward, the Oxford Classics scholar, his own translation of Sophocles’ Antigone.

We know from Three Guineas that the Antigone was very, very important to Woolf. Of more than personal importance, it had a polemical, political significance, because Antigone stands for all women everywhere who stand up to dictators and tyrants as Antigone stood up to her tyrannical uncle, Creon. This carried not only an immense significance in the 1930s of the fascist dictators but, in Three Guineas, Woolf makes a direct link between the public tyranny of the dictators and the private tyranny of the Victorian paterfamilias. Even Antigone’s eventual fate was highly symbolic, not just being executed but being buried alive just like the daughters of the upper-middle-class like Woolf and her generation, were buried alive in the dark, curtained mausoleum of the patriarchal home. So this isn’t a casual reference.

Identities and selves

Anyway, the parents return and Maggie visits Sara in her room. Their conversation winds round to the central Woolf theme of identity, not in any profound ore worked-through way, just in a kind of girlish throwaway:

‘Would there be trees if we didn’t see them?’ said Maggie.
What’s ‘I’?…’I’…’ She stopped. She did not know what she meant. She was talking nonsense.
‘Yes,’ said Sara. ‘What’s ‘I’?’ She held her sister tight by the skirt, whether she wanted to prevent her from going, or whether she wanted to argue the question.
‘What’s ‘I’?’ she repeated.

As we know from the last chapter of Orlando, Woolf had evolved to a position where the whole idea of identity was problematical, where she imagines the so-called ‘I’ being made up of scores or even hundreds of ‘selves’. (This theme is picked up in the 1910 chapter, see below.)

Their mother comes into the room and there’s a lovely scene of mother-and-daughters warmth as they chat about the party. The girls (both now in their twenties) persuade their mother to show them how she used to dance, holding her Edwardian skirt out like a partner. Until Sir Digby calls her to come down and lock up, angrily, and when Maggie tiptoes downstairs it’s because there have been burglaries in the street, and Digby told Eugénie to get a new lock fitted and she’s forgotten. The sweet Edwardian mother and the angry Edwardian father.

1908. Martin views the Digby house then visits Eleanor looking after their father (12 pages)

It was March and the wind was blowing. But it was not ‘blowing’. It was scraping, scourging…

It’s March the following year and we learn that Eugénie died a year ago (can that be right? if she was going to parties in October the previous year?) and Digby is dead too. The family house in Browne Street has been put up for sale, and has been sold, as Martin (now in his 40s) discovers when he arrives to view it. The Malone children used to come here all the time. Martin is upset at the loss of this setting of his childhood.

So Martin pops round to the family home. Old Crosby opens the door. The Colonel’s had a stroke and is slow. Eleanor, now in her 50s, is still looking after him. Martin finds a newspaper obituary for Sir Digby among the cuttings that the Colonel nowadays has Eleanor cut for him, which leads to a mild disagreement about whether they preferred him or Eugénie.

(And there’s a joke. Woolf started in the 1930s collecting newspaper cuttings into scrapbooks, many of them to be used in Three Guineas. So it’s a sly joke against herself when Woolf has Eleanor think, about her father: ‘That was a sign that he had grown very old, Eleanor thought—wanting newspaper cuttings kept,’ p.143)

Martin goes to play chess with their father and Eleanor reflects that he, Martin, was right to quit the army.

Martin notes that Eleanor is reading a book by the French historian Ernest Renan. Left by herself Eleanor reflects that she knows so little, is so ignorant of so much. This, of course, is an understated reference to the way she (and so many women her age) were denied any formal education.

There’s a knock at the front door and their sister Rose arrives. She is in her 40s, lives in Northumberland, and is a well-established eccentric, giving to muttering quotes from poems and songs. Eleanor was expecting her to arrive on the 18th but Rose says this is the 18th and both she and Martin laugh at Eleanor for thinking it’s the 11th, for getting her dates mixed up, for being so forgetful and ditzy. (A lot later Woolf tells us ‘She could never do sums in her head at the best of times’ and ‘She never could remember names’.)

This is a trope familiar to Woolf readers, who often goes out of her way to describe the ignorance and lack of education and general ditziness of her central woman protagonists (Mrs Dalloway in the book of the same name, Mrs Ramsay in To The Lighthouse). Woolf describes their practical shortcomings in order to emphasise that it doesn’t matter so long as their heart is in the right place, and because they love life.

All this has much more meaning to me after reading Three Guineas in which Woolf is so angry about the exclusion from all forms of education of women of her class. It made me rethink these women characters as not so much feebly dim but as victims of patriarchal laws and traditions designed to exclude them from education and public life – to be blunt, to keep them ditzy and distracted with trivia.

This adds bite to the way that, as Martin goes to leave, he mentions that he’s dining out that night, again, and Eleanor is jealous that he dines out every night and meets all sorts of people, and here she is trapped at home with a dying old man. Again, reading Three Guineas gives a powerful feminist, political bite to all these simple events and thoughts.

We learn that Rose is very politically engaged and has been making speeches ahead of the 1907 general election. It is nowhere mentioned, but the OUP editors assume she is a suffragette.

1910. Rise visits Sara and Maggy, Kitty goes to the opera, death of Edward VII (29 pages)

In the country it was an ordinary day enough; one of the long reel of days that turned as the years passed from green to orange; from grass to harvest. It was neither hot nor cold, an English spring day…

A lyrical portrait of busy London leads into a description of eccentric Rose catching a bus south of the river to visit her cousins Maggie and Sally at a place called Hyams Place, near Waterloo. After both their parents died and the Browne Street house was sold off, Maggie and Sara had to fend for themselves.

Rose is dismayed by how shabby and poor their house is. When they try to make conversation about the old times she feels like she’s two different people (the Multiple selves theme).

They talked as if they were speaking of people who were real, but not real in the way in which she felt herself to be real. It puzzled her; it made her feel that she was two different people at the same time; that she was living at two different times at the same moment. She was a little girl wearing a pink frock; and here she was in this room, now (p.159)

Rosie persuades Sara to go with her to a meeting. Eleanor is already there taking notes and then Kitty Malone, now Lady Lasswade, arrives, inappropriately dressed in opera wear. We don’t learn what the meeting is about, and since half the people arguing are men I assume it’s not a suffragette meeting. Wikipedia says it’s just ‘one of Eleanor’s philanthropic meetings’.

The meeting breaks up and Kitty, Lady Lasswade offers Eleanor a lift in her magnificent chauffeur-driven car. She drops her where she wants to be dropped then continues on to the Opera. There’s a tasty description of the embarrassment of her and all the other posh types who are wearing evening dress, heels, cloaks and furs in the middle of the day because they are attending a matinee performance, dodging between the Covent Garden workers.

The opera is Siegfried by Wagner and Woolf gives a description. Lady Lasswade/Kitty is in a box with Edward and another young man, very in-the-know. She and they observe that the Royal Box is empty.

Cut back to Sara and Maggie back in their dingy home in the squalid street near Waterloo. There’s a pub just on the corner, children shouting in the street, a geezer yelling for any old iron. A drunk is thrown out of the pub and comes battering on the front door of the neighbouring door. Then along comes a man selling the evening paper and yelling that the king is dead. (King Edward VII was declared dead on 6 May 1010.) So that’s how the characters find out, one set at the Royal Opera, the other in their dingy digs.

1911. Eleanor visits Morris and Celia in Wittering (20 pages)

The sun was rising. Very slowly it came up over the horizon shaking out light. But the sky was so vast, so cloudless, that to fill it with light took time…

August, the holiday season. We learn that every year Eleanor comes to stay at Morris’s house on the south coast, at Wittering. There’s a nice description of the little town in the blistering August sun. We learn that old Colonel Pargiter has died and therefore the London house is locked up.

Morris is the barrister we saw in the courtroom scene where Eleanor soon lost interest in proceedings. Eleanor is greeted by Morris’s wife, Celia, who explains they’re all of a tizzy because other guests have only just left and yesterday they held a bazaar with a little play, a scene from Shakespeare, in support of the local church spire. Characteristically for a Woolf woman, Celia can’t remember which Shakespeare play it was. Because they don’t work – are barred from most work – Woolf’s women are notoriously indifferent about details and precision: everything is a drift and blur.

Eleanor washes herself and changes in the room she’s been given (the blue room). She’s been on a big trip abroad, maybe her first freedom after her father’s death, which included Naples, the Acropolis and, lastly, Spain – Granada and Toledo. Her skin is notably brown (though nobody uses the word ‘tanned’; they say burned; the concept of a suntan must have appeared later in the century. According to the internet the first use of ‘suntan’ as a commercial name for a light-brown skin colour was in 1937. The OED’s earliest evidence for the word ‘suntanning’ is from 1946).

Eleanor is 55. This is the first time the age of any of the Pargiters is mentioned. From it we can deduce that she was already 24 when the novel opened in 1880.

She went on this grand tour with her brother, Edward, the Classics scholar. Another guest is staying for the weekend, a man named Dubbin who they’ve known since they were children. He is now a balding old buffer called Sir William Whatney. He’s been out in India, ruling a province the size of Ireland ‘as they always said’.

Having read Three Guineas I detect the bite behind all this. Whatney and Eleanor’s brothers Edward and Morris have had careers, gone places, had responsibilities, competed over their achievements and status. From this, like all women of her class, Eleanor has been excluded by the entire system of patriarchy which condemned her to live at home with her father managing the household accounts.

She isn’t really jealous, just indifferent, so as Sir William tells another story about India in her booming voice Eleanor, like all the Woolf women, loses interest, drifts away, notices inconsequential details of the room around her, wonders about the passage of time etc.

More bite in the fact that, when Morris and Whatney start talking about politics, Celia takes that as a signal to ‘leave the gentlemen to their politics’, and to take Eleanor and the children out onto the terrace for coffee. Here we learn that 1) Rose is in court, again, for throwing a brick, so presumably she is a suffragette and 2) Maggie has got married to a Frenchman, René.

Morris and Celia have two teenaged children, Peggy and North. The daughter of this house, Peggy, is excited because they see an owl every evening at the same time and her excitement spreads to Eleanor. Celia wants Whatney to come and live somewhere close because he’s so good for Morris.

In the top floor of the house lives old Mrs Chinnery, Celia’s mother, a very ancient 90 years old. Her nurse brings her downstairs in her wheeled chair and Eleanor goes through the rigmarole of politely kissing her and trying to make conversation. As you strongly suspect Woolf did in these situations (because so many of her characters do), Eleanor finds herself going through the motions and acting the part of the dutiful guest.

Eleanor goes to bed and can hear old Whatney huffing and puffing round in the room next door. His life is over (he’s retired) while hers – liberated from caring for her father – is only just beginning. Where should she go? What should she do?

1913. The family home is locked up and Crosby moves to Richmond (8 pages)

It was January. Snow was falling; snow had fallen all day. The sky spread like a grey goose’s wing from which feathers were falling all over England…

It’s a snowy January and Eleanor is escorting an estate agent, Mr Grice, round the now-empty family house at Abercorn Terrace. All the furniture’s been removed, leaving empty spaces, stains on the walls. The point is it’s Crosby’s last day. She’s served the family for 40 years. Showing the estate agent round, Eleanor for the first time realises how low and dingy the cellar was where she spent those 40 years, and feels ashamed. Crosby cries as Eleanor sees her into the carriage which will take her and her dog, Rover off to a one-room apartment in Richmond.

So off Crosby goes to her new home in Richmond, sharing the house with Mr Bishop and Mrs Burt, But Rover doesn’t like the change, sickens and dies.

Crosby catches the Tube to Ebury Street and walks to the bachelor pad of Martin, I wasn’t sure from the text why. The Wikipedia article tells me it’s because she’s still doing his laundry.

Martin is now about 45 and still a bachelor. He is uneasy around servants, tries to sympathise when Crosby tells him about Rover. As he clumsily says his goodbyes to her, he reflects on the tradition of telling lies in their wretched family. After the Colonel died they discovered a batch of letters to him from Mira i.e. that he had a mistress. We’ve seen how the Victorian family house was a prison for girls, but Martin has just as negative a view.

It was an abominable system, he thought; family life; Abercorn Terrace. No wonder the house would not let. It had one bathroom, and a basement; and there all those different people had lived, boxed up together, telling lies. (p.212)

1914. Martin goes to the City, Hyde Park, then to a party (52 pages)

It was a brilliant spring; the day was radiant. Even the air seemed to have a burr in it as it touched the tree tops…

‘Martin, standing at his window, looked down on the narrow street’ (see my section on Windows, below). He heads off towards the City and bumps into Sara/Sally, now in her 40s, outside St Paul’s. He invites her for lunch at a chop house and is angry when the waiter tries to steal some of the change from the bill. They walk back along Fleet Street and catch a bus to Hyde Park. Here the beautiful sunshine gives him a transcendent moment, which revives the ‘multiple selves’ theme.

The sun dappling the leaves gave everything a curious look of insubstantiality as if it were broken into separate points of light. He too, himself, seemed dispersed. His mind for a moment was a blank. (p.230)

He’s accompanying Sara to meet her sister, Maggie – who’s gotten married (to René, a Frenchman) and recently had a baby – at the Round Pond in Kensington Gardens. I like reading about London because I myself stroll around these places; only a few months ago I went to an exhibition at the Serpentine Gallery then strolled along to the Round Pond then down to Kensington High Street where I popped into the Japan House. So all these London placenames aren’t vague abstractions but places where I myself have walked and strolled at different seasons, following in the footsteps of so many of Woolf’s characters.

Sara and the baby fall asleep and Martin finally gets to tell Maggie that his father had a mistress. It seems so silly and petty now, that he bothered to hide it. But this leads him on to ask Maggie if she thinks her mother, Eugénie, was in love with his father, the Colonel, her brother-in-law.

I know there are many readers for whom love – who in a novel is in love with whom, and who having affairs with whom, who is being unfaithful etc etc – is a subject of inexhaustible interest. For me it is a subject of ineffable boredom. But at the same time, I have to accept that this narrow, dull subject – the love lives of the bourgeoisie – is what this art form, the novel, is more often than not about.

Sara wakes up and breaks the odd intimacy he and Maggie had enjoyed. He leaves the sisters. A few hours later he’s wearing evening dress and riding in a carriage to a party in Grosvenor Square. It is hosted by Kitty, Lady Lasswade. It is dazzling how utterly indifferent Woolf is to dialogue. Martin is assigned a young women, Ann Hillier, to escort for the evening (to dinner) and their conversation is quite dazzling in its dullness and banality. One page of dialogue by Oscar Wilde outshines all the conversations in every novel Woolf ever wrote. She has a very poor sense of the difference between people. All her characters have the same dreamy inconsequentiality.

Kitty takes a train to her castle in the north

To our surprise Kitty is impatient for her guests to leave because, as soon they do (soon after 11pm) she rushes upstairs, gets changed into the clothes her maid has laid out, runs downstairs and into the car which the chauffeur drives fast to the station (Euston? King’s Cross?) and she just makes it onto her train, is shown to her sleeper compartment, undresses, lies in the narrow bed and sleeps.

Kitty wakes the next morning, looks out the train window, arrives in a northern station, alights with her bags, is collected by another chauffeur (in the new car) and is driven to the family castle, where she changes for breakfast.

This is an unusual bit of energy and excitement for a Woolf novel, but also serves to highlight the complete absence of plot. She is, after all, just travelling from her London home to the family castle in the North. The entire novel is the record of its half a dozen posh characters coming and going. This sequence is notable because it’s a rare passage set outside London, so Woolf shows off with a description of a train journey and the colder, harder landscape of the North.

1917. Eleanor goes to dinner with Renny and Maggie, there’s an air raid (20 pages)

A very cold winter’s night, so silent that the air seemed frozen, and, since there was no moon, congealed to the stillness of glass spread over England…

Eleanor goes to dinner with Renny and Maggie who have fled France to live in a shabby house in one of the obscure little streets under the shadow of the Abbey. Here she is introduced to a dark foreigner, Nicholas, talkative and philosophical.

Then Maggie’s sister, Sara arrives. Sara has always been portrayed as on the edge of madness, and she infects this dinner party with a kind of delirium. The characters talk and mention things but it’s hard to make sense of the conversation, it seems more a series of random observations. They argue but it’s hard to know what about.

This inconsequential conversation is interrupted by a German air raid. They all go down to the damp cellar while the sound of bombs gets slowly, closer, is overhead, then passes on.

Back in the living room, the meandering conversation turns to Nicholas and Eleanor talking vaguely about the future, about whether there will be a better world.

When, she wanted to ask him, when will this new world come? When shall we be free? When shall we live adventurously, wholly, not like cripples in a cave?

But Sara pours cold water on all this by pointing out the way that people always say the same thing: Nicolas always says ‘Oh, my dear friends, let us improve the soul!’, Eleanor agrees with everything, Maggie says nothing just sits and darns a sock, and Renny angrily says ‘What damned rot!’

Sara surprises the reader by saying Nicholas is gay. To be precise, she jokes that he ought to be in prison:

‘Because he loves,’ Sara explained. She paused. ‘—the other sex, the other sex, you see.’

Eleanor feels a moment of repulsion and then realises it doesn’t matter, at all. She likes him. She reacts like so many Woolf characters do, in so many situations, by going to the window and looking soulfully out.

She got up. She went to the window and parted the curtains and looked out. All the houses were still curtained. (p.284)

1918. Crosby and the armistice (3 pages)

A veil of mist covered the November sky; a many folded veil, so fine-meshed that it made one density. It was not raining, but here and there the mist condensed on the surface into dampness and made pavements greasy…

The last four years have aged old Crosby, the Pargiter family servant. She talks to herself, grumbling and complaining about the other occupants of the house near Richmond Green, especially a Belgian refugee from the war who calls himself a count and spits on the side of the bath, which Crosby has to clean up.

She hears guns bombing and a siren wailing. Woolf in her Woolfian way, tells us what Crosby sees, a man up a ladder painting windows, a woman walking by carrying a loaf of bread wrapped in paper. Someone in a shop queue tells her the war is over.

This is a classic example of Woolf’s technique of indirection and disassociation which can be interpreted in several ways.

  1. Modernism: modernism was all about rejecting Victorian pomp and circumstance and addressing a subject in an obvious and relatable way; instead tackling everything obliquely and ironically.
  2. Woolfian dissociation: in all her mature novels, characters tend to be dissociated and detached from events, even ones directly affecting them. How much more detached they are from supposedly big public events. Compare and contrast the oblique way King Edward VII’s death, though Kitty’s visit to the opera.
  3. Woolfian feminism: the complete indifference of a muttering old lady to the Armistice exemplifies my reading of Three Guineas, which is centrally concerned with the question How to avoid war, and drips with mocking sarcasm about men’s obsession with competition, priority, hierarchy and status which she sees as one of the roots of war. Muttering old Crosby doesn’t give a monkeys about your war or peace or politics or diplomacy and maybe she is right to do so.

Present day (123 pages)

It was a summer evening; the sun was setting; the sky was blue still, but tinged with gold, as if a thin veil of gauze hung over it, and here and there in the gold-blue amplitude an island of cloud lay suspended…

As explained, each section opens with a description of the time of year and weather which largely sets the tone for what follows. As you can see this, the longest, section, opens with an image of mellow contentment, high summer gold, a thin veil, an island of cloud etc. So what’s become of our characters? And when is the present day?

Eleanor back from India, North back from Africa

Eleanor has just returned from a trip to India, brown skinned and white haired. She now in her 70s. She’s just had visitors at her little flat, including her nephew North, son of her brother Morris. North is back from years ‘in Africa’. (Characteristically, the narrative doesn’t tell us what he was doing there. We have to deduce from scattered references that he was a farmer and now he’s sold the farm.)

Eleanor shows North her jazzy new shower. He drives off in his nifty little sports car. He’s going for lunch with Sara, his aunt, now in her 50s i.e. 20 years or so older than him. He parks in a dingy street and has the characteristic Woolf experience of forgetting who he is or what he’s doing:

He mounted slowly and stood on the landing, uncertain which door to knock at. He was always finding himself now outside the doors of strange houses. He had a feeling that he was no one and nowhere in particular…

He knocks and enters Sara’s dingy house:

‘And you—’ she said, looking at him. It was as if she were trying to put two different versions of him together; the one on the telephone perhaps and the one on the chair. Or was there some other? This half knowing people, this half being known, this feeling of the eye on the flesh, like a fly crawling—how uncomfortable it was, he thought…

The uncomfortableness of being observed reminds me of Jean-Paul Sartre’s novels.

She’s on the phone to a man he met at Eleanor’s, the philosophical foreigner we first met in the previous chapter, ‘that very talkative man, her friend Nicholas Pomjalovsky, whom they called Brown for short.’ He is meant to be a great intellectual but the grandest thing he’s said, so momentous it’s repeated several times, is: ‘if we don’t know ourselves how can we know other people,’ which feels mundane and limp.

Come down in the world

A serving girl serves them undercooked mutton which bleeds. A theme in the last few chapters is how all the Pargiter siblings have come down in the world compared to the grand family home they lived in as children, paralleled by the warm Digby household at Browne. The children of both houses find themselves, in the modern world, living in dingy houses and pokey flats. Only their cousin Kitty Malone has done well for herself, marrying Lord Lasswell.

North and Sara have a dingy dinner, but the thing about their encounter is its staginess: he seems to be egging her on to perform her lines rather than have a conversation. Only from the notes did I learn that they were actually reading from a play.

Eleanor rings. She’s having dinner with her niece Peggy. Thus, by phone, two pairs of this extended family communicate. In their part of the narrative, Peggy thinks how old and forgetful Eleanor’s become but then we know she’s always been vague and easily distracted.

Eleanor loves hot water and electric lights but is not so keen on motor cars – one nearly ran her over the other day – and hates the wireless.

Eleanor sees a newspaper with the face of one of the dictators on it, Hitler or Mussolini, and swears and tears it in half, to the shock of her niece. The pair catch a cab to her sister, Delia’s house, who’s having a party. Which is an opportunity for Woolf to slip in a description of travelling into central London, Oxford Street by night etc.

Cut back to North and Sara reading this play, him egging her on to read her lines. I didn’t realise they were reading a play because Sara’s always been a bit cracked, much given to randomly (mis)quoting poems and plays.

Cut back to Eleanor and Peggy arriving at Delia’s party.

Cut back to North with Sara. Again they are creating a kind of joint fantasy, describing living on a desert island, when they’re interrupted by the arrival of Sara’s sister, Maggie, and her husband Renny. They’re all going to Delia’s party.

Cue Maggie, Miss Margaret Pargiter, being announced at the party and going to sit with deaf old Uncle Patrick, Delia’s husband.

The big party scene

I’ve seen commentary to the effect that this big long party scene is a sort of reprise of the big party which ends Mrs Dalloway, and to some extent of the big warm family meal at the end of part 1 of To The Lighthouse, with the implication of themes and variations across her career. What I take from it is how very little Woolf has to offer in terms of incident or plot. Characters wander round London, meeting up for lunch or dinner or attending parties, and that’s more or less it.

One way of reading her novels is as records of almost asphyxiating dullness. There was so little to do. In the real world people spend a lot of time at work, go and watch sports or take part in them, or amateur theatricals, have hobbies, tinker with their cars, go on cycling or walking holidays. Absolutely none of those worlds are in Woolf at all. Instead the trip to the opera house and Kitty’s train journey to the north are the only scenes with any life or colour in them, the only scenes outside the endless rounds of lunch and dinner, walks through the park, cab journeys here or there, the crushing mundaneness of life. I suppose the scene of the family taking shelter in the cellar during a German bombing raid in 1917 ought to be another example but somehow Woolf manages to downplay the danger, focus on the characters’ trivial conversations and make it sound very run-of-the-mill

So the climax of this long novel is this party at which various Pargiter relatives meet up and chat. It’s as excruciatingly boring as the kind of family do’s I had to go to as a boy. I wanted to run a mile from the feelings of claustrophobia, embarrassment and boredom, only leavened by the occasional nice conversation or moment of connection with a random relative. So why would I want to read 130 pages of characters expressing pretty much the same negative feelings? Although it’s the longest, it’s by far the worst chapter in the book and the only one which felt like a chore to read.

Facts: Rose is now ‘stout’ and deaf. Peggy is a doctor which is mentioned everso casually but, from the Three Guineas perspective, is a massive thing, a very big deal that women of her generation were allowed to study medicine at university, qualify and practice as doctors. Yet it is slipped very casually into the narrative. In fact Peggy is her Uncle Martin’s physician. He’s petrified of getting cancer.

Peggy is bored or impatient and, in the archetypal Woolf gesture, looks out the window (see below) and sees Maggie, North, Renny and Sara arriving. Up they come. Points of view alternate between the perceptions of Eleanor, North and Peggy who all experience more or less of the classic Woolf feeling of alienation and unreality.

North is bored he is as he interacts with all the members of his family. Milly is there with his big fat husband, Hugh Gibbs. North is appalled by how married couples learn to walk and talk like each other.

Eleanor falls asleep, then wakes up feeling rejuvenated, feeling that ‘life has been a perpetual discovery, my life, a miracle.’ She doesn’t want North to go back to Africa. He tells them he made four or five thousand from the sale of his farm.

Someone puts a record on the gramophone, they move the carpet out of the way and the young people dance. Peggy, finding herself marooned by the bookshelves, plucks a book at random. Eleanor calls her over and asks her, as a doctor, what dreams mean. Maggie and Renny appear and Eleanor candidly says that if she’d been younger she would have fallen in love with him.

Eleanor insists she is happy but Peggy, characteristically hard and pessimistic, wonders how anyone can be happy in such a world of poverty, depression, mass unemployment and the threat of war. Then again, she wishes she could just stop thinking all the time. Oh for a life of dreams. The conversation stumbles awkwardly and without wishing to, she finds herself being quite critical of her brother, North, critical of him writing book after book instead of ‘living’.

The moment is eclipsed when Aunt Milly appears, telling them everyone’s going downstairs to eat. Kitty, Lady Lasswade appears in the doorway looking majestic. North takes an instant dislike to her. She is widowed now. Everyone heads downstairs. North and Peggy recall childhood exploits but it’s to paper over the fact they now feel very antagonistic to each other.

Delia makes a big deal about getting spoons for everyone to eat the soup. We see inside her head and how she’s always loved bringing people together at parties like this. This is exactly the thinking of Mrs Dalloway, supervising her party.

North finds himself bunched up with Lady Lasswade and Uncle Patrick (husband of Delia who’s hosting the party). They all wonder why he came back from Africa and for the umpteenth time he explains that he’d had enough. The conversation drifts onto the threadbare topic of whether the present is better than the old days. Old Patrick thinks everything’s gone to the dogs, specially in Ireland where he’s from. Kitty on the other hand, welcomes women’s liberation; she remembers the old days when women weren’t allowed to do anything.

Delia lets North escape her pontificating husband but where to? He’s been out the country, he knows nobody. Woolf gives him the latest of several passages where she gently despises the young men of today (the 1930s) obsessed with talking politics but really just saying ‘I, I, I’.

He bumps into Edward, the thin, dried-out scholar of Sophocles. North feels like he’s being interviewed by the headmaster, when Eleanor, that ‘impulsive, foolish old woman’, calls them over. North admires the way the old brother and sister are at ease with each other, and Edward’s grace and precision.

Nicholas thumps a fork on the table to make a speech, which brings Rose to his side to support him but Martin mocks her and Eleanor intervenes, telling them to stop arguing. it takes a while for this family welter to die down and Nicholas to have another go at a drunken speech but they interrupt him again.

‘How can one speak when one is always interrupted?’ (p.404)

That’s what I always dislike about big family do’s, everyone interrupts everyone else so that nothing is ever finished. But this, arguably, is what the book is all about, all of Woolf’s books, maybe: about interruptions and things never completed, about absences and things that might have been, wistful dreamy memories and perceptions of people and events which always escape our understanding.

And so it is here, with the other siblings over-riding Nicholas who abandons his attempt, and the others toast Rose for having the courage of her convictions, smashing a window for the suffragettes and going to prison.

The music starts up in the room above and all the young people head upstairs, leaving the ruck of the Pargiter family to carry on remembering, blundering, talking at cross-purposes. According to the notes, one of the working titles for the novel was ‘Here and Now’, and here on the last few pages Eleanor has thoughts which use that phrase and would, in that case, have been the clear statement of its meaning. Here brother Edward says something to her nephew North but the end of his sentence is masked by someone else laughing and she is a little frustrated. Life is always like that.

There must be another life, she thought, sinking back into her chair, exasperated. Not in dreams; but here and now, in this room, with living people. She felt as if she were standing on the edge of a precipice with her hair blown back; she was about to grasp something that just evaded her. There must be another life, here and now, she repeated. This is too short, too broken. We know nothing, even about ourselves. We’re only just beginning, she thought, to understand, here and there. She hollowed her hands in her lap, just as Rose had hollowed hers round her ears. She held her hands hollowed; she felt that she wanted to enclose the present moment; to make it stay; to fill it fuller and fuller, with the past, the present and the future, until it shone, whole, bright, deep with understanding. (p.406)

Then something weird happens. It’s very late, in fact the sky is lightening for dawn, when Delia brings two small shy children into the room. She cuts them slices of cake. they are the caretakers’ children. Martin offers them sixpence to sing and if Woolf were fully sentimental, they’d sing some reassuring children’s song to round off this book of creams. But instead they sing in unison incomprehensible words in a tuneless screech. The dysjunction between their sweet innocent appearance and the horrible screech which comes out of their ears appals the middle-class listeners. Martin gives them their sixpences and off they toddle, leaving the Pargiter family, and the reader, perplexed.

Dawn is coming. In Woolf’s characteristic gesture, Delia steps to the window and opens the curtains. The party is over. Nicholas asks Maggie to wake her sister, Sara, and as Sara wakes, she has a monetary vision, of the Pargiter siblings all gathered in the window like a frieze.

‘How strange,’ she murmured, looking round heir, ‘…how strange…’
There were the smeared plates, and the empty wine-glasses; the petals and the bread crumbs. In the mixture of lights they looked prosaic but unreal; cadaverous but brilliant. And there against the window, gathered in a group, were the old brothers and sisters.
‘Look, Maggie,’ she whispered, turning to her sister, ‘Look!’ She pointed at the Pargiters, standing in the window.
The group in the window, the men in their black-and-white evening dress, the women in their crimsons, golds and silvers, wore a statuesque air for a moment, as if they were carved in stone. Their dresses fell in stiff sculptured folds. Then they moved; they changed their attitudes; they began to talk. (p.411)

For the most part Woolf eschews obvious symbolism so this feels like an unusually overt move, it feels fittingly beautiful, consciously beautiful, a very beautiful, understated and realistic climax to this long lovely novel. The siblings offer each other lifts and remember the last time they parties till dawn and so amid friendly chat and memories, the novel sweetly and beautifully ends.

Now it was summer. The sky was a faint blue; the roofs were tinged purple against the blue; the chimneys were a pure brick red. An air of ethereal calm and simplicity lay over everything.


Family members

Pargiter family

Live in Abercorn Terrace.

Colonel Pargiter is married to Rose, Mrs Pargiter, who has a long-term illness then dies.

  • Eleanor, remains single
  • Morris, becomes a barrister, marries Celia Chinnery, has three children:
    • North
    • Peggy
    • Charles (who we never see, is mentioned once as having died in the war)
  • Milly, marries Edward’s university friend Gibbs
  • Delia, marries Patrick, hosts the party in the final chapter
  • Edward, remains single, turns into a silver-haired, dignified Classics don
  • Martin
  • Rose, the activist suffragette who goes to prison for her views and ages into a stout spinster

Digby family

Live in Browne Street.

Sir Digby Pargiter is the Colonel’s younger brother. He is married to the beautiful Eugénie — which makes them Uncle Digby and Aunt Eugénie to the Colonel’s children.

  • Magdalena (Maggie) marries the Frenchman René
  • Sara (Sally) becomes increasingly eccentric

Malone family

They are related because Kitty is a cousin of Edward’s, though I can’t figure out whether on her mother or father’s side. They live at the Lodge of an Oxford college.

  • Kitty Malone – marries the wealthy Lord Lasswade, becoming mistress of both his swanky London house, where she hosts a party, and his castle in the north

Seeing life through a window

My only contribution to Virginia Woolf scholarship would be to point out how regularly her characters stare out of windows, day-dreaming, or observing people in the street, avoiding dialogue and interaction with other people in the room, retreating to their own little worlds. I’ll be publishing a blog post on the subject.

Disassociation

Forever seeing life through windows is one example of the way the entire narrative, long though it is, feels beautifully detached from real life. Women in Woolf are not only – as she furiously points out in Three Guineas – legally and financially debarred from the wide world of the professions, of the British Empire, trade, finance, industry, and from the whole world of work – they are temperamentally or psychologically detached too.

At all the dinners and set-piece conversations (posh dinner at Lady Lasswade’s, dinner at Digby and Celia’s in Wittering, the cheap meal at Maggie and Renny’s) the female protagonist starts off by paying attention to the conversation but soon loses interest, loses track, drifts away, focusing on irrelevant details of the cutlery or the furnishings or what people are wearing, drifting off into a world of their own.

He [Morris the lawyer] looked clean, he looked starched and ironed like his robes. But what did he mean by what he was saying? She [Delia] gave it up. Either one understood or one did not understand, she thought. Her mind wandered…

Or, in the final chapter, Peggy the doctor, a bit more aggressively:

Why must I think? She did not want to think. She wished that there were blinds like those in railway carriages that came down over the light and hooded the mind. The blue blind that one pulls down on a night journey, she thought. Thinking was torment; why not give up thinking, and drift and dream?… I will not think, she repeated; she would force her mind to become a blank and lie back, and accept quietly, tolerantly, whatever came… She did not want to move, or to speak. She wanted to rest, to lean, to dream.

‘She wanted to dream.’ A Virginia Woolf novel is like a beautiful, lyrical, dreamy painting of the world with almost everything which makes up the real world – all the work and effort, the organisations, the companies, trade and labour, the practicalities and the hard thinking – taken out, excised, surgically removed – to leave a dream world through which her sensitive heroines waft in their long, trailing Victorian dresses.

The effect is very restful. The equanimity of Woolf’s calm, lyrical style, the lack of modernist tricks and tactics, the absence of any events liable to worry or disturb the reader, the absence of any plot and the deep sense of the whole thing being a beautiful dream, makes this by far the most readable and enjoyable of the six Woolf novels I’ve read.


Credit

‘The Years’ by Virginia Woolf was first published by the Hogarth Press in 1937. Page references are to the 2004 Oxford Classics paperback edition, although the text is easily available online.

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Vanessa Bell @ Dulwich Picture Gallery

‘You have a genius in your life as well as in your art’
(Art critic Roger Fry to his sometime lover, artist Vanessa Bell)

More than anything I can write, this YouTube montage of Vanessa Bell’s paintings set to music by Chopin gives a good overview of her work.

Biography

Vanessa Stephen (1879 to 1961) was born into an upper-middle-class and well-connected Victorian family. She was the eldest daughter of Sir Leslie Stephen and Julia Prinsep Duckworth, Julia being a niece of the pioneering Victorian photographer, Julia Margaret Cameron, and cousin of the noted temperance leader, Lady Henry Somerset.

Her siblings were a younger sister, Virginia (later renowned as a great novelist under her married name of Virginia Woolf), brothers Thoby (Clifton College and Trinity, Cambridge) and Adrian (Westminster school and Trinity, Cambridge), and half-brothers, George and Gerald Duckworth (both educated at Eton, Gerald went on to found the publishing house named after him, and was able to help Virginia set up her publishing house, Hogarth Press).

The Stephen family lived in a smart house at 22 Hyde Park Gate, Westminster, with lots of servants where Vanessa was home educated in languages, mathematics and history. She showed an early gift for art and had drawing lessons from Ebenezer Cook, before she attended Sir Arthur Cope’s art school in 1896, and then went on to study painting at the Royal Academy in 1901 under John Singer Sargent.

After the death of her father in 1904, Vanessa sold the Hyde Park Gate house and moved to Bloomsbury, along with Virginia and the brothers. Here they began socialising with the like-minded artists, writers and intellectuals who would form the ‘Bloomsbury Group’ who, in all areas of life, art and literature, set themselves to overthrow the stifling influence of their Victorian parents.

Self–Portrait (c. 1915) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

Self–Portrait (c. 1915) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

Vanessa married the art critic Clive Bell in 1907 and they had two sons, Julian and Quentin. The couple had an open marriage, both taking lovers throughout their lives. Bell had affairs with art critic Roger Fry and with the notoriously bisexual painter, Duncan Grant, with whom she had a daughter, Angelica, in 1918.

Vanessa and husband Clive, their lover Duncan Grant and his boyfriend ‘Bunny’, all moved to the Sussex countryside shortly before the outbreak of the First World War, and settled at Charleston Farmhouse near Firle in East Sussex. By farming here the menfolk, all pacifists and conscientious objectors, evaded service in the Great War.

Here Vanessa and Grant painted and also worked on commissions for the Omega Workshops, an artists’ co-operative for decorative arts established by Roger Fry that operated between 1913 and 1919, and which produced interesting work in a Vorticist/Futurist style. Her first solo exhibition was at the Omega Workshops in 1916. The influence of contemporary radical experiments in Futurism and Vorticism are immediately obvious in many of these bold, colourful designs.

Design for Omega Workshops Fabric (1913) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

Design for Omega Workshops Fabric (1913) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

Bell lived a long life and painted right through to the 1950s, but even her most devoted fans admit that the 1910s represent her most creative and innovative period. In the 1910s, 20s and 30s she was a member of a group of friends and acquaintances who pioneered new ways of living, open marriages and a very liberal approach to sexuality. But works from the 1940s and 50s show her slowly losing the radical edge of the period either side of the Great War, her depictions of the Sussex countryside or of interiors with vases of flowers, becoming steadily more conventional.

The exhibition

This is the first ever retrospective of Bell’s work. It brings together some 100 paintings, book jackets she designed for the Hogarth Press, ceramics, fabrics, photos, diaries and letters to present a themed overview of Bell’s life and career. As always with the Dulwich Picture Gallery, it offers a beautifully laid out and informative opportunity to assess a rather neglected figure in English modern art.

Several things emerge from a slow perusal of the exhibition’s six rooms:

Blocky painting style

Bell’s earliest paintings reflect the sophisticated sheen of her teacher John Singer Sargent (note the telltale flecks of white on the vase to give the illusion of reflected light in Iceland Poppies 1908). But even then she was being exposed to the revolutionary influence of Picasso, Matisse and contemporary French painting. In fact right from the earliest portraits shown here, she seems more naturally to take a slabby, blocky approach to paintwork – instead of trying to capture the smooth contours of a fabric or a face, preferring to map out areas of solid colour, depicted with broad chunky brushstrokes. The rough, sketched-out feel, the deliberate lack of finish and the deliberate use of non-naturalistic colour are all suggestive of contemporary experiments in Europe, but are done with a distinctive English gentleness. Despite this, something of all her formal training comes out in the naturalistic outline and presence. these traits are exemplified in one of her many portraits of her novelist sister, Virginia:

Portraits of friends and family

In fact portraits of family and friends are a recurrent feature of Bell’s work and occupy one of the six rooms here.

They represent a decisive break with Victorian naturalism and Salon art, and a wholesale incorporation of the unreal colours, simplification of pattern, crude brushstrokes and awkward anti-aesthetic shapes found across the continent in the work of Gauguin, Die Brucke, the Fauves and so on.

The portraits of her sister are among the most persuasive or gripping. I think this is the best one, all the more powerful for its ‘modern’ blanking of the face, the part which should, traditionally, be the most detailed, revealing the sitter’s character etc. All that has been rejected in favour of an interest in composition and colour.

Virginia Woolf (c. 1912) by Vanessa Bell © National Portrait Gallery, London

Virginia Woolf (c. 1912) by Vanessa Bell © National Portrait Gallery, London

In the portraits, as in her other genres, the later work becomes noticably more conservative and straighforwardly figurative. Enjoyable, but in a different way.

Derivative

After a few rooms I felt I had seen a lot of these paintings before, or ones very much like them – most recently in the early-twentieth-century rooms of the excellent Courtauld Gallery, which contains works by Matisse, Derain, Vlaminck, Bonnard and other post-impressionists. (The term ‘Post-impressionism’ was in fact coined by Vanessa’s friend and sometime lover, art critic Roger Fry, as an umbrella term to cover developments in French art since Manet.)

This feeling was confirmed by many of the wall labels for individual paintings and by the (very useful) audioguide by exhibition co-curator Sarah Milroy. Both frequently pointed out the influence of the Nabis (a group name given to the French painters Vuillard, Bonnard et al), of Cézanne, of Matisse, of Picasso, on individual Bell works.

For example, it is hard not to see the largest work in the show, The Other Room (1930) as anything other than a homage to Matisse – the emphasis on design and areas of bright colour over detail, the interest in the design on fabrics (the curtains, the chair cover), the wilful indifference to anatomical realism in the human figures.

The Other Room (late 1930s) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: Photography by Matthew Hollow

The Other Room (late 1930s) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: Photography by Matthew Hollow

Landscapes

When Bell moved to the country, she took the urban continental style developed in her portraits (and the occasional, rare depiction of urban scenery) with her and applied it to numerous images of the landscape around the Sussex farmhouse. Many of these are strikingly composed in a kind of flat, blocky, post-impressionist style. They apply a continental mentality to the south of England countryside, a blockiness derived from Cézanne, along with the big slab brushwork of maybe Vlaminck or Derain.

Landscape with Haystack, Asheham (1912) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

Landscape with Haystack, Asheham (1912) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

Bell painted landscapes for the rest of her life and the selection here allows you to see how her style, over the decades, lost the modernist edge it once had, and reverted to a tamer figurativeness. Thirty years separate the painting above from the one below.

Flowers and vases

Bell painted flowers and vases throughout her long working life. There is a room devoted just to this subject. I found these a lot less interesting than the landscapes or portraits.

Once again, a careful examination of the chronology suggests a falling away of intensity in the later paintings. The later flower paintings lack oomph. Maybe they’re content. Happy.

Wallflowers by Vanessa Bell (c. 1950) © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: © Christie's Images / Bridgeman Images

Wallflowers by Vanessa Bell (c. 1950) © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: © Christie’s Images / Bridgeman Images

A note on colour and reproduction

Despite the brightness of many of the images included in this review, the colour which perhaps came over most from these paintings was a kind of turd brown, obvious in a work like The Conversation, or the double portrait of Frederick and Jessie Etchells (1912). A congeries of dark and murky browns, emphasised by the often plain wooden frames.

Without exception all the reproductions I’ve seen online – and even the reproductions on the hand-held audioguide – come out brighter and more colourful than the actual works themselves which, in the flesh, are mostly dour and drab, with a particular deep brown the prevailing tone. As one of the commenters I quote below put its – with some notable exceptions – ‘muddy’ gives a good summary of the majority of the paintings’ visual impact. In fact, the main visual takeaway from the show has been to make me notice just how much brown there is around us in everyday life – bricks of walls and houses, reddy-brown roof tiling, brown fences and so on.

The Bloomsbury group

More than enough has been written about the loose group of artists, writers, novelists and critics, economists and philosophers who lived in and around Bloomsbury Square near the British Museum, and also had connections with Trinity College Cambridge. They shared a desire to overthrow the stuffy prudery of their Victorian parents. The philosopher G.E. Moore in his vast Principia Ethica emphasised the centrality of honest personal relationships in his definition of ‘the good’ and ‘the good life’. This represented a massive break with the strongly social basis of Victorian ideals of Duty, Honour and so on.

Thus Bell’s wholesale rejection of the Victorian naturalistic tradition in painting can be seen as part of the wider rejection of Victorian values among her wider family and friends, and her ‘open’ marriage and the complex love lives of herself and her friends constituted a breath-taking departure from the norms of her parents and the stuffy Edwardian society she worked in.

The importance of Bloomsbury as a hotbed of new ways of seeing and living is emphasised throughout the exhibition – it is unavoidable since her portraits were all unofficial depictions of her family and close friends, and so the audiocommentary and wall labels insistently namecheck members of the Group, providing details of Bell’s lovers and associates. The show features a display case showing photographs of friends and family together in the garden of the Sussex house, which convey the casual informality of this impressive group of thinkers and artists.

Bell and feminism

The Canadian curator Sarah Milroy emphasises that Vanessa was a feminist pioneer. The first wall panel claims that Bell’s:

‘portraits of women offer bracing encounters with female subjects given startling new force and agency.’

With the best will in the world, I couldn’t quite see this. Some of the earliest work captures an odd, alien effect which I enjoyed, for example the worrying intensity of the female figures in:

and many of the first room of portraits are deliberately unnerving and unsettling:

and amount to a full-frontal assault on Victorian aesthetics of female beauty:

The commentary tells us that the strange and ominous Studland Beach is considered one of her masterpieces. It certainly has a kind of Expressionist alienation and Symbolist portentousness. But I don’t see it as particularly giving the women depicted in it ‘agency and force’.

Studland Beach (c.1912) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit © Tate, London 2016

Studland Beach (c.1912) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit © Tate, London 2016

And these are exceptions to the majority of works here. The more frequent portraits of Virginia, Iris, Molly and so on, although modernist in form, are supremely calm and placid in tone. Her sitters are generally ensconced in a comfy chair in a nicely furnished living room – and the presence in the surrounding rooms of so many depictions of the peaceful Sussex countryside, not to mention the umpteen paintings of tasteful vases of flowers – the overall effect is a great feeling of calm and tranquility.

And the early experimentalism in this genre, as in the others, slips away as the later paintings become more conventional.

The final wall label repeats this feminist emphasis, which is clearly important to the show’s organisers:

‘One of Bell’s greatest legacies is her reimagining of the image of womanhood, with her powerful female bodies and countenances claiming pictorial space with a kind of brute force.’

Many of the female portraits from her glory years around the Great War are strange rebellions, and just focusing on the work from that specific period does emphasise their originality in the hidebound English tradition. But even the weirdest of them feel to me static and dreamlike. ‘Brute force’ is just not a phrase I would apply to Bell’s work.

As to subverting or revolutionising women’s roles, which the commentary claims she did, I also couldn’t really see it. Bell designed fabrics and painted vases of flowers; she moved to a lovely farmhouse in the countryside where she hosted charming weekends for her artistic friends; she was the loving mother of two adorable sons (Julian, who went to private school and King’s College before becoming a poet, and Quentin, who went to private school before becoming an art historian). I genuinely don’t see how this is revolutionary or subversive.

Possibly I don’t understand the times well enough, and the ongoing weight of conformity to Victorian gender stereotypes which most of her contemporaries endured. Maybe it was precisely Bell and her friends who opened the door to this kind of lifestyle, which eventually became so widespread as to become a cliché in succeeding generations.

The Omega workshop and abstraction

The works of Bell’s which approach nearest to the dynamic abstractions of her contemporaries on the English art scene – Wyndham Lewis, David Bomberg or C.R.W. Nevinson – derive from her period with the Omega workshop, set up by close friends Roger Fry and Duncan Grant, with the idea of producing fabrics and textiles based on their own designs. It opened in 1913, produced a wide range of domestic furnishings to modernist designs, before closing in 1920.

One of the six rooms is dedicated to Bell’s Omega phase, with patterns and designs for rugs, curtains and so on, for example the Design for Omega Workshops Fabric reproduced above. There are also examples of the book jacket illustrations she provided for the Hogarth Press, the small publishing house set up by Leonard and Virginia Woolf in 1917.

The biggest object in the show is the painted screen from this period, Tents and Figures – a big powerful work which conveys Bell’s interest in abstraction and bold geometric design – but with a power, you can’t help thinking, borrowed from Cezanne’s landscapes and the Fauvist use of African masks for the faces. It’s good but haven’t I seen these clashing diagonals and mask-faced figures before?

Tents and Figures (1913) by Vanessa Bell. A painted folding screen. Victoria & Albert Museum. © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: © Victoria and Albert Museum, London

Tents and Figures (1913) by Vanessa Bell. A painted folding screen. Victoria & Albert Museum. © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: © Victoria and Albert Museum, London

Conclusion

I found many of the the early portraits novel and fresh, some of her odder stuff (e.g. The Conversation) bracingly disconcerting, the Omega workshop designs and artefacts an interesting variation on the Modernism of her contemporaries. I found a number of the landscapes evocative, especially the earlier, more modernist ones, and some of the still lifes prettily decorative.

But, in general, the paintings which make the biggest impact are the ones most obviously derived from Continental exemplars. Bell is an interesting artist, who produced lots of good work but maybe, in the end, is an example of the way hundreds, maybe thousands of artists in the 1910s, were gripped and liberated by wholly new ways of seeing and painting created by a handful of pioneers in France and Germany (the Expressionists, the Fauves).

One of the best paintings in the show is Nude with Poppies – admirable but… isn’t it almost entirely Matisse?

Nude with Poppies (1916) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

Nude with Poppies (1916) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

I worried that maybe I was failing to ‘get’ Bell, so I was reassured by these comments added to the online Guardian review of the exhibition:

  • “Looks very derivative to me. Not a patch on the originals i.e. Matisse, Mondrian, Gauguin, Munch”
  • “Not in the same league as the greats of the period, though, but still… pretty pictures.”
  • “I love her early work – the abstracts and experimental portraits. The later stuff is too muddy and repetitive, and the radical edge disappears pretty quickly.”
  • “Probably nice above the mantlepiece in a suburban villa. Nowt wrong with that, I’m a great lover of domestic art. But put her in a public gallery and her work withers to almost nothing. A very second rate artist.”
  • “you really have to work hard at liking them – and that’s because they are poor; badly done, lazily composed, arrogantly confident. “

Summary

So: some arresting and some eerie portraits, a few impressive semi-abstract landscapes, lots of vases of flowers. But with the nagging sense that they are very derivative, throughout. And – to step back a bit – the enormous social, political and philosophical upheavals which were going on at exactly this time (1914 to 1930) and are represented in the Royal Academy’s exhibition of Russian Revolutionary art – or the impact and experience of the two cataclysmic world wars as captured in, say, the recent big exhibition of Paul Nash at Tate Britain – are completely absent.

It is interesting that the curators chose to arrange the exhibition by theme and not chronologically. Is it because a chronological presentation would highlight the way the impact of the European post-impressionists set off a storm of creativity in Bell’s work during the 1910s – but also show how that energy faded in the 1920s so that by the 1940s and 1950s she is painting capable enough works, but many so bland they wouldn’t be out of place in a local jumble sale.

On the Steps of Santa Maria Salute, Venice (1948) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: The Bloomsbury Workshop

On the Steps of Santa Maria Salute, Venice (1948) by Vanessa Bell © The Estate of Vanessa Bell, courtesy of Henrietta Garnett. Photo credit: The Bloomsbury Workshop

As ever with the Dulwich Picture Gallery, it’s a thorough, well-presented and elegant exhibition of a neglected artist, and so a welcome opportunity to find out more, to range over Bell’s work, to try and formulate a view. Maybe I’m missing something but for me, although it contains some arresting work and some surprises and convinces me that her name should be better known and more of her work displayed in public collections – it ultimately doesn’t persuade me that Vanessa Bell was in any way a major figure.

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Unintentional comedy

There are three articles about this show in the Guardian, all of which complain that Bell has too long been in the shadow of the more famous Bloomsburyites. But ironically, the subtitles of all three articles define her in precisely the terms they claim to be trying to rescue her from:

  • “Vanessa Bell to break free from Bloomsbury group in Dulwich show – The sister of Virginia Woolf and lover of Duncan Grant is long overdue recognition as pioneer of modern art, say curators”
  • “Vanessa Bell: stepping out of the shadows of the Bloomsbury set – The artist, best known for her tangled love life and being Virginia Woolf’s sister, gets her first major solo show”
  • “Design and desires: how Vanessa Bell put the bloom in Bloomsbury – She was best known as a member of the Bloomsbury group and sister of Virginia Woolf – but will the first major show of her artwork change her reputation?”

The answer to the last question is surely No, not as long as her biggest fans, her most knowledgeable curators and her most supportive journalists, continue to define her in terms of her better-known sister, her numerous lovers and her social set – and not as an artist in her own right, which is surely how she should be presented.

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