responsible for her death. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life. In Jacobs Room (1922) she achieved such emotion, transforming personal grief over the death of Thoby Stephen into a spiritual shape. The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings - often wartime environments - of most of her novels. Le roman se termine en 1928, très précisément «le jeudi alors qu'Orlando est devenue une femme-écrivain à succès grâce au poème Le Chne qu'elle a écrit pendant une grande partie de sa vie et qui lui a valu un prix littéraire. Her nonlinear forms invite reading not for neat solutions but for an aesthetic resolution of shivering fragments, as she wrote in 1908. Virginia, at 13, ceased writing amusing accounts of family news.
She was just emerging from depression when, in 1897, her half sister Stella Duckworth died at age 28, an event Virginia noted in her diary as impossible to write. Their lives come together when the doctor who was treating (or, rather, mistreating) Septimus arrives at Clarissas party with news of the death.
Vita Sackville-West, avec laquelle Virginia Woolf a entretenu une relation amoureuse, et le fils de Vita, Nigel Nicolson, a défini, orlando comme « la plus longue lettre d'amour de l'histoire 1 ». Woolf describes the progress of weeds, mold, dust, and gusts of wind, but she merely announces such major events as the deaths of Mrs. Though (or perhaps because) Woolfs trimming muted the books radicalism, The Years (1937) became a best seller. Le roman est dédié à la poétesse. Despite Between the Acts s affirmation of the value of art, Woolf worried that this novel was too slight and indeed that all writing was irrelevant when England seemed on the verge of invasion and civilization about to slide over a precipice. Woolf's fiction is also studied for its insight into shell shock, war, class, and modern British society. New York: Farrar, Straus and Giroux, 1998. Legacy Woolfs experiments with point of view confirm that, as Bernard thinks in The Waves, we are not single.
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