Plot Summary
Virginia Woolf: A Writer's Life
Lyndall Gordon
Virginia Woolf: A Writer's Life
Nonfiction | Biography | Adult | Published in 1984
Plot Summary
Virginia Woolf: A Writer’s Life is a 1984 biography of the seminal Modernist author by Lyndall Gordon, a British academic who specializes in biographical studies of major Modernist and female writers. Gordon stresses that her biography is not intended as a rival to the authoritative account published by Woolf’s nephew Quentin Bell in 1972. Instead, Gordon offers “a complementary effort to link the writing with the life,” to produce a portrait of Woolf “not as she appeared to others but as she appeared to herself.” Gordon argues that previous biographers have tended to over-rely on Woolf’s public self-presentation—which Gordon sees as essentially an improvised performance—and that a truer picture can be painted by focusing on Woolf’s inner life.
Although she draws freely on Woolf’s letters and journals, and other surviving documents, Gordon focuses on the biographical material to be gleaned from Woolf’s writing, including “the revealing detail” of early drafts and unfinished or unpublished works. Gordon argues that Woolf’s writing explicitly reveals her inner life: “When the voices of the dead urged her to impossible things they drove her mad but, controlled, they became the material of fiction.”
The biography is divided into three sections. The first deals with Woolf’s childhood in London, and the family holidays in Cornwall, which became the basis for her novel To the Lighthouse. Gordon focuses particularly on Woolf’s relationship with her parents. Woolf’s father, Leslie Stephen, is portrayed as unpredictably loving and withdrawn. Gordon considers at length the extent to which the character of Mr. Ramsay in To The Lighthouse is based on Woolf’s father. Analysis of To The Lighthouse likewise plays a major role in Gordon’s account of Woolf’s trauma following the death of her mother, Julia (Mrs. Ramsay in the novel). However, Gordon also draws an interesting parallel between this period of Woolf’s life and the character of Septimus Smith in Mrs. Dalloway. Septimus is catatonic, unable to respond with genuine grief to the death of a loved one, and Woolf, too, according to Gordon, “could never forgive herself this frozen time that followed her mother's death, and this was one source of her sickness, to stick at this time.”
The second section begins with the mental breakdown which followed Woolf’s loss of her mother and proceeds through the years of her education at King’s College London, her first experiments in writing, the death of her father (which precipitated another breakdown) and her marriage in 1912 to Leonard Woolf. Gordon makes a range of extended connections between these events and Woolf’s writing. Woolf was encouraged to begin writing by her father, and Gordon suggests that her wandering, exploratory style is a kind of homage to her father’s passion for walking in the countryside “without signposts or maps.” Gordon sees Woolf’s first published novel, The Voyage Out, as an expression of the writer’s emergence from “a long, secretive, and sickly incubation.”
The final section of the biography (which accounts for more than half the page-count) presents the last twenty-five years of Woolf’s life as a kind of triumph, despite bouts of mental illness and suicide attempts. Gordon stresses the intellectual freedom Woolf found among the Bloomsbury Group, and the mutual love and support of her marriage to Leonard, which Gordon argues was more erotically passionate than previous biographers have believed. Conversely, Gordon downplays Woolf’s relationship with Vita Sackville-West and its expression in her novel Orlando, which Gordon sees as a playful experiment—an extension of her social performance—rather than an oblique confession of her deepest sexuality.
Again, Gordon finds parallels between the circumstances of Woolf’s life during this period and the novels. She sees Mrs. Dalloway as an exquisite “balancing act” which reflected Woolf’s finally having achieved a workable balance in her own life during the 1920s. She presents To the Lighthouse as an exorcism of the ghosts of Woolf’s parents, and the writing Woolf produced subsequently as an effort to “overcome the obsession with the dead.” Some of Gordon’s most detailed close reading is reserved for the novel The Waves, which she sees as Woolf’s effort to chart a “map of human nature” in an attempt to stave off the serious depression which assailed her in mid-life.
Gordon sees the relationship between Rhoda and Louis in The Waves as an eerie prophecy of Woolf’s own fate. Just as Rhoda becomes disillusioned with Louis’s increasing worldliness, Woolf would feel alienated by Leonard’s increasing interest in politics at the outbreak of the Second World War. Gordon suggests that this alienation made it impossible for Leonard, who had nursed Woolf through several bouts of serious depression, to prevent her from committing suicide in 1941.
Virginia Woolf: A Writer’s Life was praised by Kirkus Reviews for its “rich, elegant probings,” which may illuminate Woolf’s work for readers “already familiar with both the fiction and the Bell biography.”
Although she draws freely on Woolf’s letters and journals, and other surviving documents, Gordon focuses on the biographical material to be gleaned from Woolf’s writing, including “the revealing detail” of early drafts and unfinished or unpublished works. Gordon argues that Woolf’s writing explicitly reveals her inner life: “When the voices of the dead urged her to impossible things they drove her mad but, controlled, they became the material of fiction.”
The biography is divided into three sections. The first deals with Woolf’s childhood in London, and the family holidays in Cornwall, which became the basis for her novel To the Lighthouse. Gordon focuses particularly on Woolf’s relationship with her parents. Woolf’s father, Leslie Stephen, is portrayed as unpredictably loving and withdrawn. Gordon considers at length the extent to which the character of Mr. Ramsay in To The Lighthouse is based on Woolf’s father. Analysis of To The Lighthouse likewise plays a major role in Gordon’s account of Woolf’s trauma following the death of her mother, Julia (Mrs. Ramsay in the novel). However, Gordon also draws an interesting parallel between this period of Woolf’s life and the character of Septimus Smith in Mrs. Dalloway. Septimus is catatonic, unable to respond with genuine grief to the death of a loved one, and Woolf, too, according to Gordon, “could never forgive herself this frozen time that followed her mother's death, and this was one source of her sickness, to stick at this time.”
The second section begins with the mental breakdown which followed Woolf’s loss of her mother and proceeds through the years of her education at King’s College London, her first experiments in writing, the death of her father (which precipitated another breakdown) and her marriage in 1912 to Leonard Woolf. Gordon makes a range of extended connections between these events and Woolf’s writing. Woolf was encouraged to begin writing by her father, and Gordon suggests that her wandering, exploratory style is a kind of homage to her father’s passion for walking in the countryside “without signposts or maps.” Gordon sees Woolf’s first published novel, The Voyage Out, as an expression of the writer’s emergence from “a long, secretive, and sickly incubation.”
The final section of the biography (which accounts for more than half the page-count) presents the last twenty-five years of Woolf’s life as a kind of triumph, despite bouts of mental illness and suicide attempts. Gordon stresses the intellectual freedom Woolf found among the Bloomsbury Group, and the mutual love and support of her marriage to Leonard, which Gordon argues was more erotically passionate than previous biographers have believed. Conversely, Gordon downplays Woolf’s relationship with Vita Sackville-West and its expression in her novel Orlando, which Gordon sees as a playful experiment—an extension of her social performance—rather than an oblique confession of her deepest sexuality.
Again, Gordon finds parallels between the circumstances of Woolf’s life during this period and the novels. She sees Mrs. Dalloway as an exquisite “balancing act” which reflected Woolf’s finally having achieved a workable balance in her own life during the 1920s. She presents To the Lighthouse as an exorcism of the ghosts of Woolf’s parents, and the writing Woolf produced subsequently as an effort to “overcome the obsession with the dead.” Some of Gordon’s most detailed close reading is reserved for the novel The Waves, which she sees as Woolf’s effort to chart a “map of human nature” in an attempt to stave off the serious depression which assailed her in mid-life.
Gordon sees the relationship between Rhoda and Louis in The Waves as an eerie prophecy of Woolf’s own fate. Just as Rhoda becomes disillusioned with Louis’s increasing worldliness, Woolf would feel alienated by Leonard’s increasing interest in politics at the outbreak of the Second World War. Gordon suggests that this alienation made it impossible for Leonard, who had nursed Woolf through several bouts of serious depression, to prevent her from committing suicide in 1941.
Virginia Woolf: A Writer’s Life was praised by Kirkus Reviews for its “rich, elegant probings,” which may illuminate Woolf’s work for readers “already familiar with both the fiction and the Bell biography.”