“It is important to recognise Woolf ’s acknowledgement of her father’s dually formative influence. The domesticdictator was also an intellectual who powerfully shaped her developing intellect, even if, at times, antithetically so: ‘just as a dog takes a bite of grass, I take a bite of him medicinally”

“The 1970s and 1980s: feminism, androgyny, modernism, aestheticsIn the 1970s and 1980s, Woolf studies expanded in a number of directions,most notably in relation to feminism. Critical interest in Woolf developed at the same time as feminism developed in related academic disciplines. In this period her writings became central to the theoretical framing of feminism, inparticular to debates on Marxist and materialist feminism and to the emergent theories of androgyny. Both these areas of debate takeWoolf ’s A Room of One’s Own as a major point of reference..............At the same time as feminist approaches to Woolf were developing and expanding, so, too, was the critical interest in her modernist theories and her formal aesthetics. Again, Woolf ’s writing became central to critical and theoretical formulations on modernism...........This period also saw considerable critical interest in the influence of the visual arts on Woolf ’s writing, and particularly in the influence of the formalist theories of her Bloomsbury colleagues Roger Fry and Clive Bell.”

“The 1990s to the present: feminism, historicism,postcolonialism, ethicsThere has never been a better time to study Virginia Woolf. Woolf studies, in the 1990s and in the new millennium, has continued to flourish and diversifyin all its numerous and proliferating aspects. In this recent period the topics that occupied earlier critics continue in new debates, on her modernism, her philosophy and ethics, her feminism and her aesthetics; and there have also been marked turns in new directions. Woolf and her work have been increasingly examined in the context of empire, drawing on the influential field ofpostcolonial studies; and, stimulated by the impetus of new historicism and cultural materialism, there have been new attempts to understand Woolf ’s writing and persona in the context of the public and private spheres, in thepresent as well as in her own time. Woolf in the context of war and fascism, and in the contexts of modernity, science and technology, continue to exercise critics. Serious, sustained readings of lesbianism in Woolf ’s writing and in her life have marked recent feminist interpretations in Woolf studies. Enormous advances have also been made in the study of Woolf ’s literary andcultural influences and allusions. Numerous annotated and scholarly editions of Woolf ’s works have been appearing since she briefly came out of copyright in 1991, accompanied by several more scholarly editions of her works in draft and holograph, encouraging further critical scrutiny of her compositional methods. There have been several important reference works on Woolf. Many biographies of Woolf and her circle have also appeared, renewing biographical criticism, along with a number of works concerned with Woolf in geographical context, from landscape and London sites to Woolf ’s and hercircle’s many houses and holiday retreats.”

“There are numerous biographies of Woolf. Biography has been highly influential in shaping the reception ofWoolf ’s work, and her life has been as much debated as her writing. I would recommend the following three whichrepresent three different biographical contexts and a range of positions on Woolf ’s life: Quentin Bell’s Virginia Woolf: A Biography (1972), Hermione Lee’s Virginia Woolf (1996), and Julia Briggs’s Virginia Woolf: An Inner Life(2005). There is no one, true biography of Woolf (as, indeed, there cannot be of any subject of biography), but these three mark important phases in the writing and rewriting of Woolf ’s life. Hot debate continues over how biographers represent her mental health, her sexuality, her politics, her suicide, and of course her art, and over how we are to understand the latter in relation to all the former points of contention.”

“Like James Joyce’s A Portrait of the Artist as a Young Man (1916), Woolf ’s first novel is a self-conscious meditation on the formation of an emergent intellectual and artist (a Ku¨nstlerroman).”

“Bedding her could be anything from tenderness to riot, but to take her when she was a bit the worse for drink was always a particular delight.Intoxicated, she took less care for him than usual; abandoned and oblivious to all but her own pleasure, she would rake him, bite him - and beg him to serve her so, as well. He loved the feeling of power in it, the tantalizing choice between joining her at once in animal lust, or of holding himself-for a time- in check, so as to drive her at his whim.”