Orlando: A Biography by Virginia Woolf

By Virginia Woolf

Began as a "joke," Orlando is Virginia Woolf's fantastical biography of a poet who first seems as a sixteen-year-old boy on the court docket of Elizabeth I, and is left on the novel's finish a married girl within the 12 months 1928. half love letter to Vita Sackville-West, half exploration of the artwork of biography, Orlando is one in every of Woolf's preferred and wonderful works. This new annotated variation will deepen readers' knowing of Woolf's excellent creation.Annotated and with an advent via Maria DiBattista

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3 The "whole fantasy" she had conceived for "The Jessamy Brides," in which "no attempt is to be made to realise the character," never materializes, however, in its projected form (Diary 3: 131). As Orlando begins to gestate, there appears to be every attempt to realize character, and not just any character, but the creative, Sapphic, seductive character of Vita Sackville-West, writer, noblewoman, friend, and, on and off since 1925, Woolf's lover. The diary entry that records this change in the nature of the "fun" she envisages begins on a note of dejection.

Ironically, given Woolf's reputation as a highbrow, it became a bestseller in the United States, even being published in an Armed Services edition. While she labored over the novel in 1934, the news came of the death of Roger Fry, one of her oldest and closest friends and the former lover of her sister, Vanessa. Reluctantly, given her distaste for the conventions of biography, Woolf agreed to write his life, which was published in 1940. In 1939, to relieve the strain of writing Fry's biography, Woolf began to write a memoir, "A Sketch of the Past," which remained unpublished until 1976, when the manuscripts were edited by Jeanne Schulkind for a collection of Woolf's autobiographical writings, Moments of Being.

Bennett and Mrs. Brown" and "Letter to a Young Poet," as well as three very different novels: To the Lighthouse (1927), which evoked her own childhood and had at its center the figure of a modernist woman artist, Lily Briscoe; Orlando (1928), a fantastic biography inspired by Vita's own remarkable family history; and The Waves (1931), a mystical and profoundly meditative work that pushed Woolf's concept of novel form to its limit. Woolf also published a second Common Reader in 1932, and the "biography" of Flush, Elizabeth Barrett Browning's dog (1933).

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