title: Virginia Woolf

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 sisters, Vanessa and <mask>, were almost three years apart in age.<mask> christened her older sister "the saint" and was far more inclined to exhibit her cleverness than her more reserved sister. <mask> resented the domesticity Victorian tradition forced on them far more than her sister. They also competed for Thoby's affections. <mask> would later confess her ambivalence over this rivalry to Duncan Grant in 1917: "indeed one of the concealed worms of my life has been a sister's jealousy – of a sister I mean; and to feed this I have invented such a myth about her that I scarce know one from t'other." <mask> showed an early affinity for writing. Although both parents disapproved of formal education for females, writing was considered a respectable profession for women, and her father encouraged her in this respect. Later, she would describe this as "ever since I was a little creature, scribbling a story in the manner of Hawthorne on the green plush sofa in the drawing room at St. Ives while the grown-ups dined".By the age of five, she was writing letters and could tell her father a story every night. Later, she, Vanessa, and Adrian would develop the tradition of inventing a serial about their next-door neighbours, every night in the nursery, or in the case of St. Ives, of spirits that resided in the garden. It was her fascination with books that formed the strongest bond between her and her father. For her tenth birthday, she received an ink-stand, a blotter, drawing book and a box of writing implements. Talland House (1882–1894)

Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St Ives, Cornwall, and took

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title: Virginia Woolf

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 out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young <mask> could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea.Each year between 1882 and 1894 from mid-July to mid-September the Stephen family leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882–1894) at St Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". <mask> herself described the house in great detail:

In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed, "My Julia was of course, though with all due reserve, a bit of a matchmaker." Amongst their guests in 1893 were the Brookes, whose children, including Rupert Brooke, played with the Stephen children.Rupert and his group of Cambridge Neo-pagans would come to play an important role in their lives in the years before the First

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 World War. While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than at their mother's Little Holland House. The family did not return, following Julia Stephen's death in May 1895. For the children, it was the highlight of the year, and <mask>'s most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890."Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden … The sound of the sea at night … almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). 1895–1904

Julia Stephen fell ill with influenza in February 1895, and never properly recovered, dying on 5 May, when <mask> was 13. It was a pivotal moment in her life and the beginning of her struggles with mental illness. Essentially, her life had fallen apart. The Duckworths were travelling abroad at the time of their mother's death, and Stella returned immediately to take charge and assume her role.That summer, rather than return


title: Virginia Woolf

texts: to the memories of St Ives, the Stephens went to Freshwater, Isle of Wight, where some of their mother's relatives lived. It was there that <mask> had the first of her many nervous breakdowns, and Vanessa was forced to assume some of her mother's role in caring for Virginia's mental state. Stella became engaged to Jack Hills the following year and they were married on 10 April 1897, making <mask> even more dependent on her older sister. George Duckworth also assumed some of their mother's role, taking upon himself the task of bringing them out into society. First Vanessa, then <mask>, in both cases an equal disaster, for it was not a rite of passage that resonated with either girl and attracted a scathing critique by Virginia regarding the conventional expectations of young upper-class women: "Society in those days was a perfectly competent, perfectly complacent, ruthless machine. A girl had no chance against its fangs. No other desires – say to paint, or to write – could be taken seriously".Rather her priorities were to escape from the Victorian conventionality of the downstairs drawing room to a "room of one's own" to pursue her writing aspirations. She would revisit this criticism in her depiction of Mrs. Ramsay stating the duties of a Victorian mother in To the Lighthouse "an unmarried woman has missed the best of life". The death of Stella Duckworth on 19 July 1897, after a long illness, was a further blow to <mask>'s sense of self, and the family dynamics. Woolf described the period following the death of both her mother and Stella as "1897–1904 – the seven unhappy years", referring to "the lash of a random unheeding flail that pointlessly and brutally killed the two

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 people who should, normally and naturally, have made those years, not perhaps happy but normal and natural". In April 1902, their father became ill, and although he underwent surgery later that year he never fully recovered, dying on 22 February 1904. <mask>'s father's death precipitated a further breakdown. Later, <mask> would describe this time as one in which she was dealt successive blows as a "broken chrysalis" with wings still creased.Chrysalis occurs many times in Woolf's writing but the "broken chrysalis" was an image that became a metaphor for those exploring the relationship between Woolf and grief. At his death, Leslie Stephen's net worth was £15,715 6s. 6d. (probate 23 March 1904)

Education
In the late 19th century, education was sharply divided along gender lines, a tradition that Virginia would note and condemn in her writing. Boys were sent to school, and in upper-middle-class families such as the Stephens, it involved private boys schools, often boarding schools, and university. Girls, if they were afforded the luxury of education, received it from their parents, governesses, and tutors. <mask> was educated by her parents who shared the duty.There was a small classroom off the back of the drawing room, with its many windows, which they found perfect for quiet writing and painting. Julia taught the children Latin, French, and history, while Leslie taught them mathematics. They also received piano lessons. Supplementing their lessons was the children's unrestricted access to Leslie Stephen's vast library, exposing them to much of the literary canon, resulting in a greater depth of reading than any of their Cambridge contemporaries, <mask>'s reading being


title: Virginia Woolf

texts: described as "greedy". Later, she would recall  After public school, the boys in the family all attended Cambridge University. The girls derived some indirect benefit from this, as the boys introduced them to their friends. Another source was the conversation of their father's friends, to whom they were exposed.Leslie Stephen described his circle as "most of the literary people of mark...clever young writers and barristers, chiefly of the radical persuasion...we used to meet on Wednesday and Sunday evenings, to smoke and drink and discuss the universe and the reform movement". Later, between the ages of 15 and 19, <mask> was able to pursue higher education. She took courses of study, some at degree level, in beginning and advanced Ancient Greek, intermediate Latin and German, together with continental and English history at the Ladies' Department of King's College London at nearby 13 Kensington Square between 1897 and 1901. She studied Greek under the eminent scholar George Charles Winter Warr, professor of Classical Literature at King's. In addition she had private tutoring in German, Greek, and Latin. One of her Greek tutors was Clara Pater (1899–1900), who taught at King's. Another was Janet Case, who involved her in the women's rights movement, and whose obituary <mask> would later write in 1937.Her experiences led to her 1925 essay "On Not Knowing Greek". Her time at King's also brought her into contact with some of the early reformers of women's higher education such as the principal of the Ladies' Department, Lilian Faithfull (one of the so-called steamboat ladies), in addition to Pater. Her sister Vanessa also enrolled at the Ladies' Department (1899–1901). Although


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 the Stephen girls could not attend Cambridge, they were to be profoundly influenced by their brothers' experiences there. When Thoby went to Trinity in 1899, he befriended a circle of young men, including Clive Bell, Lytton Strachey, <mask> (whom <mask> would later marry), and Saxon Sydney-Turner, whom he would soon introduce to his sisters at the Trinity May Ball in 1900. These men formed a reading group they named the Midnight Society. Relationships with family
Although <mask> expressed the opinion her father was her favourite parent, and although she had only turned thirteen when her mother died, she was profoundly influenced by her mother throughout her life.It was <mask> who famously stated that "for we think back through our mothers if we are women", and invoked the image of her mother repeatedly throughout her life in her diaries, her letters and a number of her autobiographical essays, including Reminiscences (1908), 22 Hyde Park Gate (1921) and A Sketch of the Past (1940), frequently evoking her memories with the words "I see her ...". She also alludes to her childhood in her fictional writing. In To the Lighthouse (1927), the artist, Lily Briscoe, attempts to paint Mrs. Ramsay, a complex character based on Julia Stephen, and repeatedly comments on the fact that she was "astonishingly beautiful". Her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there. However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure becomes more nuanced and complete. While her father

masks:
Leonard Woolf
Virginia
Virginia
Virginia


title: Virginia Woolf

texts: spent."At the same time, she admired the strengths of her mother's womanly ideals. Given Julia's frequent absences and commitments, the young Stephen children became increasingly dependent on Stella Duckworth, who emulated her mother's selflessness; as <mask> wrote, "Stella was always the beautiful attendant handmaid ... making it the central duty of her life." Julia Stephen greatly admired her husband's intellect. As Woolf observed "she never belittled her own works, thinking them, if properly discharged, of equal, though other, importance with her husband's." She believed with certainty in her role as the centre of her activities, and the person who held everything together, with a firm sense of what was important and valuing devotion. Of the two parents, Julia's "nervous energy dominated the family". While <mask> identified most closely with her father, Vanessa stated her mother was her favourite parent.Angelica Garnett recalls how <mask> asked Vanessa which parent she preferred, although Vanessa considered it a question that "one ought not to ask", she was unequivocal in answering "Mother" yet the centrality of her mother to <mask>'s world is expressed in this description of her "Certainly there she was, in the very centre of that great Cathedral space which was childhood; there she was from the very first". <mask> observed that her half-sister, Stella, the oldest daughter, led a life of total subservience to her mother, incorporating her ideals of love and service. <mask> quickly learned, that like her father, being ill was the only reliable way of gaining the attention of her mother, who prided herself on her sickroom nursing. Another issue the children had to deal with

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 more cautious. <mask>'s accounts of being continually sexually abused during the time that she lived at 22 Hyde Park Gate, have been cited by some critics as a possible cause of her mental health issues, although there are likely to be a number of contributing factors. Lee states that, "The evidence is strong enough, and yet ambiguous enough, to open the way for conflicting psychobiographical interpretations that draw quite different shapes of <mask>'s interior life". Bloomsbury (1904–1940)

Gordon Square (1904–1907)

On their father's death, the Stephens' first instinct was to escape from the dark house of yet more mourning, and this they did immediately, accompanied by George, travelling to Manorbier, on the coast of Pembrokeshire on 27 February. There, they spent a month, and it was there that <mask> first came to realise her destiny was as a writer, as she recalls in her diary of 3 September 1922.They then further pursued their newfound freedom by spending April in Italy and France, where they met up with Clive Bell again. <mask> then suffered her second nervous breakdown, and first suicidal attempt on 10 May, and convalesced over the next three months. Before their father died, the Stephens had discussed the need to leave South Kensington in the West End, with its tragic memories and their parents' relations. George Duckworth was 35, his brother Gerald 33. The Stephen children were now between 24 and 20. <mask> was 22. Vanessa and Adrian decided to sell 22 Hyde Park Gate in respectable South Kensington and move to Bloomsbury.Bohemian Bloomsbury, with its characteristic leafy squares seemed sufficiently far away, geographically and socially, and was a much cheaper

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Virginia Woolf
Virginia
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Virginia


title: Virginia Woolf

texts: neighbourhood rentwise. They had not inherited much and they were unsure about their finances. Also, Bloomsbury was close to the Slade School which Vanessa was then attending. While Gerald was quite happy to move on and find himself a bachelor establishment, George who had always assumed the role of quasi-parent decided to accompany them, much to their dismay. It was then that Lady Margaret Herbert appeared on the scene, George proposed, was accepted and married in September, leaving the Stephens to their own devices. Vanessa found a house at 46 Gordon Square in Bloomsbury, and they moved in November, to be joined by <mask> now sufficiently recovered. It was at Gordon Square that the Stephens began to regularly entertain Thoby's intellectual friends in March 1905.The circle, which largely came from the Cambridge Apostles, included writers (Saxon Sydney-Turner, Lytton Strachey) and critics (Clive Bell, Desmond MacCarthy) with Thursday evening "At Homes" that became known as the Thursday Club, a vision of recreating Trinity College ("Cambridge in London"). This circle formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. Later, it would include John Maynard Keynes (1907), Duncan Grant (1908), E.M. Forster (1910), Roger Fry (1910), <mask> (1911), and David Garnett (1914). In 1905, <mask> and Adrian visited Portugal and Spain. Clive Bell proposed to Vanessa, but was declined, while <mask> began teaching evening classes at Morley College and Vanessa added another event to their calendar with the Friday Club, dedicated to the discussion of and later exhibition of the fine arts. This introduced some new people into their circle,

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 including Vanessa's friends from the Royal Academy and Slade, such as Henry Lamb and Gwen Darwin (who became secretary), but also the eighteen-year-old Katherine Laird ("Ka") Cox (1887–1938), who was about to go up to Newnham. Although <mask> did not actually meet Ka until much later, Ka would come to play an important part in her life.Ka and others brought the Bloomsbury Group into contact with another, slightly younger, group of Cambridge intellectuals to whom the Stephen sisters gave the name "Neo-pagans". The Friday Club continued until 1913. The following year, 1906, <mask> suffered two further losses. Her cherished brother Thoby, who was only 26, died of typhoid, following a trip they had all taken to Greece, and immediately afterward Vanessa accepted Clive's third proposal. Vanessa and Clive were married in February 1907 and as a couple, their interest in avant-garde art would have an important influence on <mask>'s further development as an author. With Vanessa's marriage, <mask> and Adrian needed to find a new home. Fitzroy Square (1907–1911)
<mask> moved into 29 Fitzroy Square in April 1907, a house on the west side of the street, formerly occupied by George Bernard Shaw.It was in Fitzrovia, immediately to the west of Bloomsbury but still relatively close to her sister at Gordon Square. The two sisters continued to travel together, visiting Paris in March. Adrian was now to play a much larger part in Virginia's life, and they resumed the Thursday Club in October at their new home, while Gordon Square became the venue for the Play Reading Society in December. During this period, the group began to increasingly explore progressive ideas, first in speech, and then in

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 conduct, Vanessa proclaiming in 1910 a libertarian society with sexual freedom for all. Meanwhile, <mask> began work on her first novel, Melymbrosia, that eventually became The Voyage Out (1915). Vanessa's first child, Julian was born in February 1908, and in September <mask> accompanied the Bells to Italy and France. It was during this time that <mask>'s rivalry with her sister resurfaced, flirting with Clive, which he reciprocated, and which lasted on and off from 1908 to 1914, by which time her sister's marriage was breaking down.On 17 February 1909, Lytton Strachey proposed to <mask> and she accepted, but he then withdrew the offer. It was while she was at Fitzroy Square that the question arose of <mask> needing a quiet country retreat, and she required a six-week rest cure and sought the countryside away from London as much as possible. In December, she and Adrian stayed at Lewes and started exploring the area of Sussex around the town. She started to want a place of her own, like St Ives, but closer to London. She soon found a property in nearby Firle (see below), maintaining a relationship with that area for the rest of her life. Dreadnought hoax 1910

Several members of the group attained notoriety in 1910 with the Dreadnought hoax, which <mask> participated in disguised as a male Abyssinian royal. Her complete 1940 talk on the hoax was discovered and is published in the memoirs collected in the expanded edition of The Platform of Time (2008).Brunswick Square (1911–1912)
In October 1911, the lease on Fitzroy Square was running out and <mask> and Adrian decided to give up their home on Fitzroy Square in favour of a different living arrangement, moving to a

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 four-storied house at 38 Brunswick Square in Bloomsbury proper in November. <mask> saw it as a new opportunity: "We are going to try all kinds of experiments," she told Ottoline Morrell. Adrian occupied the second floor, with Maynard Keynes and Duncan Grant sharing the ground floor. This arrangement for a single woman was considered scandalous, and George Duckworth was horrified. The house was adjacent to the Foundling Hospital, much to <mask>'s amusement as an unchaperoned single woman. Originally, Ka Cox was supposed to share in the arrangements, but opposition came from Rupert Brooke, who was involved with her and pressured her to abandon the idea. At the house, Duncan Grant decorated Adrian Stephen's rooms (see image).Marriage (1912–1941)

<mask> was one of Thoby Stephen's friends at Trinity College, Cambridge, and noticed the Stephen sisters in Thoby's rooms there on their visits to the May Ball in 1900 and 1901. He recalls them in "white dresses and large hats, with parasols in their hands, their beauty literally took one's breath away". To him, they were silent, "formidable and alarming". Woolf did not meet <mask> formally till 17 November 1904 when he dined with the Stephens at Gordon Square, to say goodbye before leaving to take up a position with the civil service in Ceylon, although she was aware of him through Thoby's stories. At that visit he noted that she was perfectly silent throughout the meal, and looked ill. In 1909, Lytton Strachey suggested to Woolf he should make her an offer of marriage. He did so, but received no answer.In June 1911, he returned to London on a one-year leave, but did not go back to Ceylon. In England again, Leonard renewed his

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texts: contacts with family and friends. Three weeks after arriving he dined with Vanessa and Clive Bell at Gordon Square on 3 July, where they were later joined by <mask> and other members of what would later be called "Bloomsbury", and Leonard dates the group's formation to that night. In September, <mask> asked Leonard to join her at Little Talland House at Firle in Sussex for a long weekend. After that weekend, they began seeing each other more frequently. On 4 December 1911, Leonard moved into the ménage on Brunswick Square, occupying a bedroom and sitting room on the fourth floor, and started to see <mask> constantly and by the end of the month had decided he was in love with her. On 11 January 1912, he proposed to her; she asked for time to consider, so he asked for an extension of his leave and, on being refused, offered his resignation on 25 April, effective 20 May.He continued to pursue Virginia, and in a letter of 1 May 1912 (which see) she explained why she did not favour a marriage. However, on 29 May, <mask> told Leonard that she wished to marry him, and they were married on 10 August at the St Pancras Register Office. It was during this time that Leonard first became aware of Virginia's precarious mental state. The Woolfs continued to live at Brunswick Square until October 1912, when they moved to a small flat at 13 Clifford's Inn, further to the east (subsequently demolished). Despite his low material status (Woolf referring to Leonard during their engagement as a "penniless Jew"), the couple shared a close bond. Indeed, in 1937, Woolf wrote in her diary: "Love-making—after 25 years can't bear to be separate ... you see it is enormous pleasure being wanted: a wife.


title: Virginia Woolf

texts: And our marriage so complete."However, Virginia made a suicide attempt in 1913. In October 1914, Leonard and <mask> moved away from Bloomsbury and central London to Richmond, living at 17 The Green, a home discussed by Leonard in his autobiography Beginning Again (1964). In early March 1915, the couple moved again, to nearby Hogarth House, Paradise Road, after which they named their publishing house. Virginia's first novel, The Voyage Out was published in 1915, followed by another suicide attempt. Despite the introduction of conscription in 1916, Leonard was exempted on medical grounds. Between 1924 and 1940, the Woolfs returned to Bloomsbury, taking out a ten-year lease at 52 Tavistock Square, from where they ran the Hogarth Press from the basement, where <mask> also had her writing room, and is commemorated with a bust of her in the square (see illustration). 1925 saw the publication of Mrs Dalloway in May followed by her collapse while at Charleston in August.In 1927, her next novel, To the Lighthouse, was published, and the following year she lectured on Women & Fiction at Cambridge University and published Orlando in October. Her two Cambridge lectures then became the basis for her major essay A Room of One's Own in 1929. <mask> wrote only one drama, Freshwater, based on her great-aunt Julia Margaret Cameron, and produced at her sister's studio on Fitzroy Street in 1935. 1936 saw another collapse of her health following the completion of The Years. The Woolf's final residence in London was at 37 Mecklenburgh Square (1939–1940), destroyed during the Blitz in September 1940; a month later their previous home on Tavistock Square was also destroyed. After that, they made

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 Sussex their permanent home. For descriptions and illustrations of all <mask>'s London homes, see Jean Moorcroft Wilson's book Virginia Woolf, Life and London: A Biography of Place (pub.<mask>, 1987). Hogarth Press (1917–1938)

Virginia had taken up book-binding as a pastime in October 1901, at the age of 19, and the Woolfs had been discussing setting up a publishing house for some time, and at the end of 1916 started making plans. Having discovered that they were not eligible to enroll in the St Bride School of Printing, they started purchasing supplies after seeking advice from the Excelsior Printing Supply Company on Farringdon Road in March 1917, and soon they had a printing press set up on their dining room table at Hogarth House, and the Hogarth Press was born. Their first publication was Two Stories in July 1917, inscribed Publication No. 1, and consisted of two short stories, "The Mark on the Wall" by <mask> and Three Jews by <mask>. The work consisted of 32 pages, hand bound and sewn, and illustrated by woodcuts designed by Dora Carrington. The illustrations were a success, leading Virginia to remark that the press was "specially good at printing pictures, and we see that we must make a practice of always having pictures."(13 July 1917) The process took two and a half months with a production run of 150 copies. Other short short stories followed, including Kew Gardens (1919) with a woodblock by Vanessa Bell as frontispiece. Subsequently, Bell added further illustrations, adorning each page of the text. The press subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others. The Press also commissioned works by contemporary

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 artists, including Dora Carrington and Vanessa Bell. Woolf believed that to break free of a patriarchal society women writers needed a "room of their own" to develop and often fantasised about an "Outsider's Society" where women writers would create a virtual private space for themselves via their writings to develop a feminist critique of society.Though Woolf never created the "Outsider's society", the Hogarth Press was the closest approximation as the Woolfs chose to publish books by writers that took unconventional points of view to form a reading community. Initially the press concentrated on small experimental publications, of little interest to large commercial publishers. Until 1930, Woolf often helped her husband print the Hogarth books as the money for employees was not there. <mask> relinquished her interest in 1938, following a third attempted suicide. After it was bombed in September 1940, the press was moved to Letchworth for the remainder of the war. Both the Woolfs were internationalists and pacifists who believed that promoting understanding between peoples was the best way to avoid another world war and chose quite consciously to publish works by foreign authors of whom the British reading public were unaware. The first non-British author to be published was the Soviet writer Maxim Gorky, the book Reminiscences of Leo Nikolaiovich Tolstoy in 1920, dealing with his friendship with Count Leo Tolstoy.Memoir Club (1920–1941)

1920 saw a postwar reconstitution of the Bloomsbury Group, under the title of the Memoir Club, which as the name suggests focussed on self-writing, in the manner of Proust's A La Recherche, and inspired some of the more influential books of


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 the 20th century. The Group, which had been scattered by the war, was reconvened by Mary ('Molly') MacCarthy who called them "Bloomsberries", and operated under rules derived from the Cambridge Apostles, an elite university debating society that a number of them had been members of. These rules emphasised candour and openness. Among the 125 memoirs presented, <mask> contributed three that were published posthumously in 1976, in the autobiographical anthology Moments of Being. These were 22 Hyde Park Gate (1921), Old Bloomsbury (1922) and Am I a Snob? (1936). Vita Sackville-West (1922–1941)

The ethos of the Bloomsbury group encouraged a liberal approach to sexuality, and on 14 December 1922 <mask> met the writer and gardener Vita Sackville-West, wife of Harold Nicolson, while dining with Clive Bell.Writing in her diary the next day, she referred to meeting "the lovely gifted aristocratic Sackville West". At the time, Sackville-West was the more successful writer as both poet and novelist, commercially and critically, and it was not until after Woolf's death that she became considered the better writer. After a tentative start, they began a sexual relationship, which, according to Sackville-West in a letter to her husband on 17 August 1926, was only twice consummated. The relationship reached its peak between 1925 and 1928, evolving into more of a friendship through the 1930s, though Woolf was also inclined to brag of her affairs with other women within her intimate circle, such as Sibyl Colefax and Comtesse de Polignac. This period of intimacy was to prove fruitful for both authors, Woolf producing three novels, To the Lighthouse (1927), Orlando (1928), and The Waves (1931)

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 published, The Edwardians, was a best-seller that sold 30,000 copies in its first six months. Sackville-West's novels, though not typical of the Hogarth Press, saved Hogarth, taking them from the red into the black.However, Woolf was not always appreciative of the fact that it was Sackville-West's books that kept the Hogarth Press profitable, writing dismissively in 1933 of her "servant girl" novels. The financial security allowed by the good sales of Sackville-West's novels in turn allowed Woolf to engage in more experimental work, such as The Waves, as Woolf had to be cautious when she depended upon Hogarth entirely for her income. In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both sexes. It was published in October, shortly after the two women spent a week travelling together in France, that September. Nigel Nicolson, Vita Sackville-West's son, wrote, "The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her." After their affair ended, the two women remained friends until Woolf's death in 1941. <mask> also remained close to her surviving siblings, Adrian and Vanessa; Thoby had died of typhoid fever at the age of 26.Sussex (1911–1941)

Virginia was needing a country retreat to escape to, and on 24 December 1910, she found a house for rent in Firle, Sussex, near Lewes (see Map). She obtained a lease and


title: Virginia Woolf

texts: took possession of the house the following month, naming it 'Little Talland House', after their childhood home in Cornwall, although it was actually a new red gabled villa on the main street opposite the village hall. The lease was a short one, and in October, she and Leonard Woolf found Asham House at Asheham a few miles to the west, while walking along the Ouse from Firle. The house, at the end of a tree-lined road was a strange beautiful Regency-Gothic house in a lonely location. She described it as "flat, pale, serene, yellow-washed", without electricity or water and allegedly haunted. She took out a five-year lease jointly with Vanessa in the New Year, and they moved into it in February 1912, holding a house warming party on the 9th. It was at Asham that the Woolfs spent their wedding night later that year.At Asham, she recorded the events of the weekends and holidays they spent there in her Asham Diary, part of which was later published as A Writer's Diary in 1953. In terms of creative writing, The Voyage Out was completed there, and much of Night and Day. Asham provided Woolf with well needed relief from the pace of London life and was where she found a happiness that she expressed in her diary of 5 May 1919 "Oh, but how happy we've been at Asheham! It was a most melodious time. Everything went so freely; – but I can't analyse all the sources of my joy". Asham was also the inspiration for A Haunted House (1921–1944), and was painted by members of the Bloomsbury Group, including Vanessa Bell and Roger Fry. It was during these times at Asham that Ka Cox (seen here) started to devote herself to Virginia and become very useful.While at Asham Leonard and <mask> found a


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 farmhouse in 1916, that was to let, about four miles away, which they thought would be ideal for her sister. Eventually, Vanessa came down to inspect it, and moved in in October of that year, taking it as a summer home for her family. The Charleston Farmhouse was to become the summer gathering place for the literary and artistic circle of the Bloomsbury Group. After the end of the war, in 1918, the Woolfs were given a year's notice by the landlord, who needed the house. In mid-1919, "in despair", they purchased "a very strange little house" for £300, the Round House in Pipe Passage, Lewes, a converted windmill. No sooner had they bought the Round House, than Monk's House in nearby Rodmell, came up for auction, a weatherboarded house with oak beamed rooms, said to be 15th or 16th century. The Leonards favoured the latter because of its orchard and garden, and sold the Round House, to purchase Monk's House for £700.Monk's House also lacked water and electricity, but came with an acre of garden, and had a view across the Ouse towards the hills of the South Downs. <mask> describes this view (and the amenities) as being unchanged since the days of Chaucer. From 1940, it became their permanent home after their London home was bombed, and <mask> continued to live there until her death. Meanwhile, Vanessa made Charleston her permanent home in 1936. It was at Monk's House that <mask> completed Between the Acts in early 1941, followed by a further breakdown directly resulting in her suicide on 28 March 1941, the novel being published posthumously later that year. The Neo-pagans (1911–1912)

During her time in Firle, <mask> became better acquainted with Rupert Brooke and his group of


title: Virginia Woolf

texts: Neo-Pagans, pursuing socialism, vegetarianism, exercising outdoors and alternative life styles, including social nudity. They were influenced by the ethos of Bedales, Fabianism and Shelley.The women wore sandals, socks, open neck shirts and head-scarves. Although she had some reservations, Woolf was involved with their activities for a while, fascinated by their bucolic innocence in contrast to the sceptical intellectualism of Bloomsbury, which earned her the nickname "The Goat" from her brother Adrian. While Woolf liked to make much of a weekend she spent with Brooke at the vicarage in Grantchester, including swimming in the pool there, it appears to have been principally a literary assignation. They also shared a psychiatrist in the name of Maurice Craig. Through the Neo-Pagans, she finally met Ka Cox on a weekend in Oxford in January 1911, who had been part of the Friday Club circle and now became her friend and played an important part in dealing with her illnesses. <mask> nicknamed her "Bruin". At the same time, she found herself dragged into a triangular relationship involving Ka, Jacques Raverat and Gwen Darwin.She became resentful of the other couple, Jacques and Gwen, who married later in 1911, not the outcome <mask> had predicted or desired. They would later be referred to in both To the Lighthouse and The Years. The exclusion she felt evoked memories of both Stella Duckworth's marriage and her triangular involvement with Vanessa and Clive. The two groups eventually fell out. Brooke pressured Ka into withdrawing from joining Virginia's ménage on Brunswick Square in late 1911, calling it a "bawdy-house" and by the end of 1912 he had vehemently turned against


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 Bloomsbury. Later, she would write sardonically about Brooke, whose premature death resulted in his idealisation, and express regret about "the Neo-Paganism at that stage of my life". <mask> was deeply disappointed when Ka married William Edward Arnold-Forster in 1918, and became increasingly critical of her.Mental health

Much examination has been made of Woolf's mental health (e.g., see Mental health bibliography). From the age of 13, following the death of her mother, Woolf suffered periodic mood swings from severe depression to manic excitement, including psychotic episodes, which the family referred to as her "madness". However, as Hermione Lee points out, Woolf was not "mad"; she was merely a woman who suffered from and struggled with illness for much of her relatively short life, a woman of "exceptional courage, intelligence and stoicism", who made the best use, and achieved the best understanding she could of that illness. Psychiatrists today contend that her illness constitutes bipolar disorder (manic-depressive illness). Her mother's death in 1895, "the greatest disaster that could happen", precipitated a crisis of alternating excitability and depression accompanied by irrational fears, for which their family doctor, Dr. Seton, prescribed rest, stopping lessons and writing, and regular walks supervised by Stella. Yet just two years later, Stella too was dead, bringing on her next crisis in 1897, and her first expressed wish for death at the age of fifteen, writing in her diary that October that "death would be shorter & less painful". She then stopped keeping a diary for some time.This was a scenario she would later recreate in "Time Passes" (To the Lighthouse,


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 1927). The death of her father in 1904 provoked her most alarming collapse, on 10 May, when she threw herself out a window and she was briefly institutionalised under the care of her father's friend, the eminent psychiatrist George Savage. Savage blamed her education—frowned on by many at the time as unsuitable for women—for her illness. She spent time recovering at the house of Stella's friend Violet Dickinson, and at her aunt Caroline's house in Cambridge, and by January 1905, Dr. Savage considered her "cured". Violet, seventeen years older than <mask>, became one of her closest friends and one of her more effective nurses. She characterised it as a "romantic friendship" (Letter to Violet 4 May 1903). Her brother Thoby's death in 1906 marked a "decade of deaths” that ended her childhood and adolescence.Gordon (2004) writes: "Ghostly voices spoke to her with increasing urgency, perhaps more real than the people who lived by her side. When voices of the dead urged her to impossible things, they drove her mad but, controlled, they became the material of fiction..."

On Dr. Savage's recommendation, <mask> spent three short periods in 1910, 1912, and 1913 at Burley House at 15 Cambridge Park, Twickenham (see image), described as "a private nursing home for women with nervous disorder" run by Miss Jean Thomas. By the end of February 1910, she was becoming increasingly restless, and Dr. Savage suggested being away from London. Vanessa rented Moat House, outside Canterbury, in June, but there was no improvement, so Dr. Savage sent her to Burley for a "rest cure". This involved partial isolation, deprivation of literature, and force-feeding, and after six weeks she was able to


title: Virginia Woolf

texts: truth, and ultimately was her choice of death. Throughout her life, Woolf struggled, without success, to find meaning in her illness: on the one hand, an impediment, on the other, something she visualised as an essential part of who she was, and a necessary condition of her art. Her experiences informed her work, such as the character of Septimus Warren Smith in Mrs Dalloway (1925), who, like Woolf, was haunted by the dead, and ultimately takes his own life rather than be admitted to a sanitorium. <mask> relates how during the 30 years they were married, they consulted many doctors in the Harley Street area, and although they were given a diagnosis of neurasthenia, he felt they had little understanding of the causes or nature. The proposed solution was simple—as long as she lived a quiet life without any physical or mental exertion, she was well. On the other hand, any mental, emotional, or physical strain resulted in a reappearance of her symptoms, beginning with a headache, followed by insomnia and thoughts that started to race. Her remedy was simple: to retire to bed in a darkened room, eat, and drink plenty of milk, following which the symptoms slowly subsided.Modern scholars, including her nephew and biographer, Quentin Bell, have suggested her breakdowns and subsequent recurring depressive periods were influenced by the sexual abuse which she and her sister Vanessa were subjected to by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays "A Sketch of the Past" and "22 Hyde Park Gate") (see Sexual abuse). Biographers point out that when Stella died in 1897, there was no counterbalance to control George's predation, and his


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 nighttime prowling. <mask> describes him as her first lover, "The old ladies of Kensington and Belgravia never knew that George Duckworth was not only father and mother, brother and sister to those poor Stephen girls; he was their lover also." It is likely that other factors also played a part. It has been suggested that they include genetic predisposition, for both trauma and family history have been implicated in bipolar disorder. <mask>'s father, Leslie Stephen, suffered from depression, and her half-sister Laura was institutionalised. Many of <mask>'s symptoms, including persistent headache, insomnia, irritability, and anxiety, resembled of her father's.Another factor is the pressure she placed upon herself in her work; for instance, her breakdown of 1913 was at least partly triggered by the need to finish The Voyage Out. <mask> herself hinted that her illness was related to how she saw the repressed position of women in society, when she wrote in A Room of One's Own that had Shakespeare had a sister of equal genius, she "would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at". These inspirations emerged from what Woolf referred to as her lava of madness, describing her time at Burley in a 1930 letter to Ethel Smyth:

Thomas Caramagno and others, in discussing her illness, oppose the "neurotic-genius" way of looking at mental illness, where creativity and mental illness are conceptualised as linked rather than antithetical. Stephen Trombley describes Woolf as having a confrontational relationship with her doctors, and possibly being a woman who is a "victim of male


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 medicine", referring to the lack of understanding, particularly at the time, about mental illness. Death

After completing the manuscript of her last novel (posthumously published), Between the Acts (1941), Woolf fell into a depression similar to one which she had earlier experienced. The onset of World War II, the destruction of her London home during the Blitz, and the cool reception given to her biography of her late friend Roger Fry all worsened her condition until she was unable to work. When Leonard enlisted in the Home Guard, <mask> disapproved.She held fast to her pacifism and criticised her husband for wearing what she considered to be "the silly uniform of the Home Guard". After World War II began, Woolf's diary indicates that she was obsessed with death, which figured more and more as her mood darkened. On 28 March 1941, Woolf drowned herself by filling her overcoat pockets with stones and walking into the River Ouse near her home. Her body was not found until 18 April. Her husband buried her cremated remains beneath an elm tree in the garden of Monk's House, their home in Rodmell, Sussex. In her suicide note, addressed to her husband, she wrote:

Work

<mask> is considered to be one of the more important 20th century novelists. A modernist, she was one of the pioneers of using stream of consciousness as a narrative device, alongside contemporaries such as Marcel Proust, Dorothy Richardson and James Joyce.Woolf's reputation was at its greatest during the 1930s, but declined considerably following World War II. The growth of feminist criticism in the 1970s helped re-establish her reputation. <mask> submitted her first article in 1890, to a competition in Tit-Bits.

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 Although it was rejected, this shipboard romance by the 8-year-old would presage her first novel 25 years later, as would contributions to the Hyde Park News, such as the model letter "to show young people the right way to express what is in their hearts", a subtle commentary on her mother's legendary matchmaking. She transitioned from juvenilia to professional journalism in 1904 at the age of 22. Violet Dickinson introduced her to Mrs. Lyttelton, the editor of the Women's Supplement of The Guardian, a Church of England newspaper. Invited to submit a 1,500-word article, <mask> sent Lyttelton a review of W.D.Howells' The Son of Royal Langbirth and an essay about her visit to Haworth that year, Haworth, November 1904. The review was published anonymously on 4 December, and the essay on the 21st. In 1905, Woolf began writing for The Times Literary Supplement. Woolf would go on to publish novels and essays as a public intellectual to both critical and popular acclaim. Much of her work was self-published through the Hogarth Press. "<mask>'s peculiarities as a fiction writer have tended to obscure her central strength: she is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness.Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions." "The intensity of <mask>'s poetic vision elevates the ordinary, sometimes banal settings"—often wartime environments—"of most of her novels." Fiction and drama

Novels

Her first novel, The Voyage Out, was

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Virginia Woolf


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texts: time, and how women are forced by society to allow men to take emotional strength from them.Orlando: A Biography (1928) is one of <mask>'s lightest novels. A parodic biography of a young nobleman who lives for three centuries without ageing much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of <mask>'s lover Vita Sackville-West. It was meant to console Vita for the loss of her ancestral home, Knole House, though it is also a satirical treatment of Vita and her work. In Orlando, the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed for it to be mocked. "The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centred novel". Flush: A Biography (1933) is a part-fiction, part-biography of the cocker spaniel owned by Victorian poet Elizabeth Barrett Browning. The book is written from the dog's point of view.<mask> was inspired to write this book from the success of the Rudolf Besier play The Barretts of Wimpole Street. In the play, Flush is on stage for much of the action. The play was produced for the first time in 1932 by the actress Katharine Cornell. The Years (1936), traces the history of the genteel Pargiter family from the 1880s to the "present day" of the mid-1930s. The novel had its origin in a lecture <mask> gave to the National Society for Women's Service in 1931, an edited version of which would later be published as "Professions for Women". Woolf first thought of making this lecture the basis of a new

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 book-length essay on women, this time taking a broader view of their economic and social life, rather than focusing on women as artists, as the first book had. She soon jettisoned the theoretical framework of her "novel-essay" and began to rework the book solely as a fictional narrative, but some of the non-fiction material she first intended for this book was later used in Three Guineas (1938)."Her last work, Between the Acts (1941), sums up and magnifies <mask>'s chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history." This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse. While <mask>'s work can be understood as consistently in dialogue with the Bloomsbury Group, particularly its tendency (informed by G.E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals. Themes
Woolf's fiction has been studied for its insight into many themes including war, shell shock, witchcraft, and the role of social class in contemporary modern British society. In the postwar Mrs Dalloway (1925), Woolf addresses the moral dilemma of war and its effects and provides an authentic voice for soldiers returning from World War I, suffering from shell shock, in the person of Septimus Smith. In A Room of One's Own (1929) Woolf equates historical accusations of witchcraft with creativity and genius among women "When, however, one reads of a witch being

masks: Woolf Woolf


title: Virginia Woolf

texts: ducked, of a woman possessed by devils...then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen".Throughout her work <mask> tried to evaluate the degree to which her privileged background framed the lens through which she viewed class. She both examined her own position as someone who would be considered an elitist snob, but attacked the class structure of Britain as she found it. In her 1936 essay Am I a Snob?, she examined her values and those of the privileged circle she existed in. She concluded she was, and subsequent critics and supporters have tried to deal with the dilemma of being both elite and a social critic. The sea is a recurring motif in <mask>'s work. Noting <mask>'s early memory of listening to waves break in Cornwall, Katharine Smyth writes in The Paris Review that "the radiance [of] cresting water would be consecrated again and again in her writing, saturating not only essays, diaries, and letters but also Jacob’s Room, The Waves, and To the Lighthouse." Patrizia A. Muscogiuri explains that "seascapes, sailing, diving and the sea itself are aspects of nature and of human beings’ relationship with it which frequently inspired <mask>'s writing."This trope is deeply embedded in her texts’ structure and grammar; James Antoniou notes in Sydney Morning Herald how "Woolf made a virtue of the semicolon, the shape and function of which resembles the wave, her most famous motif." Despite the considerable conceptual difficulties, given Woolf's idiosyncratic use of language, her works have been translated into over 50 languages. Some writers, such as the Belgian Marguerite Yourcenar, had rather tense encounters

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 with her, while others, such as the Argentinian Jorge Luis Borges, produced versions that were highly controversial. Drama

<mask> researched the life of her great-aunt, the photographer Julia Margaret Cameron, publishing her findings in an essay titled "Pattledom" (1925), and later in her introduction to her 1926 edition of Cameron's photographs. She had begun work on a play based on an episode in Cameron's life in 1923, but abandoned it. Finally it was performed on 18 January 1935 at the studio of her sister, Vanessa Bell on Fitzroy Street in 1935. Woolf directed it herself, and the cast were mainly members of the Bloomsbury Group, including herself.Freshwater is a short three act comedy satirising the Victorian era, only performed once in Woolf's lifetime. Beneath the comedic elements, there is an exploration of both generational change and artistic freedom. Both Cameron and Woolf fought against the class and gender dynamics of Victorianism and the play shows links to both To the Lighthouse and A Room of One's Own that would follow. Non-fiction
Woolf wrote a body of autobiographical work and more than 500 essays and reviews, some of which, like A Room of One's Own (1929) were of book length. Not all were published in her lifetime. Shortly after her death, <mask> produced an edited edition of unpublished essays titled The Moment and other Essays, published by the Hogarth Press in 1947. Many of these were originally lectures that she gave, and several more volumes of essays followed, such as The Captain's Death Bed: and other essays (1950).A Room of One's Own

Among Woolf's non-fiction works, one of the best known is A Room of One's Own (1929), a book-length essay.

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Leonard Woolf


title: Virginia Woolf

texts: politics as Dostoyevsky was an ardent supporter of the autocracy of the Russian Empire. In contrast to her objections to Dostoyevsky's "exaggerated emotional pitch", Woolf found much to admire in the work of Anton Chekhov and Leo Tolstoy. Woolf admired Chekhov for his stories of ordinary people living their lives, doing banal things and plots that had no neat endings. From Tolstoy, Woolf drew lessons about how a novelist should depict a character's psychological state and the interior tension within. Lackey notes that, from Ivan Turgenev, Woolf drew the lessons that there are multiple "I's" when writing a novel, and the novelist needed to balance those multiple versions of him- or herself to balance the "mundane facts" of a story vs. the writer's overarching vision, which required a "total passion" for art. The American writer Henry David Thoreau also influenced Woolf.In a 1917 essay, she praised Thoreau for his statement "The millions are awake enough for physical labor, but only one in hundreds of millions is awake enough to a poetic or divine life. To be awake is to be alive." They both aimed to capture 'the moment'––as Walter Pater says, "to burn always with this hard, gem-like flame." Woolf praised Thoreau for his "simplicity" in finding "a way for setting free the delicate and complicated machinery of the soul". Like Thoreau, Woolf believed that it was silence that set the mind free to really contemplate and understand the world. Both authors believed in a certain transcendental, mystical approach to life and writing, where even banal things could be capable of generating deep emotions if one had enough silence and the presence of mind to appreciate them. <mask> and


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 List of Album Guides

 Album 1 MS Thr 557 (1863–1938)
 Album 2 MS Thr 559 (1909–1922)
 Album 3 MS Thr 560 (1890–1933)
 Album 4 MS Thr 561 (1890–1947)
 Album 5 MS Thr 562 (1892–1938)
 Album 6 MS Thr 563 (1850–1900)

Collections

Views
In her lifetime, Woolf was outspoken on many topics that were considered controversial, some of which are now considered progressive, others regressive. She was an ardent feminist at a time when women's rights were barely recognised, and anti-colonialist, anti-imperialist and a pacifist when chauvinism was popular.On the other hand, she has been criticised for views on class and race in her private writings and published works. Like many of her contemporaries, some of her writing is now considered offensive. As a result, she is considered polarising, a revolutionary feminist and socialist hero or a purveyor of hate speech. Works such as A Room of One's Own (1929) and Three Guineas (1938) are frequently taught as icons of feminist literature in courses that would be very critical of some of her views expressed elsewhere. She has also been the recipient of considerable homophobic and misogynist criticism. Humanist views
<mask> was born into a non-religious family and is regarded, along with her fellow Bloomsberries E.M. Forster and G.E. Moore, as a humanist.Both her parents were prominent agnostic atheists. Her father, Leslie Stephen, had become famous in polite society for his writings which expressed and publicised reasons to doubt the veracity of religion. Stephen was also President of the West London Ethical Society, an early humanist organisation, and helped to found the Union of Ethical Societies in 1896. Woolf's mother, Julia


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 ontological "mass" and is, again, "detestable"; "Germans" are akin to vermin; some "baboon faced intellectuals" mix with "sad green dressed negroes and negresses, looking like chimpanzees" at a peace conference; Kensington High St. revolts one's stomach with its innumerable "women of incredible mediocrity, drab as dishwater".Antisemitism
Though accused of antisemitism, the treatment of Judaism and Jews by Woolf is far from straightforward. She was happily married to a Jewish man (<mask>) but often wrote about Jewish characters using stereotypes and generalisations. For instance, she described some of the Jewish characters in her work in terms that suggested they were physically repulsive or dirty. On the other hand, she could criticise her own views: "How I hated marrying a Jew — how I hated their nasal voices and their oriental jewellery, and their noses and their wattles — what a snob I was: for they have immense vitality, and I think I like that quality best of all" (Letter to Ethel Smyth 1930). These attitudes have been construed to reflect, not so much antisemitism, but tribalism; she married outside her social grouping, and <mask>, too, expressed misgivings about marrying a gentile. Leonard, "a penniless Jew from Putney", lacked the material status of the Stephens and their circle. While travelling on a cruise to Portugal, she protested at finding "a great many Portuguese Jews on board, and other repulsive objects, but we keep clear of them".Furthermore, she wrote in her diary: "I do not like the Jewish voice; I do not like the Jewish laugh." Her 1938 short story The Duchess and the Jeweller (originally titled The Duchess and the Jew) has been considered antisemitic.

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Leonard Woolf


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 Yet Woolf and her husband Leonard came to despise and fear the 1930s fascism and antisemitism. Her 1938 book Three Guineas was an indictment of fascism and what Woolf described as a recurring propensity among patriarchal societies to enforce repressive societal mores by violence. Sexuality

The Bloomsbury Group held very progressive views regarding sexuality and shucked the austere strictness of Victorian society. The majority of its members were homosexual or bisexual. <mask> was most likely a lesbian, some debate that she was bisexual.However she had several affairs with women, the most notable being with Vita Sackville-West which inspired Orlando: A Biography. The two of them remained lovers for a decade and stayed close friends for the rest of Virginia's life. <mask> had said to Vita she disliked masculinity

Among her other notable affairs were Sibyl Colefax, Lady Ottoline Morrell and Mary Hutchinson. Some surmise that she may have fallen in love with Madge Symonds, the wife of one of her uncles. Madge Symonds was described as one of Virginia's early loves in Vita's diary She also fell in love with Violet Dickinson although there is some confusion as to whether the two consummated their relationship. In regards to relationships with men, <mask> was averse to sex with them, blaming the sexual abuse perpetrated upon her and her sister by her half-brothers when they were children and teens. This is one of the reasons she initially declined marriage proposals from her future husband, Leonard.She even went as far as to tell him that she was not attracted to him, but that she did love him and finally agreed to marriage. <mask> preferred female lovers to male lovers, for the

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 most part, based on her aversion to sex with men. This aversion to relations with men influenced her writing especially when considering her sexual abuse as a child. Leonard became the love of her life and even though their sexual relationship was questionable, they loved each other deeply and formed a strong, supportive and prolific marriage which led to the formation of their publishing house as well as several of her writings. Neither was faithful to the other sexually, but they were faithful in their love and respect for each other. Modern scholarship and interpretations
Though at least one biography of <mask> appeared in her lifetime, the first authoritative study of her life was published in 1972 by her nephew Quentin Bell. Hermione Lee's 1996 biography <mask> provides a thorough and authoritative examination of Woolf's life and work, which she discussed in an interview in 1997.In 2001, Louise DeSalvo and Mitchell A. Leaska edited The Letters of Vita Sackville-West and <mask>. Julia Briggs's Virginia Woolf: An Inner Life (2005) focuses on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. The sociologist Pierre Bourdieu also uses <mask>'s literature to understand and analyse gender domination. Woolf biographer Gillian Gill notes that Woolf's traumatic experience of sexual abuse by her half-brothers during her childhood influenced her advocacy of protection of vulnerable children from similar experiences. <mask> and her mother
The intense scrutiny of <mask>'s literary output (see Bibliography) has led to speculation as to her mother's influence, including psychoanalytic studies of mother and daughter. Woolf states

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 that, "my first memory, and in fact it is the most important of all my memories" is of her mother. Her memories of her mother are memories of an obsession, starting with her first major breakdown on her mother's death in 1895, the loss having a profound lifelong effect.In many ways, her mother's profound influence on <mask> is conveyed in the latter's recollections, "there she is; beautiful, emphatic ... closer than any of the living are, lighting our random lives as with a burning torch, infinitely noble and delightful to her children". Woolf described her mother as an "invisible presence" in her life, and Ellen Rosenman argues that the mother-daughter relationship is a constant in Woolf's writing. She describes how Woolf's modernism needs to be viewed in relationship to her ambivalence towards her Victorian mother, the centre of the former's female identity, and her voyage to her own sense of autonomy. To Woolf, "Saint Julia" was both a martyr whose perfectionism was intimidating and a source of deprivation, by her absences real and virtual and premature death. Julia's influence and memory pervades Woolf's life and work. "She has haunted me", she wrote. Historical feminism
According to the 2007 book Feminism: From Mary Wollstonecraft to Betty Friedan by Bhaskar A. Shukla, "Recently, studies of <mask> have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, <mask>f: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer."In 1928, Woolf took a grassroots approach to informing and inspiring feminism. She addressed undergraduate women at the ODTAA Society at Girton College, Cambridge and the Arts Society at Newnham

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 College with two papers that eventually became A Room of One's Own (1929). <mask>'s best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties that female writers and intellectuals faced because men held disproportionate legal and economic power, as well as the future of women in education and society. In The Second Sex (1949), Simone de Beauvoir counts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes" Katherine Mansfield— have explored "the given". In popular culture

 Who's Afraid of <mask>? is a 1962 play by Edward Albee. It examines the structure of the marriage of an American middle-aged academic couple, Martha and George.Mike Nichols directed a film version in 1966, starring Elizabeth Taylor and Richard Burton. Taylor won the 1966 Academy Award for Best Actress for the role. Me! I'm Afraid of <mask>, a 1978 TV play, references the title of the Edward Albee play and features an English literature teacher who has a poster of her. It was written by Alan Bennett and directed by Stephen Frears. The artwork The Dinner Party (1979) features a place setting for Woolf. The 1996 album Poetic Justice, by British musician Steve Harley, contains a tribute to Woolf, specifically her most adventurous novel, in its closing track: "Riding the Waves (for <mask>)".Michael Cunningham's 1998 Pulitzer Prize-winning novel The Hours focused on three generations of women affected by Woolf's novel Mrs Dalloway. In 2002, a film version of the novel was released, starring Nicole Kidman as Woolf. Kidman won the 2003 Academy Award for her portrayal. Susan Sellers's novel Vanessa and Virginia (2008) explores

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 the close sibling relationship between Woolf and her sister, Vanessa Bell. It was adapted for the stage by Elizabeth Wright in 2010 and first performed by Moving Stories Theatre Company. Priya Parmar's 2014 novel Vanessa and Her Sister also examined the Stephen sisters' relationship during the early years of their association with what became known as the Bloomsbury Group. An exhibition on <mask> was held at the National Portrait Gallery from July to October 2014.In the 2014 novel The House at the End of Hope Street, Woolf is featured as one of the women who has lived in the titular house. <mask> is portrayed by both Lydia Leonard and Catherine McCormack in the BBC's three-part drama series Life in Squares (2015). On 25 January 2018, Google showed a Google doodle celebrating her 136th birthday. In many Barnes & Noble stores, Woolf is featured in Gary Kelly's Author Mural Panels, an imprint of the Barnes & Noble Author brand that also features other notable authors like Hurston, Tagore, and Kafka. The 2018 film Vita and Virginia depicts the relationship between Vita Sackville-West and Woolf, portrayed by Gemma Arterton and Elizabeth Debicki respectively. The 2020 novel Trio by William Boyd follows the life of Elfrida Wing, an alcoholic writer interested in the suicide of Woolf. Adaptations
A number of <mask>'s works have been adapted for the screen, and her play Freshwater (1935) is the basis for a 1994 chamber opera, Freshwater, by Andy Vores.The final segment of the 2018 London Unplugged is adapted from her short story Kew Gardens. Septimus and Clarissa, a stage adaptation of Mrs. Dalloway was created and produced by the New York-based ensemble Ripe Time in 2011 at the

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texts:
 Baruch Performing Arts Center. It was adapted by Ellen McLaughlin, and directed and devised by Rachel Dickstein. It was nominated for a 2012 Drama League award for Outstanding Production, a Drama Desk nomination for Outstanding Score (Gina Leishman) and a Joe A. Calloway Award nomination for outstanding direction (Rachel Dickstein.) Legacy

<mask> is known for her contributions to 20th-century literature and her essays, as well as the influence she has had on literary, particularly feminist criticism. A number of authors have stated that their work was influenced by her, including Margaret Atwood, Michael Cunningham, Gabriel García Márquez, and Toni Morrison. Her iconic image is instantly recognisable from the Beresford portrait of her at twenty (at the top of this page) to the Beck and Macgregor portrait in her mother's dress in Vogue at 44 (see image) or Man Ray's cover of Time magazine (see image) at 55.More postcards of Woolf are sold by the National Portrait Gallery, London than any other person. Her image is ubiquitous, and can be found on products ranging from tea towels to T-shirts. <mask> is studied around the world, with organisations such as the Virginia Woolf Society, and The Virginia Woolf Society of Japan. In addition, trusts—such as the Asham Trust—encourage writers in her honour. Although she had no descendants, a number of her extended family are notable. Monuments and memorials
In 2013, Woolf was honoured by her alma mater of King's College London with the opening of the Virginia Woolf Building on Kingsway, with a plaque commemorating her time there and her contributions (see image), together with this exhibit depicting her accompanied by a quotation

masks:
Virginia Woolf
Virginia Woolf


title: Virginia Woolf

texts:
 "London itself perpetually attracts, stimulates, gives me a play & a story & a poem" from her 1926 diary. Busts of <mask> have been erected at her home in Rodmell, Sussex and at Tavistock Square, London where she lived between 1924 and 1939.In 2014, she was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighbourhood noting LGBTQ people who have "made significant contributions in their fields". Woolf Works, a women's co-working space in Singapore, opened in 2014 and was named after her in tribute to the essay A Room of One's Own; it also has many other things named after it (see the essay's article). A campaign was launched in 2018 by Aurora Metro Arts and Media to erect a statue of Woolf in Richmond, where she lived for 10 years. The proposed statue shows her reclining on a bench overlooking the river Thames. Family trees
 see , , ,

|

Notes

References

Bibliography

Books and theses

  see also The Second Sex

  see also Survey of London

  (Review)

Biography: <mask>f

 Vol. I: <mask> 1882 to 1912. London: Hogarth Press.1972. Vol. II:  <mask> 1912 to 1941. London: Hogarth Press. 1972. (Review)

  (Review)
  (Review)
  (additional excerpts)

  (Review)

  (excerpt - Chapter 1)
  (Review)

  (Review)

  (Review)

  (Illustrations of Woolf's London homes are excerpted at

masks:
Virginia Woolf
Virginia Wool
Virginia Stephen
Virginia Woolf


title: Jonathon Griffin

texts:
<mask> (born 14 January 1986) is a former professional Australian rules footballer who played for the Adelaide Football Club and Fremantle Football Club in the Australian Football League (AFL). A ruckman from Western Australia, <mask> played for  in the West Australian Football League (WAFL) before being drafted by Adelaide at the 2005 Rookie draft. Upgraded to the club's senior list for the 2007 season, he debuted the following season, and played 41 games for Adelaide before being traded to Fremantle during the 2010–11 trading period. Football career

<mask> was born in Bunbury, Western Australia. His family moved to the southern suburbs of Perth when he was 10 years old, and he attended Booragoon Primary School and Applecross Senior High School, playing junior football for Karoonda JFC. He

masks:
Jonathon Griffin
Griffin
Griffin


title: Jonathon Griffin

texts: was drafted by Adelaide from East Fremantle in the West Australian Football League (WAFL) with the 21st selection in the 2005 Rookie draft and spent the 2005 season on the rookie list. He was upgraded to the senior list for the 2006 season but spent most of 2006 playing reserves for Central District Bulldogs.<mask> got his chance to make his AFL debut in the early rounds of 2007 due to the departure of Matthew Clarke and injuries to Rhett Biglands and Ivan Maric. Although he was recruited as a key-forward <mask> was required to play as a ruckman. Many thought <mask> was not yet ready to play at the highest level as a ruckman because of his lanky figure, however <mask> managed to hold his spot for the first 13 rounds of 2007 before being replaced by the returning Maric. <mask> started well in

masks: Griffin Griffin Griffin Griffin Griffin


title: Jonathon Griffin

texts: the 2008 AFL season, with strong performances against very good ruck opponents in Will Minson and Ben Hudson, of the Western Bulldogs, Dean Cox and Mark Seaby of the West Coast Eagles and Dean Brogan and Brendon Lade of Port Adelaide. In the 2009 season, <mask> only played 2 games for the Crows, with Maric and Kurt Tippett preferred as the main ruckman with James Sellar and Brad Moran also selected ahead of <mask>. Through his maternal grandfather's Bibbulman ancestry, <mask> is descended from the Noongar people of south-western Australia. He was selected for the Indigenous All-Stars team in 2009.Since returning to his home state of Western Australia, <mask> has been used mainly as Fremantle's backup ruckman, competing with Zac Clarke and Aaron Sandilands for the ruck positions. <mask>


title: Jonathon Griffin

texts: played his first game for the Dockers in round 10 of the 2011 AFL season against St Kilda, after Sandilands was unavailable due to injury. A career-best performance against  in round 15 saw him collect 26 disposals, 9 marks, 30 hit outs and 2 goals. He played the first seven games of the 2013 season before damaging his anterior cruciate ligament (ACL), with the resultant knee reconstruction ruling him out for the rest of the season. He resumed his career in April 2014, through Fremantle's new affiliate team in the WAFL, . Jonathon played in Peel's maiden WAFL premiership in 2016 but missed out in 2017, with a knee injury keeping him out of the Grand Final team. <mask> was delisted by Fremantle at the conclusion of the 2017 season.After being delisted by Fremantle, <mask> returned to the WAFL

masks: Griffin Jonathon


title: Jonathon Griffin

texts:
 in 2018 and was named captain of East Fremantle after having signed a two-year deal with the club. After three seasons with East Fremantle, <mask> announced he would be retiring at the end of the 2020 season. Statistics
 Statistics are correct to the end of the 2017 season

|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2007
|
| 6 || 16 || 4 || 3 || 68 || 28 || 96 || 42 || 16 || 142 || 0.2 || 0.2 || 4.2 || 1.8 || 6.0 || 2.6 || 1.0 || 8.9
|-
! scope="row" style="text-align:center" | 2008
|
| 6 || 12 || 1 || 3 || 40 || 55 || 95 || 29 || 17 || 202 || 0.1 || 0.2 || 3.3 || 4.6 || 7.9 || 2.4 || 1.4 || 16.8
|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2009
|
| 6 || 2 || 0 || 1 || 9 || 8 || 17 || 5 || 4 || 28 || 0.0 || 0.5 || 4.5 ||


title: Jonathon Griffin

texts:
 0.4
! 0.2
! 5.0
! 4.2
!9.1
! 2.6
! 2.4
! 18.0
|}

See also
 List of AFL debuts in 2007
 List of Adelaide Football Club players
 List of Fremantle Football Club players

References

External links

<mask> <mask>'s profile on the Official WAFL Website

1986 births
Adelaide Football Club players
Australian rules footballers from Western Australia
Central District Football Club players
East Fremantle Football Club players
Fremantle Football Club players
Indigenous Australian players of Australian rules football
Living people
Noongar people
Peel Thunder Football Club players
People educated at Applecross Senior High School
People from Bunbury, Western

masks: Jonathon Griffin


title: Billy J. Kramer

texts:
William Howard Ashton (born 19 August 1943), known professionally as <mask><mask>, is an English pop singer. In the 1960s he was managed by Brian Epstein, who also managed the Beatles, and he recorded several original Lennon–McCartney compositions. Early life and career
<mask> grew up as the youngest of seven siblings and attended the St George of England Secondary School, Bootle. He then took up an engineering apprenticeship with British Railways and in his spare time played rhythm guitar in a group he had formed himself, before switching to become a vocalist. The performing name <mask> was chosen at random from a telephone directory. <mask> suggested that the "J" be added to the name further to distinguish him by adding a "tougher edge". <mask> soon came to the attention of Brian Epstein, ever on the look-out for new talent to add to his expanding roster of local artists.<mask> turned professional but his then backing group, the Coasters, were less keen, so Epstein sought out the services of a Manchester-based group, the Dakotas, a combo then backing Pete MacLaine. Even then, the Dakotas would not join <mask> without a recording contract of their own. Once in place, the deal was set and both acts signed to Parlophone under George Martin. Collectively, they were named <mask><mask> with the Dakotas to keep their own identities within the act. Once the Beatles broke through, the way was paved for a tide of Merseybeat and <mask> was offered the chance to cover "Do You Want to Know a Secret? ", first released by the Beatles on their own debut album, Please Please Me. The track had been turned down by Shane

masks:
Billy J
. Kramer
Kramer
Kramer
John Lennon
Kramer
Kramer
Kramer
Billy J
. Kramer
Kramer


title: Billy J. Kramer

texts:
 Fenton (later known as Alvin Stardust) who was looking for a career-reviving hit.Success
With record producer George Martin, the song "Do You Want to Know a Secret?" was a number two UK Singles Chart hit in 1963, (but number one in some charts), and was backed by another tune otherwise unreleased by the Beatles, "I'll Be on My Way". After this impressive breakthrough another Lennon/McCartney pairing, "Bad to Me" c/w "I Call Your Name", reached number one. It sold over a million copies, and was awarded a gold disc. "I'll Keep You Satisfied" ended the year with a respectable number four placing. <mask> was given a series of songs specially written for him by Lennon and McCartney which launched him into stardom. "I'll Keep You Satisfied", "From a Window", "I Call Your Name" (recorded by The Beatles themselves) and "Bad to Me" earned him appearances on the television programmes, Shindig!, Hullabaloo (hosted by Beatles manager Epstein) and The Ed Sullivan Show.(<mask> had also been offered Lennon/McCartney's "I'm in Love", and recorded a version in October 1963. In the end, it was shelved and the song was instead given to the Fourmost. In the 1990s, a <mask> compilation album included his version, as well as some recording studio banter on which Lennon's voice could be heard). The Dakotas enjoyed Top 20 success in 1963 on their own with the Mike Maxfield composition "The Cruel Sea", an instrumental retitled "The Cruel Surf" in the US, which was subsequently covered by The Ventures. This was followed by a George Martin creation, "Magic Carpet", in which an echo-laden piano played the melody alongside Maxfield's

masks: Kramer Kramer Kramer


title: Billy J. Kramer

texts:
 guitar. But it missed out altogether, and it was a year before their next release. All four tracks appeared on an EP later that year.The three hits penned by Lennon and McCartney suggested that <mask> would always remain in the Beatles' shadow, unless he tried something different. Despite being advised against it, he turned down the offer of another Lennon/McCartney song, "One and One Is Two", and insisted on recording the Stateside chart hit "Little Children". It became his second chart topper and biggest hit. In the United States, "Little Children" was backed with "Bad to Me". This was the only debut single of an act on the Hot 100, each of whose sides separately reached that chart's The Top 10 (No. 7 and No. 9, respectively)."From a Window", a Lennon/McCartney composition, was his second and last UK single of 1964, and became a Top Ten hit. After the peak
The year 1965 saw the end for the beat music boom, and the next <mask> single was "It's Gotta Last Forever", which harked back to a ballad approach. In a year where mod-related music from the likes of the Who prevailed, the single missed completely. <mask>'s cover version of Bacharach and David's "Trains and Boats and Planes" saw off Anita Harris' version in the UK, reaching a respectable number 12, but was trounced by that of Dionne Warwick in the US, and turned out to be the group's swansong, as all subsequent releases failed to chart. The Dakotas' ranks were then strengthened by the inclusion of Mick Green, formerly a guitarist with the London band the Pirates who backed <mask>d. This line-up cut a few tracks which were at odds with the balladeer's

masks:
Kramer
Kramer
Kramer
Johnny Kid


title: Billy J. Kramer

texts:
 usual fare. These included a take on "When You Walk in the Room" and "Sneakin' Around".The Dakotas' final outing whilst with <mask> was the blues-driven "Oyeh! ", but this also flopped. Latterly

After releasing "We're Doing Fine", which also missed the charts, the singer and group parted company. <mask>, then lived in Rugby, Warwickshire, after marrying a local woman Ann Ginn there in 1968. He had a solo career over the next ten to fifteen years or so, working in cabaret and television with his new band, again from the Manchester area, consisting of Pete Heaton (bass), <mask> (drums) and Tim Randles (guitar) - this later saw changes with Bob Price now on bass, and Roger Bell on guitar. In the late 1970s, <mask> teamed up with Bedford musicians Mike Austin (bass), Max Milligan (guitar) and <mask> (percussion), and the one constant member throughout the changes in musicians at this time was his sound engineer Stewart Oakes, performing cabaret in the UK and Europe, whilst also recording "San Diego" and "Ships that Pass in the Night" – after which <mask> eventually went to live in the United States. The Dakotas re-formed in the late 1980s and recruited vocalist Eddie Mooney and session musician Toni Baker.They still tour and record. Other latter-day members are drummer Pete Hilton and guitarist Alan Clare. In 1983, <mask> released a solo single on the RAK label, "You Can't Live on Memories" / "Stood Up", which failed to chart. The following year, 1984, he released "Shootin' the Breeze" / "Doris Day Movie" on 'Mean Records'. Again, this failed to chart. In 2005, <mask> recorded the song "Cow Planet" for Dog

masks:
Kramer
Kramer
John Miller
Kramer
John Dillon
Kramer
Kramer
Kramer


title: Billy J. Kramer

texts:
 Train, the children's album by Sandra Boynton. A long-term fan of <mask>, Boynton had sought him out for her project: in 1964, at the age of 11, Little Children became the first album she ever bought.In late 2012, <mask> went back into the studio for the first time in years to record a new CD, I Won the Fight, which was released in 2013. The CD features some new songs written by <mask>, as well as some covers. In 2013, <mask> provided the introduction to the graphic novel The Fifth Beatle by Vivek Tiwary. The book was released in November and spent several weeks on the New York Times best-seller list, reaching No. 1 in its third week of release. He also released a new album, entitled I Won the Fight. In 2015, <mask> was part of the British Invasion 50th Anniversary tour, performing in the US and the UK.The following year saw the publication of his autobiography Do You Want to Know A Secret, co-written with Alyn Shipton. Discography

Singles

Albums
 Listen ... (1963, UK)
 Little Children (1964, US)
 I'll Keep You Satisfied (1964, US)
 Trains and Boats and Planes (1965, US)
 Billy Boy (1966, UK)
 I Won the Fight (2013, US)

Collections
 The EP collection (1995, UK)

Notes

References

External links
 <mask><mask> official website
 The Dakotas official website
 <mask> <mask> Interview 2013
  Discography
 <mask><mask> Interview NAMM Oral History Library (2017)

1943 births
Living people
English pop singers
English male singers
English expatriates in the United States
People from Bootle
Parlophone artists
Imperial Records artists
Liberty Records artists
British Rail people
Beat musicians
The Dakotas (band)

masks:
Kramer
Kramer
Kramer
Kramer
Kramer
Billy J
. Kramer
Billy J
Kramer
Billy J
. Kramer


title: Glenn Roberts (basketball)

texts:
<mask> (October 25, 1912 – May 21, 1980) was an American National Basketball League player. In college basketball, <mask> was one of the first players to put the "jump shot" to practical use. Overview
<mask>' Pound, Virginia high school did not field a basketball team his first two high school years. <mask>’ team won the state championship his junior and senior years (1930 & 31). The team record for 1930 was 28 wins and 2 losses with 1931 being 35 wins and 0 losses. <mask> was designated captain of the All-State team both years. <mask> played varsity ball 4 years (1931–35) at Emory & Henry College scoring 2,013 points in 104 games for a per game average of 19.4 points in an era when team scores were seldom over 30 or 35 points per game.His scoring was a new record for that time and still stands for play prior to the 1937 revision of the center-jump rule which called for walking the ball back to the center-line after every basket made and with the clock still running. (It's been estimated that this used up 8 to 10 minutes per game.) <mask> scored 1,531 points against college opposition in 80 games and 482 points against pro and semi-pro teams in 24 games. Emory and Henry's overall team record was 90 wins and 14 losses. His scoring total and per-game average was featured in Ripleys’ "Believe it or Not" in 1936. One significant reason for <mask>’ prolific scoring was his use of a jump-shot. Historian and writer Stephen Fox, in his book “Big Leagues,” contends, after exhaustive research, that <mask> was the very first college player to utilize a jump-shot to such a scoring advantage.It was an offensive weapon the opposition had never seen before. In the 1930s there did not exist the well defined college

masks:
Glenn Roberts
Roberts
Glenn Roberts
Roberts
Roberts
Roberts
Roberts
Glenn Roberts
Glenn Roberts


title: Glenn Roberts (basketball)

texts: conferences as today. Consequently, smaller schools like Emory & Henry were as likely to play the largest of schools as well as the smaller ones. Emory & Henry regularly played the University of Richmond, Virginia Tech, University of Tennessee, William & Mary, East Tennessee State, George Washington, University of Virginia etc. A game against the much larger University of Richmond Spiders is significant. The only team to have an undefeated season, in the history of Virginia college basketball, was the 1934-35 Richmond team. Richmond's late coach, Malcolm (Mac) Pitt, in a letter to the Naismith Memorial Basketball Hall of Fame, describes how Richmond, in its final game of the season, narrowly edged Emory and Henry with their defensive efforts being focused primarily on <mask>.Richmond defeated Emory and Henry, IN OVERTIME, on Richmond's home court in an era when officiating was far less than the high caliber profession it is today. The "home court" was generally considered a 4 or 5 point advantage for the home team. Upon graduating, <mask> received many professional offers from National Basketball League (NBL) and other professional teams, but opted for coaching basketball at Norton High in Norton, Virginia. He turned the program around and won the district championship in the two years he coached – 1936 and 1937 seasons. He was induced by the Firestone Non-Skids of the NBL to play for the 1938-39 season. The Firestone team had four All-Americans including <mask> – Art Bonniwell of Dartmouth and John Moir and Paul Nowak, both from Notre Dame. Firestone won the NBL Eastern Division championship with a 24 and 3 season record.They then won the NBL Championship by beating the Western Division champions (Oshkosh

masks:
Roberts
Glenn Roberts
Glenn Roberts


title: Glenn Roberts (basketball)

texts: All-Stars) in a best of 5 series. Their .875 winning percentage for the regular season is the highest winning percentage in the history of the NBL and the NBA (National Basketball Association). Ironically, the standout player on the team was a non-collegian, "Soup" Cable, a local Akronite, who averaged 10 points with the other scoring being fairly evenly distributed in the 3 to 6 point range. <mask> played little basketball in the two years after college, yet was able to make a significant contribution to the Firestone teams’ outstanding season. <mask>, knowing that basketball wasn't going to be his life's career, took advantage of a job opportunity with Firestone after the one spectacular season. <mask> and his six brothers (five of whom were Virginia high school all-state) fielded a team and dominated the Northeast Ohio industrial leagues during the early 1940s. <mask> and his brothers took a leave of absence from Firestone in January 1945 to sell war-bonds by barnstorming Virginia, Kentucky, Tennessee, North Carolina and West Virginia where <mask>' name was still legend.Their opposition was colleges, pro and semi-pro teams. (On March 10, 1945, $50,000.00 was raised in a victory over Milligan College.) Five of the seven brothers were exempted from military service during the World War II years because their Firestone jobs were critical to the war effort. The other two did a tour of duty in the navy and army respectively. Play with his brothers in the mid-1940s was the end of <mask>’ involvement with basketball with the exception of two years in the 1960s. He coached Clinch Valley College of the University of Virginia for two seasons – 1964 through 1966. The team record for the season prior to his arrival

masks:
Glen Roberts
Roberts
Glenn Roberts
Roberts
Glenn Roberts
Glenn Roberts


title: Glenn Roberts (basketball)

texts:
 was 2 wins and 19 losses.<mask>’ record was 14 wins and 6 losses each of the two years he coached. Until <mask>’ college coaching debut the school had never known a winning season. Jump shot
 Basketball writers and historians have debated where, when and from whom the jump shot came. The consensus conclusion is that no one knows for sure. The first basketball "jump" shot could have been executed in 1918, or any year, by any John Doe in Any Town, U.S.A. The more important consideration is, who was the first in organized basketball to put to use a "jump" style shot with the end result being “increased scoring” for that individual, assuming it was an asset to the team? In college basketball, the undisputed first player(s) to put a jump shot to practical use, were <mask> of Emory and Henry College and John M Cooper of the University of Missouri.Again, noted historian and writer, Stephen Fox, in his 1994 book, “Big Leagues,” shows that <mask> and Cooper both used a jumper simultaneously in time (early 1930s) and yet totally independent of each other. Both shot a two handed jumper. The greatest difference between the two was their scoring averages. While Cooper's 11 plus point average was considered great in that era of low scoring games, it paled in comparison to <mask>’ 19 plus average. <mask>’ high school did not have an indoor gym and therefore had to practice on an outdoor dirt court. Often when the ground was too muddy for dribbling, the players would just pass to each other and shoot when someone was open. <mask>, even when guarded closely, started jumping in the air, with ball in hand, and released the ball at the apex of his jump.It wasn't until a decade or so later that the "jump shot" started to

masks:
Roberts
Roberts
Glenn Roberts
Roberts
Roberts
Roberts
Roberts


title: Glenn Roberts (basketball)

texts:
 become more widely used. Four players to be credited with popularizing the jumper in the mid-to-late 1940s were Bud Palmer, Belus Smawley, Kenny Sailors and Joe Fulks. Basketball observations
 <mask>' high school and college scoring was considered by many nothing short of spectacular. Compared to today, record keeping in the 1930s was very lacking and it is therefore impossible to give an accurate accounting of his high school scoring totals. Testimony from former high school teammates, via letters submitted to the Naismith Memorial Basketball Hall of Fame, indicate that <mask>’ high school scoring was well in excess of a 20-point average. Many considered his college scoring as truly “unbelievable” as Ripleys’ "Believe it or Not" feature indicated. His 2,013 point total stood unmatched until 1949 when Loyola's Steve Lacey exceeded 2,000 points.The closest that any college player, prior to 1935, had come to <mask>’ 19 plus per game average was “Hall of Fame” great and 1930 Montana State graduate, John "Cat" Thompson, with a 15 plus per game average. Nineteen of the 100 games Thompson's team played during his four years was against non-college opponents, with Montana State averaging 77 points per game and winning each game. (Example: Montana State beat Havre All-Stars 110 to 10). It is therefore obvious that Thompson averaged significantly less than 15 points against bona-fide college teams. <mask>' and Hank Luisetti's records

In 1938, newspapers throughout the South announced that Stanford's great “Hall of Famer," Hank Luisetti, voted 2nd greatest player of the first half century, had broken <mask>’ scoring record. They stated that Luisetti had scored 1,596 points in four years as opposed to <mask>’ 1,531

masks:
Glenn Roberts
Roberts
Glenn Roberts
Glenn Roberts
Glenn Roberts
Roberts


title: Glenn Roberts (basketball)

texts: points. What was overlooked by the press was the fact that 305 of Luisetti's points were scored in 15 games as a freshman against college freshmen and high school teams.It was also in his freshman year that Luisetti attained his highest average (20.3) of any of his four years at Stanford. Also, Hank Luisetti played in 95 games (compared to <mask>' 80 games) in accumulating his 1,596 points for an overall per game average of 16.8 points. In a letter dated April 27, 1979 and addressed to Carroll Tate of the "Coalfied Progress," Stanford University's “Sports Information Director,” Bob Rose, confirms that Luisetti's scoring total was 1,291 points in 80 games for a 16.1 per game average (sophomore, junior and senior years). <mask> played all 80 games against varsity college competition, including 18 games as a freshman. During his freshman year, <mask> scored 292 points for an average of 16.2 points per game. Note the following comparison chart summarizing <mask>’ and Luisetti's college statistics for games played against college teams. There are several glaring similarities between <mask>’ and Luisetti's basketball careers.First, both used a revolutionary new shot that accounted for each players’ accelerated scoring – <mask> with a two-handed jump shot and Luisetti with a one-handed running shot. Secondly, the team records for Emory and Henry and Stanford were 68-12 during <mask>’ and Luisetti's 80 varsity games played against other colleges and universities. Thirdly, <mask> and Luisetti each scored fifty points in a game – <mask> against the "House of David," a non-college team. (<mask> scored 38 points in a college game against Union College of Kentucky Luisetti's 50 point performance was against Duquesne

masks:
Roberts
Glenn Roberts
Roberts
Roberts
Roberts
Roberts
Roberts
Roberts
Roberts
Roberts