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Genius and Ink: Virginia Woolf on How to…
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Genius and Ink: Virginia Woolf on How to Read (edició 2019)

de Virginia Woolf (Autor)

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973277,725 (3.92)1
FOREWORD BY ALI SMITH WITH AN INTRODUCTION BY FRANCESCA WADE Who better to serve as a guide to great books and their authors than Virginia Woolf? In the early years of its existence, the Times Literary Supplement published some of the finest writers in English: T. S. Eliot, Henry James and E. M. Forster among them. But one of the paper's defining voices was Virginia Woolf, who produced a string of superb essays between the two World Wars. The weirdness of Elizabethan plays, the pleasure of revisiting favourite novels, the supreme examples of Charlotte Brontë, George Eliot and Henry James, Thomas Hardy and Joseph Conrad: all are here, in anonymously published pieces, in which may be glimpsed the thinking behind Woolf's works of fiction and the enquiring, feminist spirit of A Room of One's Own. Here is Woolf the critical essayist, offering, at one moment, a playful hypothesis and, at another, a judgement laid down with the authority of a twentieth-century Dr Johnson. Here is Woolf working out precisely what's great about Hardy, and how Elizabeth Barrett Browning made books a "substitute for living" because she was "forbidden to scamper on the grass". Above all, here is Virginia Woolf the reader, whose enthusiasm for great literature remains palpable and inspirational today.… (més)
Membre:nicoelston
Títol:Genius and Ink: Virginia Woolf on How to Read
Autors:Virginia Woolf (Autor)
Informació:TLS Books (2019), Edition: Illustrated, 256 pages
Col·leccions:La teva biblioteca, BIB Eng
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Genius and Ink: Virginia Woolf on How to Read de Virginia Woolf

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Makes me want to read more of her criticism ( )
  KittyCatrinCat | Aug 29, 2021 |
This attractive volume collects fourteen of the unsigned reviews Virginia Woolf wrote for the Times Literary Supplement. Although she complained of paltry pay and deadline pressure, this gig was important for her development as a writer. She had grown up in an intellectual household, but was acutely aware that her brothers went up to Cambridge while she and her sister were kept home. She had the run of the father’s library, though, and became convinced that her perceptions and reactions to what she read were the equal of anyone with a formal education. But having those views sought out by an editor, printed, and remunerated, was the external confirmation she needed.
Soon, her confidence as a reader was joined by ambition to be a writer. To receive a book at the beginning of the week and produce 1500 words before the week was out was a good discipline.
When I read (and reread) Woolf’s novels, I often feel on shaking ground, as if I’m not quite getting them. But her review essays are accessible and beautifully-written. They display a lively, penetrating intelligence applied to the act of reading. Her appreciations of Conrad and Hardy, for instance, published on the death of each, are finely balanced in their praise and criticism. The essay on Elizabethan drama had me laughing out loud.
Her essay on Montaigne, viewed side by side with that on Hardy, make me marvel at the human mind and its capacity of produce imaginative literature. We not only perceive the world around us but, like Hardy, we can propose a world—his Wessex is not exactly Dorset—and make it seem real to us. Or someone like Montaigne can use the same faculty to explore itself, the human mind at work.
I bought this book on an impulse, momentarily suppressing the thought that that I undoubtedly had most, if not all of these essays in the collections already on my shelf. But I was far away from home and added it to my stack of purchases. I’m glad I did—it was a wonderful traveling companion; small enough to fit easily in my small backpack and be taken out at the airport or inflight to enjoy one or two of the essays, then read the rest in the evenings after arriving back home, waiting for sleep to creep up on me. ( )
  HenrySt123 | Aug 12, 2021 |
The greatest hits of the Common Reader I and II. This is a collection of previously published works and makes for a good introduction to Woolf and her thoughts. ( )
  evil_cyclist | Mar 16, 2020 |
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Nom de l'autorCàrrecTipus d'autorObra?Estat
Virginia Woolfautor primaritotes les edicionscalculat
Ali SmithPròlegautor secundaritotes les edicionsconfirmat
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She had no interest in respectable hagiography or regurgetation of received opinion: for Woolf, a book's iterst lay in the feeling stirred in its reader which would inevitably - crucially - be entirely personal and subjective. (Francesca Wade - p. 13)
Books, Woolf insisted, come alive on enountering a reader, and change with them. Our impression of the same book across a lifetime,she wrote, could form our own autobiography: art can only survive if new generations discover it afresh and find new plleasure in it. (Francesca Wade - p. 21)
Charlotte Brontë: If we collect a few of our impressions today, it is not with any hope of assigning her to her final position or of drawing her portrait afresh, we offer merely our little hoard of observations, which other readers may like to set, for a moment, beside their own. (p. 29)
Hours in the Library: Let us begin by clearing up the old confusion between the man who loves learning and the man who loves reading, and point out that there is no connexion whatever between the two. (p. 37)
George Eliot: ... gathers in her large grasp a great bunch of the main elements of human nature and groups them losely together with a tolerant and wholesome understanding which, as one finds upon re-reading, has not only kept her figures fresh and free but has given them an unexpected hold upon our laughter and tears. (p. 57)
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FOREWORD BY ALI SMITH WITH AN INTRODUCTION BY FRANCESCA WADE Who better to serve as a guide to great books and their authors than Virginia Woolf? In the early years of its existence, the Times Literary Supplement published some of the finest writers in English: T. S. Eliot, Henry James and E. M. Forster among them. But one of the paper's defining voices was Virginia Woolf, who produced a string of superb essays between the two World Wars. The weirdness of Elizabethan plays, the pleasure of revisiting favourite novels, the supreme examples of Charlotte Brontë, George Eliot and Henry James, Thomas Hardy and Joseph Conrad: all are here, in anonymously published pieces, in which may be glimpsed the thinking behind Woolf's works of fiction and the enquiring, feminist spirit of A Room of One's Own. Here is Woolf the critical essayist, offering, at one moment, a playful hypothesis and, at another, a judgement laid down with the authority of a twentieth-century Dr Johnson. Here is Woolf working out precisely what's great about Hardy, and how Elizabeth Barrett Browning made books a "substitute for living" because she was "forbidden to scamper on the grass". Above all, here is Virginia Woolf the reader, whose enthusiasm for great literature remains palpable and inspirational today.

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