Dalloway (1925) and To the Lighthouse (1927), successfully follow the latter approach. Dalloway in postwar London; it achieves its vision of reality through the reception by Mrs.
Dalloway's mind of what Virginia Woolf called those "myriad impressions—trivial, fantastic, evanescent [vanishing], or engraved with the sharpness of steel." To the Lighthouse is, in a sense, a family portrait and history rendered in subjective (characterized by personal views) depth through selected points in time.
Roger Fry's theory of art may have influenced Virginia's technique as a novelist.
Broadly speaking, the Bloomsbury group drew from the philosophic interests of its members (who had been educated at Cambridge) the values of love and beauty as essential to life.
We may reclaim is a letter with multiple dueling addressees, addressed not only to Woolf’s “common reader” but lovingly to Vita (the lesbian lover), mockingly to the censor (intent on banning lesbian love), and polemically to straight, gay, and lesbian readers — and the tension between the addressees provides much of the wit, delight, and power of the novel.s release, Virginia was eager to testify in Hall’s defense and signed a petition — decades before Facebook had rendered those moot exercises in personal guilt-alleviation — on the deadly effects of censorship for writers.
Her most powerful stance against censorship, however, was Woolf’s lesbian signatures, messages, and strategies were shaped by the brooding presence of the censor, for no lesbian writer in 1928 was immune from the perils of censorship. She lampoons the censors and censorship trials in her outrageous mock masque trial and sex change at the centerpiece of plays with possible realities and challenges social impossibilities in a way that science fiction so frequently and so deftly does, rendering Woolf’s novel an unsung masterpiece of the genre.
The English novelist, critic, and essayist Virginia Woolf ranks as one of England's most distinguished writers of the middle part of the twentieth century.
Her novels can perhaps best be described as impressionistic, a literary style which attempts to inspire impressions rather than recreating reality.
The complex and witty lesbian text plays an elaborate game of hide and seek with the reader and the censor, teasing with taunts: “What can we suppose the women do when they seek out each other in society?
” More than anything, Hankins argues, the novel mocks “compulsory heterosexuality” and challenges homophobia in an age decades before common society would come to accept same-sex love and nearly a century before the law would.