Helen Southworth
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748642274
- eISBN:
- 9780748651979
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748642274.003.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This introductory chapter discusses the Hogarth Press, the publishing company owned by Leonard and Virginia Woolf, first examining the birth and evolution of the Hogarth Press along with a number of ...
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This introductory chapter discusses the Hogarth Press, the publishing company owned by Leonard and Virginia Woolf, first examining the birth and evolution of the Hogarth Press along with a number of other presses of the early twentieth century. It identifies 1922 as the turning point of the future of the Press and explains the rationale behind a focus on the outputs and the network of relationships surrounding the Press. The chapter then places the current study in terms of work conducted in the field of modernist publishing, specifically in terms of the modernist periodical, and finally discusses a network approach that can be used to study the modernist or small press.Less
This introductory chapter discusses the Hogarth Press, the publishing company owned by Leonard and Virginia Woolf, first examining the birth and evolution of the Hogarth Press along with a number of other presses of the early twentieth century. It identifies 1922 as the turning point of the future of the Press and explains the rationale behind a focus on the outputs and the network of relationships surrounding the Press. The chapter then places the current study in terms of work conducted in the field of modernist publishing, specifically in terms of the modernist periodical, and finally discusses a network approach that can be used to study the modernist or small press.
Lise Jaillant
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781474417242
- eISBN:
- 9781474434560
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474417242.003.0006
- Subject:
- Literature, 20th-century Literature and Modernism
In her letter on the Middlebrow collected in The Death of the Moth, Virginia Woolf wrote: “I dislike bound volumes of the classics behind plate glass.” Despite her proclaimed mistrust of the ...
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In her letter on the Middlebrow collected in The Death of the Moth, Virginia Woolf wrote: “I dislike bound volumes of the classics behind plate glass.” Despite her proclaimed mistrust of the “middlebrow” sphere, Woolf was aware that cheap series of reprints could widen her readership and consolidate her literary reputation. In 1928, she wrote the introduction to Laurence Sterne’s Sentimental Journey for the Oxford World’s Classics edition (as explained in Chapter 1). And in 1929, the Hogarth Press started publishing Uniform Editions of her work. As J. H. Willis has argued, “to put a living novelist’s works into a standard edition is to make a claim for the permanence and importance of the writer’s work, to establish a canon, to suggest the classic.” This chapter, based on extensive research in the Hogarth Press archive, argues that the Uniform Editions published by the Hogarth Press achieved at least three things: (1) they reached a wide audience of common readers in Britain; (2) they encouraged Harcourt Brace to issue a similar edition in the United States; and (3) they presented Woolf as a canonical writer whose work deserved to be “collected.” In short, thanks to the Uniform Editions, Woolf’s texts became “classics behind plate glass.”Less
In her letter on the Middlebrow collected in The Death of the Moth, Virginia Woolf wrote: “I dislike bound volumes of the classics behind plate glass.” Despite her proclaimed mistrust of the “middlebrow” sphere, Woolf was aware that cheap series of reprints could widen her readership and consolidate her literary reputation. In 1928, she wrote the introduction to Laurence Sterne’s Sentimental Journey for the Oxford World’s Classics edition (as explained in Chapter 1). And in 1929, the Hogarth Press started publishing Uniform Editions of her work. As J. H. Willis has argued, “to put a living novelist’s works into a standard edition is to make a claim for the permanence and importance of the writer’s work, to establish a canon, to suggest the classic.” This chapter, based on extensive research in the Hogarth Press archive, argues that the Uniform Editions published by the Hogarth Press achieved at least three things: (1) they reached a wide audience of common readers in Britain; (2) they encouraged Harcourt Brace to issue a similar edition in the United States; and (3) they presented Woolf as a canonical writer whose work deserved to be “collected.” In short, thanks to the Uniform Editions, Woolf’s texts became “classics behind plate glass.”
Helen Southworth
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748642274
- eISBN:
- 9780748651979
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748642274.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Combining literary criticism, book history, biography and sociology, this book weaves together the stories of the lesser known authors, artists and press workers with the canonical names linked to ...
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Combining literary criticism, book history, biography and sociology, this book weaves together the stories of the lesser known authors, artists and press workers with the canonical names linked to the Hogarth Press. Using previously unpublished archived material, it presents case studies on West Indian writer C.L.R. James, Welsh poet Huw Menai, child poet Joan Easdale and American artist E. McKnight Kauffer; and studies the topics of imperialism, the middlebrow, religion, translation, the marketplace and poetry, which dominated the era of their work.Less
Combining literary criticism, book history, biography and sociology, this book weaves together the stories of the lesser known authors, artists and press workers with the canonical names linked to the Hogarth Press. Using previously unpublished archived material, it presents case studies on West Indian writer C.L.R. James, Welsh poet Huw Menai, child poet Joan Easdale and American artist E. McKnight Kauffer; and studies the topics of imperialism, the middlebrow, religion, translation, the marketplace and poetry, which dominated the era of their work.
Leslie Kathleen Hankins
- Published in print:
- 2014
- Published Online:
- January 2016
- ISBN:
- 9780989082679
- eISBN:
- 9781781382196
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780989082679.003.0026
- Subject:
- Literature, 20th-century Literature and Modernism
In the first two decades of the twentieth century, the amateur little press and periodical scene was enthusiastic, seductive, and—for the most part—ephemeral. Into this vibrant scene entered Virginia ...
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In the first two decades of the twentieth century, the amateur little press and periodical scene was enthusiastic, seductive, and—for the most part—ephemeral. Into this vibrant scene entered Virginia Woolf and Katherine Mansfield, along with their partners, Leonard Woolf and John Middleton Murry. This chapter considers why these two couples, four writers, were drawn into letterpress printing at this point in time. It shows that private presses were urged into being not only by the pleasures of printing, but by the frets of censorship and the distaste for the tyranny of publishers and editors; Woolf and Mansfield wanted to write freely without the pressures of external editing. In other—a quite complicated—ways, the Woolfs' Hogarth Press was an impetus to the Mansfield/Murry Heron Press, as an example and as, in ways, a censor.Less
In the first two decades of the twentieth century, the amateur little press and periodical scene was enthusiastic, seductive, and—for the most part—ephemeral. Into this vibrant scene entered Virginia Woolf and Katherine Mansfield, along with their partners, Leonard Woolf and John Middleton Murry. This chapter considers why these two couples, four writers, were drawn into letterpress printing at this point in time. It shows that private presses were urged into being not only by the pleasures of printing, but by the frets of censorship and the distaste for the tyranny of publishers and editors; Woolf and Mansfield wanted to write freely without the pressures of external editing. In other—a quite complicated—ways, the Woolfs' Hogarth Press was an impetus to the Mansfield/Murry Heron Press, as an example and as, in ways, a censor.
Adam Barrows
- Published in print:
- 2013
- Published Online:
- January 2016
- ISBN:
- 9780989082624
- eISBN:
- 9781781384961
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780989082624.003.0030
- Subject:
- Literature, Poetry
This chapter examines Hogarth Press's catalog in relation to British conceptualizations of the “East.” Leonard and Virginia Woolf's Hogarth Press, beginning to establish its credentials as a ...
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This chapter examines Hogarth Press's catalog in relation to British conceptualizations of the “East.” Leonard and Virginia Woolf's Hogarth Press, beginning to establish its credentials as a dedicated forum for anti-colonial writing in the 1920s, contributed meaningfully to Britain's “Eastern” discourse in ways that shed interesting light on issues of cultural and racial identity in Virginia's fiction. Scholars like Laura Marcus, Kathy J. Philips, and Ursula McTaggart have insisted on the interaction of Virginia Woolf's aesthetics with the political discourse so manifest in the Hogarth catalog. The rest of the chapter contextualizes the limitations of Hogarth's anti-colonial publications and uses Clarissa Dalloway's confusion between “Turks” and “Armenians” in Mrs. Dalloway to highlight Virginia Woolf's skepticism of political models that, while benign, would muddle the ruling class's political certainties and force it to see itself as Other.Less
This chapter examines Hogarth Press's catalog in relation to British conceptualizations of the “East.” Leonard and Virginia Woolf's Hogarth Press, beginning to establish its credentials as a dedicated forum for anti-colonial writing in the 1920s, contributed meaningfully to Britain's “Eastern” discourse in ways that shed interesting light on issues of cultural and racial identity in Virginia's fiction. Scholars like Laura Marcus, Kathy J. Philips, and Ursula McTaggart have insisted on the interaction of Virginia Woolf's aesthetics with the political discourse so manifest in the Hogarth catalog. The rest of the chapter contextualizes the limitations of Hogarth's anti-colonial publications and uses Clarissa Dalloway's confusion between “Turks” and “Armenians” in Mrs. Dalloway to highlight Virginia Woolf's skepticism of political models that, while benign, would muddle the ruling class's political certainties and force it to see itself as Other.
Elizabeth Willson Gordon
- Published in print:
- 2013
- Published Online:
- January 2016
- ISBN:
- 9780989082624
- eISBN:
- 9781781384961
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780989082624.003.0033
- Subject:
- Literature, Poetry
This chapter offers a nostalgic invocation of Virginia Woolf's biography and image in the re-launching of Hogarth Press through the “Definitive Collected Edition” of her novels. The year 1988 is one ...
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This chapter offers a nostalgic invocation of Virginia Woolf's biography and image in the re-launching of Hogarth Press through the “Definitive Collected Edition” of her novels. The year 1988 is one of the key moments in marketing and publishing Woolf because of copyright, academic trends, and changes at the Hogarth Press itself. The rest of the chapter examines the finished product of the definitive collected edition, from the hotly debated cover design and the introductions by Quentin Bell and Angelica Garnett, to the annotations, or lack thereof, and promotion. It also discusses the fascinating vicissitudes of publication and the meaning of Woolf herself at the turn of the decade.Less
This chapter offers a nostalgic invocation of Virginia Woolf's biography and image in the re-launching of Hogarth Press through the “Definitive Collected Edition” of her novels. The year 1988 is one of the key moments in marketing and publishing Woolf because of copyright, academic trends, and changes at the Hogarth Press itself. The rest of the chapter examines the finished product of the definitive collected edition, from the hotly debated cover design and the introductions by Quentin Bell and Angelica Garnett, to the annotations, or lack thereof, and promotion. It also discusses the fascinating vicissitudes of publication and the meaning of Woolf herself at the turn of the decade.
Claire Battershill
- Published in print:
- 2013
- Published Online:
- January 2016
- ISBN:
- 9780989082624
- eISBN:
- 9781781384961
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780989082624.003.0031
- Subject:
- Literature, Poetry
This chapter examines resistance to clearcut boundaries as the challenge for Leonard Woolf in terms of marketing Virginia Woolf's Orlando, as well as a moment at which the Hogarth Press's imaginative ...
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This chapter examines resistance to clearcut boundaries as the challenge for Leonard Woolf in terms of marketing Virginia Woolf's Orlando, as well as a moment at which the Hogarth Press's imaginative engagement with the generic business of bookselling becomes evident. In his 1928 essay, “Imaginative Biography,” Leonard Woolf quotes Egerton Brydges, a nineteenth-century man of letters who defines the genre as follows: “By Imaginative Biography, I mean an Imaginary Superstructure on the known facts of the Biography of eminent characters.” Woolf transports his own exploration of literary genre to the realm of the book trade, which is always informed by practical concerns. Woolf's remarks on imaginative biography have particular relevance to Orlando. The chapter then considers the confusion Orlando caused among readers and booksellers, along with Virginia Woolf's concern about the book's reception.Less
This chapter examines resistance to clearcut boundaries as the challenge for Leonard Woolf in terms of marketing Virginia Woolf's Orlando, as well as a moment at which the Hogarth Press's imaginative engagement with the generic business of bookselling becomes evident. In his 1928 essay, “Imaginative Biography,” Leonard Woolf quotes Egerton Brydges, a nineteenth-century man of letters who defines the genre as follows: “By Imaginative Biography, I mean an Imaginary Superstructure on the known facts of the Biography of eminent characters.” Woolf transports his own exploration of literary genre to the realm of the book trade, which is always informed by practical concerns. Woolf's remarks on imaginative biography have particular relevance to Orlando. The chapter then considers the confusion Orlando caused among readers and booksellers, along with Virginia Woolf's concern about the book's reception.
Vike Martina Plock
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781474427418
- eISBN:
- 9781474434607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474427418.003.0006
- Subject:
- Literature, 20th-century Literature and Modernism
In foregrounding fashion’s involvement with nationalist and corporatist political movements, this chapter on Virginia Woolf focuses on her 1930s writing—especially The Years (1937) and Three Guineas ...
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In foregrounding fashion’s involvement with nationalist and corporatist political movements, this chapter on Virginia Woolf focuses on her 1930s writing—especially The Years (1937) and Three Guineas (1938), as well as related material in the Monks House Papers—to analyze Woolf’s engagement with fascist interventions in identity politics. In focusing on the depiction of women’s sartorial items in her writing, it shows how Woolf examines the relationship between the individual and the collective that fascist movements threatened to restructure by introducing increasingly uniform clothing. But while she revealed the dangers inherent in following regulations that aimed to standardize behavior and clothing, Woolf, this chapter shows, simultaneously embraced other forms of uniformity: her own rise to literary stardom in the 1930s, advanced by the Hogarth Press’ introduction of Uniform Editions of her work, provides a striking counterpoint to her critique of the standardized cultural productions of her time.Less
In foregrounding fashion’s involvement with nationalist and corporatist political movements, this chapter on Virginia Woolf focuses on her 1930s writing—especially The Years (1937) and Three Guineas (1938), as well as related material in the Monks House Papers—to analyze Woolf’s engagement with fascist interventions in identity politics. In focusing on the depiction of women’s sartorial items in her writing, it shows how Woolf examines the relationship between the individual and the collective that fascist movements threatened to restructure by introducing increasingly uniform clothing. But while she revealed the dangers inherent in following regulations that aimed to standardize behavior and clothing, Woolf, this chapter shows, simultaneously embraced other forms of uniformity: her own rise to literary stardom in the 1930s, advanced by the Hogarth Press’ introduction of Uniform Editions of her work, provides a striking counterpoint to her critique of the standardized cultural productions of her time.
Nicola Wilson, Elizabeth Willson Gordon, Alice Staveley, Helen Southworth, and Claire Battershill
- Published in print:
- 2014
- Published Online:
- January 2016
- ISBN:
- 9780989082679
- eISBN:
- 9781781382196
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780989082679.003.0027
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter discusses the Modernist Archives Publishing Project (MAPP). MAPP aims to use digital technology to create a “super collection” of books and publishing histories that empirically models ...
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This chapter discusses the Modernist Archives Publishing Project (MAPP). MAPP aims to use digital technology to create a “super collection” of books and publishing histories that empirically models theories in book history and literary sociology about the cultural production of texts in the twentieth and twenty-first centuries. The Hogarth Press offers an ideal pilot study to inaugurate MAPP. The Hogarth Press published over five hundred books during the Woolfs' stewardship up to 1946, and then another five hundred under the aegis first of Chatto & Windus (up to 1987) and then Random House (1987 to present). Digitizing, annotating, and reconfiguring the network relations amongst these diverse texts within the wider public sphere of modernist publishing is where MAPP aims to make a key intervention. The chapter positions The Hogarth Press as both case study and catalyst to a broader understanding of how publishing houses as creative and business enterprises shaped the modernist movement and the discourses of twentieth-century culture. The goal is to digitally reanimate the network history of publishing.Less
This chapter discusses the Modernist Archives Publishing Project (MAPP). MAPP aims to use digital technology to create a “super collection” of books and publishing histories that empirically models theories in book history and literary sociology about the cultural production of texts in the twentieth and twenty-first centuries. The Hogarth Press offers an ideal pilot study to inaugurate MAPP. The Hogarth Press published over five hundred books during the Woolfs' stewardship up to 1946, and then another five hundred under the aegis first of Chatto & Windus (up to 1987) and then Random House (1987 to present). Digitizing, annotating, and reconfiguring the network relations amongst these diverse texts within the wider public sphere of modernist publishing is where MAPP aims to make a key intervention. The chapter positions The Hogarth Press as both case study and catalyst to a broader understanding of how publishing houses as creative and business enterprises shaped the modernist movement and the discourses of twentieth-century culture. The goal is to digitally reanimate the network history of publishing.
Diane F. Gillespie
- Published in print:
- 2012
- Published Online:
- January 2016
- ISBN:
- 9780983533955
- eISBN:
- 9781781384930
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780983533955.003.0021
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter explores Virginia Woolf's contradictory approach to social behavior by bringing Three Guineas in dialogue with Viola Tree's Can I Help You?, published by Hogarth Press in 1937. Can I ...
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This chapter explores Virginia Woolf's contradictory approach to social behavior by bringing Three Guineas in dialogue with Viola Tree's Can I Help You?, published by Hogarth Press in 1937. Can I Help You? offers a parallel context for Woolf's challenges to conventional values and rules of etiquette, one that also affirms manners as an evolving art form helpful, at best, in fostering harmonious human relationships in lives well lived. Although Woolf's writing has a much broader intellectual scope, Tree's “personal, humorous touch” manages to undermine “hierarchical rituals.” The rest of this chapter discusses Woolf's take on vulgarity and Tree's response to two potential criticisms: that she is a snob and that she is no authority on manners.Less
This chapter explores Virginia Woolf's contradictory approach to social behavior by bringing Three Guineas in dialogue with Viola Tree's Can I Help You?, published by Hogarth Press in 1937. Can I Help You? offers a parallel context for Woolf's challenges to conventional values and rules of etiquette, one that also affirms manners as an evolving art form helpful, at best, in fostering harmonious human relationships in lives well lived. Although Woolf's writing has a much broader intellectual scope, Tree's “personal, humorous touch” manages to undermine “hierarchical rituals.” The rest of this chapter discusses Woolf's take on vulgarity and Tree's response to two potential criticisms: that she is a snob and that she is no authority on manners.
Aurelea Mahood
- Published in print:
- 2013
- Published Online:
- January 2016
- ISBN:
- 9780989082624
- eISBN:
- 9781781384961
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780989082624.003.0034
- Subject:
- Literature, Poetry
This chapter explores the question of marketing and the writer-run press by comparing Hogarth Press and McSweeney's, in terms of their constructions of cultural value, readership, and authorial ...
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This chapter explores the question of marketing and the writer-run press by comparing Hogarth Press and McSweeney's, in terms of their constructions of cultural value, readership, and authorial signature. Through an extended comparative analysis of the Hogarth Press and McSweeney's, the chapter highlights the afterlife of historical modernist values as embodied by the strategies that author-publishers have adopted both then and now; author-run presses as an expression of the writers' conceptualization of readers; and whether recent work on “reading class” versus “reading culture” can afford literary critics a supplementary means of understanding the ongoing significance of adopting modernist modes of presenting value and prescribing frameworks of expectations. It also considers the dual role of Virginia Woolf and Dave Eggers as authors and publishers.Less
This chapter explores the question of marketing and the writer-run press by comparing Hogarth Press and McSweeney's, in terms of their constructions of cultural value, readership, and authorial signature. Through an extended comparative analysis of the Hogarth Press and McSweeney's, the chapter highlights the afterlife of historical modernist values as embodied by the strategies that author-publishers have adopted both then and now; author-run presses as an expression of the writers' conceptualization of readers; and whether recent work on “reading class” versus “reading culture” can afford literary critics a supplementary means of understanding the ongoing significance of adopting modernist modes of presenting value and prescribing frameworks of expectations. It also considers the dual role of Virginia Woolf and Dave Eggers as authors and publishers.
Diane F. Gillespie
- Published in print:
- 2013
- Published Online:
- January 2016
- ISBN:
- 9780989082624
- eISBN:
- 9781781384961
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780989082624.003.0032
- Subject:
- Literature, Poetry
This chapter examines how the ritual of marriage is represented through the intersection of Leonard and Virginia Woolf's personal circle and three works published by Hogarth Press: Woolf's Orlando, ...
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This chapter examines how the ritual of marriage is represented through the intersection of Leonard and Virginia Woolf's personal circle and three works published by Hogarth Press: Woolf's Orlando, Julia Strachey's Cheerful Weather for the Wedding (1932), and Viola Tree's Can I Help You? (1937). “There goes the bride” implies an identity transformation—from unmarried to married. Yet, however idealized the rite of passage, the past remains ever-present, human tendencies to thwart perfection exist, and unpredictable realities of married life lie ahead. The rest of the chapter considers what brides and weddings have to do with the Hogarth Pres and what attracted Woolf, as fiction reader for Hogarth, to Strachey's story.Less
This chapter examines how the ritual of marriage is represented through the intersection of Leonard and Virginia Woolf's personal circle and three works published by Hogarth Press: Woolf's Orlando, Julia Strachey's Cheerful Weather for the Wedding (1932), and Viola Tree's Can I Help You? (1937). “There goes the bride” implies an identity transformation—from unmarried to married. Yet, however idealized the rite of passage, the past remains ever-present, human tendencies to thwart perfection exist, and unpredictable realities of married life lie ahead. The rest of the chapter considers what brides and weddings have to do with the Hogarth Pres and what attracted Woolf, as fiction reader for Hogarth, to Strachey's story.
Leslie Arthur
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781942954569
- eISBN:
- 9781789629392
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781942954569.003.0015
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter considers the treasures of the Hogarth Press available to collectors, including rare, limited edition books hand-printed by the Woolfs. It explores the intellectual pleasures of ...
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This chapter considers the treasures of the Hogarth Press available to collectors, including rare, limited edition books hand-printed by the Woolfs. It explores the intellectual pleasures of collecting objects and touches on the lives of Hogarth Press collectors.Less
This chapter considers the treasures of the Hogarth Press available to collectors, including rare, limited edition books hand-printed by the Woolfs. It explores the intellectual pleasures of collecting objects and touches on the lives of Hogarth Press collectors.
Alice Staveley
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474414609
- eISBN:
- 9781474444989
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474414609.003.0010
- Subject:
- Literature, 20th-century Literature and Modernism
In this chapter’s account of Woolf’s labour as a writer and publisher at the Hogarth Press, Alice Staveley connects the labour of mothers and writers, and the delivery of babies and books. Reading ...
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In this chapter’s account of Woolf’s labour as a writer and publisher at the Hogarth Press, Alice Staveley connects the labour of mothers and writers, and the delivery of babies and books. Reading the converging deliveries of Orlando’s poem ‘The Oak Tree’, her son, and the manuscript of Orlando, Staveley analyses Woolf’s invocation of her own 1919 short story ‘Kew Gardens’ in the novel’s final pages. Sounding the resonances of this story’s published forms, particularly the limited luxury edition issued in 1927, Staveley argues that the Kew Gardens scene turns the ‘narratological modernist motif of closure-as-return into a materialist tribute’.Less
In this chapter’s account of Woolf’s labour as a writer and publisher at the Hogarth Press, Alice Staveley connects the labour of mothers and writers, and the delivery of babies and books. Reading the converging deliveries of Orlando’s poem ‘The Oak Tree’, her son, and the manuscript of Orlando, Staveley analyses Woolf’s invocation of her own 1919 short story ‘Kew Gardens’ in the novel’s final pages. Sounding the resonances of this story’s published forms, particularly the limited luxury edition issued in 1927, Staveley argues that the Kew Gardens scene turns the ‘narratological modernist motif of closure-as-return into a materialist tribute’.
Fred Leventhal and Peter Stansky
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780198814146
- eISBN:
- 9780191851797
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198814146.003.0004
- Subject:
- Religion, Religion and Society
When Leonard returned from Ceylon after seven years on home leave, his growing doubts about a career in the civil service, and his falling in love with Virginia Stephen, led him to resign. For the ...
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When Leonard returned from Ceylon after seven years on home leave, his growing doubts about a career in the civil service, and his falling in love with Virginia Stephen, led him to resign. For the rest of his life he would be a central member of the Bloomsbury Group and deeply involved in its cultural and literary activities. On his marriage in 1912, he devoted himself to enabling his wife to become an extremely important writer and to being the custodian of her work after her suicide in 1941. Together they founded the small but highly successful publishing house, the Hogarth Press. Through his innumerable reviews he was a major literary figure, but he abandoned fiction after his second novel, The Wise Virgins. After Virginia’s death, his life was enriched through the companionship of Trekkie Parsons. Also in his last decade he wrote five superb short volumes of autobiography.Less
When Leonard returned from Ceylon after seven years on home leave, his growing doubts about a career in the civil service, and his falling in love with Virginia Stephen, led him to resign. For the rest of his life he would be a central member of the Bloomsbury Group and deeply involved in its cultural and literary activities. On his marriage in 1912, he devoted himself to enabling his wife to become an extremely important writer and to being the custodian of her work after her suicide in 1941. Together they founded the small but highly successful publishing house, the Hogarth Press. Through his innumerable reviews he was a major literary figure, but he abandoned fiction after his second novel, The Wise Virgins. After Virginia’s death, his life was enriched through the companionship of Trekkie Parsons. Also in his last decade he wrote five superb short volumes of autobiography.
Diane F. Gillespie
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781942954088
- eISBN:
- 9781786944122
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781942954088.003.0024
- Subject:
- Literature, 20th-century and Contemporary Literature
In 1939, Virginia Woolf was distracted by writing projects, relocation of living and publishing quarters in London, and another impending world war. Yet she typed on behalf of the Hogarth Press a ...
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In 1939, Virginia Woolf was distracted by writing projects, relocation of living and publishing quarters in London, and another impending world war. Yet she typed on behalf of the Hogarth Press a delayed rejection letter, previously unknown and unpublished, to aspiring novelist Anne Northgrave Tibble. The advice in Woolf’s letter reveals her own definition of the novel. Tibble’s forgotten voice, in her one published novel from this period, challenges, as does Woolf, war and class hierarchies, but from a different perspective. Red-brick-educated, Tibble never forgot her rural roots in North Yorkshire and consistently identified with the working classes. If Tibble is mentioned now, it is for her life writing, including scholarly biographies and a candid three-volume autobiography.Less
In 1939, Virginia Woolf was distracted by writing projects, relocation of living and publishing quarters in London, and another impending world war. Yet she typed on behalf of the Hogarth Press a delayed rejection letter, previously unknown and unpublished, to aspiring novelist Anne Northgrave Tibble. The advice in Woolf’s letter reveals her own definition of the novel. Tibble’s forgotten voice, in her one published novel from this period, challenges, as does Woolf, war and class hierarchies, but from a different perspective. Red-brick-educated, Tibble never forgot her rural roots in North Yorkshire and consistently identified with the working classes. If Tibble is mentioned now, it is for her life writing, including scholarly biographies and a candid three-volume autobiography.
John Lurz
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780823270972
- eISBN:
- 9780823271023
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823270972.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter deepens the connection between Woolf’s activity as a printer with the Hogarth Press and her formal literary experiments to showcase her commitment to exploring the subject’s fundamental ...
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This chapter deepens the connection between Woolf’s activity as a printer with the Hogarth Press and her formal literary experiments to showcase her commitment to exploring the subject’s fundamental entanglement with the object world. The unconventional page layout of Jacob’s Room, in which empty spaces of varying sizes separate the scenes of the narrative directs readerly attention toward the pages’ transmitting its text in a way that echoes the narrative’s attempts to situate intersubjective relationships within the larger affiliation we have with the object world external to the subject. As Jacob’s Room emphasizes the readerly subject’s own status as an object, it draws out the living reader’s place in the nonliving world, a profound belonging to the inanimate implicit in the embodied mortality that my earlier chapters begin to develop.Less
This chapter deepens the connection between Woolf’s activity as a printer with the Hogarth Press and her formal literary experiments to showcase her commitment to exploring the subject’s fundamental entanglement with the object world. The unconventional page layout of Jacob’s Room, in which empty spaces of varying sizes separate the scenes of the narrative directs readerly attention toward the pages’ transmitting its text in a way that echoes the narrative’s attempts to situate intersubjective relationships within the larger affiliation we have with the object world external to the subject. As Jacob’s Room emphasizes the readerly subject’s own status as an object, it draws out the living reader’s place in the nonliving world, a profound belonging to the inanimate implicit in the embodied mortality that my earlier chapters begin to develop.
Nicola Wilson
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781942954088
- eISBN:
- 9781786944122
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781942954088.003.0007
- Subject:
- Literature, 20th-century and Contemporary Literature
Woolf foresaw the appeal of what would shortly become the Book Society Ltd., a mail-order book club modeled on the American Book-of-the-Month Club. Woolf worked with the Book Society and came into ...
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Woolf foresaw the appeal of what would shortly become the Book Society Ltd., a mail-order book club modeled on the American Book-of-the-Month Club. Woolf worked with the Book Society and came into contact with its large, worldwide membership as both publisher and author, a perhaps unlikely relationship facilitated by her friendship with Hugh Walpole (Book Society chairman). Drawing on business correspondence in the archive of the Hogarth Press, this chapter examines the extent to which the Woolfs were willing to negotiate with the Book Society throughout the 1930s and how much impact the Book Society’s demands could have on the production schedules, prices, and occasionally upon the material production of Hogarth Press texts.Less
Woolf foresaw the appeal of what would shortly become the Book Society Ltd., a mail-order book club modeled on the American Book-of-the-Month Club. Woolf worked with the Book Society and came into contact with its large, worldwide membership as both publisher and author, a perhaps unlikely relationship facilitated by her friendship with Hugh Walpole (Book Society chairman). Drawing on business correspondence in the archive of the Hogarth Press, this chapter examines the extent to which the Woolfs were willing to negotiate with the Book Society throughout the 1930s and how much impact the Book Society’s demands could have on the production schedules, prices, and occasionally upon the material production of Hogarth Press texts.
Eleanor McNees
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781942954569
- eISBN:
- 9781789629392
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781942954569.003.0011
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter considers the World Makers and World-Shakers series published by the Hogarth Press and its place in educational reform.
This chapter considers the World Makers and World-Shakers series published by the Hogarth Press and its place in educational reform.
Nicola Wilson and Claire Battershill (eds)
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781942954569
- eISBN:
- 9781789629392
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781942954569.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Virginia Woolf and the World of Books examines Leonard and Virginia Woolf's Hogarth Press as a key intervention in modernist and women's writing and mark its importance to independent publishing, ...
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Virginia Woolf and the World of Books examines Leonard and Virginia Woolf's Hogarth Press as a key intervention in modernist and women's writing and mark its importance to independent publishing, bookselling, and print culture at large. The research in this volume coincides with the centenary of the founding of Hogarth Press in 1917, thus making a timely addition to scholarship on the Woolfs and print culture.Less
Virginia Woolf and the World of Books examines Leonard and Virginia Woolf's Hogarth Press as a key intervention in modernist and women's writing and mark its importance to independent publishing, bookselling, and print culture at large. The research in this volume coincides with the centenary of the founding of Hogarth Press in 1917, thus making a timely addition to scholarship on the Woolfs and print culture.
