Virginia Woolf made a seminal contribution to feminist literary history and provided the discipline with some of its most memorable quotations. In A Room of One’s Own, she urged her audience of female students at Cambridge University to ‘rewrite history’ by seeking out figures neglected by conventional (patriarchal) histories in order to trace a female tradition, a concept she described as ‘thinking back through our mothers’.1 She sketched how such a tradition might look, tracing a line from Lady Winchilsea and Aphra Behn, Fanny Burney and Jane Austen through to George Eliot and the Brontës, considering how the conditions of these writers’ lives affected their work, and also looking at how gender might influence their use of language and choice of genre. Behind Woolf’s historical sketch lies an imaginative attempt to reclaim lost origins: Woolf notes that there was no female Shakespeare because conditions in the Renaissance would have made it impossible for a woman to write for the theatre. She creates an imaginary starting-point for her history by sketching a fictional biography of Shakespeare’s sister, Judith, whose life could only have ended in failure and suicide. Woolf concludes by urging her audience to imaginatively reclaim these lost origins in their own writings
Art and Political Crises in Between the Acts
Jane de Gay
In ‘Why Art Follows Politics’, published in The Daily Worker in 1936, Virginia Woolf remarked on a change in the conditions for creativity in the late 1930s. She wrote that the artist’s studio was now ‘far from being a cloistered spot where he can contemplate his model or his apple in peace’, for it was ‘besieged by voices, all disturbing, some for one reason, some for another.’ She characterised the developing political crisis in terms of auditory disturbance or interruption, including the noises of radio news; the voices of dictators addressing the public by megaphone in the streets, and public opinion, which, Woolf wrote, called for artists to prove their social and political usefulness. In extreme political systems, artists were forced to compromise and use their work for political purposes – to ‘celebrate fascism; celebrate communism’ – in order to be allowed to practise at all.
Abby Bardi, Sophie Blanch, Sarah Dillon, Jane de Gay, Ann Heilmann, Angela Hubler, Mark Llewellyn, Patricia Pulham, Leigh Wilson and Alison Winch
Notes on contributors
Jennifer Birkett, David Bradshaw, John E. Coombes, Andy Croft, Jane de Gay, Rainer Emig, John Fordham, Chris Hopkins, David Margolies, Rick Rylance, Judy Simons, Gay Wachman, Patrick Williams, Mary Joannou and John Lucas
Notes on contributors