Review by Choice Review
At once a biography and a critical study covering all Woolf's fiction and major nonfiction, this volume focuses on Woolf's lifelong interest in the complex functioning of the human mind. In each chapter, Briggs (De Mortfort Univ., UK) relates significant experiences and people in Woolf's life to her passion for writing and constant observation of "her own thoughts and ... creative processes," especially those concerning new modes of expressing her artistic vision, as they pertain to the work(s) under consideration. In so doing, Briggs provides detailed discussions of each text, including successive drafts, as she traces recurrent themes such as gender, patriarchy, feminism, and pacifism; the patterns of Woolf's development as an artist; and the relationships among various works. Further reflecting the thoroughness of Briggs's approach are frequent entries from Woolf's diary, a summary of each work's reception and publishing history, and copious endnotes (108 pages). Briggs's concluding remarks on Between the Acts admirably sum up her basic argument throughout: that work "demonstrates, as all [Woolf's] writing does, her capacity to find, at every stage of her career, another and newer way of expressing her vision." This is a major contribution to Woolf studies. ^BSumming Up: Essential. All readers; all levels. J. E. Steiner emerita, Drew University
Copyright American Library Association, used with permission.
Review by Booklist Review
Yes, another Woolf biography, but a unique one given that Briggs concentrates on Woolf's paradigm-altering work, and on Woolf's fascination with the workings of the mind. Briggs tracks the creation of each book, beginning with Woolf's first novel, The Voyage Out, published in 1915 when she was 33, and concluding with Between the Acts (1941). By lacing her supple, revelatory readings of each book with relevant, judiciously analyzed biographical information, Briggs creates a vital portrait of a perfectionist who endured rewriting madness, a questing woman who relished life when she was free of the depression that stalked her, and a visionary determined to combat misogyny and invent a new type of novel that would give the feeling of the vast tumult of life. Happily, the vastly gifted writer who takes shape on these pages is the very genius readers intuit when reading Woolf's work. Woolf believed that women writers could make the connection between literature and life, and Briggs has done just that in her sterling interpretation. --Donna Seaman Copyright 2005 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
The famous question, surely, needs amending by now: who isn't afraid of Virginia Woolf-of writing about her, at least? Ever since this most singularly gifted of women, whose genius is as protean as it is profound, committed suicide at the age of 58 in 1941 at the height of her creative powers, her life and work has engendered an unremitting flow of books. These have included massively researched tomes and slender impressionistic volumes on every aspect of Woolf, from her pedigreed background and difficult Victorian childhood to her unconventional marriage to Leonard, the "penniless Jew," her Sapphic inclinations and the modernist Bloomsbury circle in which she moved. Certain subsets of questions-what was the particular nature of her mental illness? Did she or did she not suffer sexual abuse as an adolescent at the hands of her two half-brothers?-have inspired whole bookshelves of answers. In the more than half-century since Woolf put a large stone in her pocket late one March morning and walked into the Ouse River near her house in Sussex, the documentation and speculation have not ceased. Enough has been said, or so one would think. I might add, with all due lack of humility, that I am in a particularly good position to think thusly, since it would not be stretching things too far to say that I have read the vast majority of these books, including Hermione Lee's magisterial biography, which appeared in 1997. So it is the more surprising to find Julia Briggs's new intellectual biography of Woolf not only a mesmerizing read but one that adds fresh dabs of paint to what I had otherwise assumed to be a finished portrait. The emphasis on Woolf's "inner life"-on her ongoing creative process and on her response to the critical reception of her work-is especially suited to a writer who was in the rapt habit of watching herself think, keeping track of the quicksilver movements of her own mind like a fisherman on the lookout for the sudden tug on his pole, the flash of a fin. (Woolf was drawn to water imagery throughout her life as a metaphor for the process of intellection.) And Briggs has done an extraordinarily skillful job of interweaving Woolf's experience as a writer with her experience as a woman in the world, one who pondered the "life of frocks" and who had arguments with her cook. "How I interest myself!" Woolf wrote in a diary entry. And how she continues to interest us, not least because of the fascination she exerts on other talented readers and writers, like Julia Briggs. That this book is a must for Woolf fans goes without saying, but it is also a must for anyone interested in the nature of female consciousness at its most self-aware and the workings of artistic sensibility at their most illuminating. B&w photos. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved
(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review
Virginia Woolf (1882-1941) has been the subject of numerous biographical examinations, including Quentin Bell's Virginia Woolf: A Biography, Hermione Lee's Virginia Woolf, and Panthea Reid's Art and Affection: A Life of Virginia Woolf. Briggs (English, De Montfort Univ., England) adds to the voluminous inquiry with a wonderfully different approach that allows Woolf's writing, not social or historical events, to dictate the overall biographical structure. Each chapter is devoted to one of Woolf's works and concludes with a superb discussion of its critical reception. Briggs offers an enthusiastic account of Woolf's creative process without idealizing the writer and commendably discusses problematic issues that include Woolf's often ambiguous relationship with servants and others of lower economic classes. Twenty-nine black-and-white illustrations of original dust jackets and manuscript pages lend the volume a simple elegance. Although Briggs sets out to reach the "common reader," as she explains in her preface, the tone and depth of her writing will appeal primarily to a sophisticated audience. Recommended for all academic and larger public libraries.-Stacy Shotsberger Russo, California State Univ. Lib., Fullerton (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
