閱讀弗吉尼亞·伍爾夫 Adeline Virginia Woolf在小说之家的作品!!! | |||||||
弗吉尼亚·伍尔夫1882.1.25 伍爾夫出生於英國倫敦，肯辛頓，海德公園門（Hyde Park Gate）22號，原名弗吉尼亞·斯蒂芬（Adeline Virginia Stephen）。父親萊斯利·斯蒂芬爵士（Leslie Stephen）是維多利亞時代出身於劍橋的一位著名的文學評論傢、學者和傳記傢。母親是Julia Prinsep Jackson Stephen。父母親在結婚前都曾有過一次婚姻，父親與前妻有一個女兒Stella，母親與前夫有三個孩子。父母結合後又生下四個孩子：Vanessa, Thoby, 伍爾夫和Adrian。伍爾夫在傢接受教育。
1895.5 母親Julia去世，伍爾夫第一次精神崩潰。
1904年2月，伍爾夫的父親去世。5月，伍爾夫第二次精神崩潰，並試圖跳窗自殺。
1904年末和Vanessa, Thoby, Adrian搬到布盧姆斯伯裏的戈登廣場46號（46 Gordon Square, Bloomsbury）。12月14日，弗吉尼亞在《衛報》上第一次發表作品——一篇未署名的書評。後出版了第一批散文，並開始經常性地為《時代文學增刊》（《Times Literary Supplement》）寫書評，同時在一間在職成人夜校Morley College任教。Thoby的‘Thursday Evenings’宣告布盧姆斯伯裏組織（Bloomsbury Group）的成立，伍爾夫是其中的主將。
著名的布盧姆斯伯裏團體——一個知識精英的沙竜，其核心成員有：作傢倫納德·伍爾夫（弗吉尼亞的丈夫），藝術批評傢剋萊夫·貝爾（範妮莎的丈夫），傳記作傢利頓·斯特雷奇，文學批評傢德斯蒙德·麥卡錫，經濟學家約翰·梅納德·凱恩斯，畫傢鄧肯·格蘭特，藝術批評傢羅傑·弗萊，作傢福斯特。除此之外，哲學家羅素、詩人T.S.艾略特、小說傢亨利·詹姆斯和奧爾都斯·赫胥黎也與布盧姆斯伯裏團體過從甚密。這些“歐洲的金腦”多半是劍橋大學的優秀學子。弗吉尼亞·伍爾夫能與這樣一批知識精英切磋文學和藝術，無疑是十分幸運的。這個團體不僅給予她友誼、智慧和信心，還將自由平等的精神灌輸到她的心靈深處；她的文學創作由此別開生面，更加註重精神含量。
布盧姆斯伯裏團體的成員曾經以大膽的舉動，挑戰現存的社會秩序和國傢機器。 1910年2月10日，弗吉尼亞·伍爾夫假扮阿比西尼亞的門達剋斯王子，她弟弟亞德裏安假扮她的翻譯，賀拉斯·科爾假扮英國外交部官員，鄧肯·格蘭特等人假扮成弗吉尼亞的隨從，前往韋默斯訪問英國海軍的“無畏號戰艦”，得到了熱情盛禮的接待。整個設計得天衣無縫，完全將艦隊司令威廉·梅伊蒙在鼓裏。這個天大的玩笑後來經報紙披露出來，國防力量的虛有其表和官僚體製的空具其殼遂引起朝野震驚，英界和外交界頓時陷入了極度的尷尬。伍爾夫確實是個好演員，許多傳記作傢對她的這場“王子秀”津津樂道，因為那簡直就像一個神話。布羅姆斯伯裏團體在第一次世界大戰期間自然解散，到1920年，大部分成員纔又聚集起來，另組為“記憶俱樂部”，以絶對的坦誠為原則回憶各自的人生經歷，伍爾夫對兩位同母異父哥哥禽獸之行的揭露和控訴即始於此時。
1912.8.10 伍爾夫與作傢、費邊社員、社會評論傢倫納德·伍爾夫結婚。
對於自己的婚姻，弗吉尼亞·伍爾夫曾大犯躊躇。她就像自己的小說《到燈塔去》裏的莉麗，儘管認為愛情宛如壯麗的火焰，但因為必須以焚棄個性的“珍寶”為代價，因此視婚姻為“喪失自我身份的災難”。一個女人抱持這樣悲觀的看法，又是在三十歲的“高齡”上纔開始構築“二人空間”，其睏難是可想而知的。
然而事後證明，弗吉尼亞的憂慮純屬多餘，倒是她的心理癥結落下的性恐懼和性冷淡，使婚姻生活從一開始就走上了歧路。
倫納德畢業於劍橋大學，饒有文才，深具眼力，與其說他欣賞弗吉尼亞的嫻雅風度，毋寧說他傾慕弗吉尼亞的超凡智慧。在他眼裏，弗吉尼亞是衹可遠觀不可褻玩的“智慧的童貞女”，在她身上完全不粘附世俗的色彩。應該說，起初，倫納德心有不甘，他抱着幻想，認為自己能像王子喚醒睡美人那樣喚醒弗吉尼亞體內的性意識。幾經努力，徒勞無功之後，他創作小說《智慧的童貞女》，藉用男主人公哈裏· 大衛的口吻譴責了冷血的女人，認為“那些長着白皮膚和金色頭髮的蒼白的女人……是冰冷的，同時也使人冰冷”，他的這些心懷不忿的說辭（近乎指桑駡槐）無疑對弗吉尼亞的自尊構成了深深的傷害。弗吉尼亞婚後的“精神雪崩”給倫納德適時地敲響了警鐘，他决定從此認命，轉而追求精神之愛這一更高遠的境界。他這樣做，僅需一條理由——“她是個天才”——就足夠了。弗吉尼亞的感激之情也溢於言表，她明確地宣佈倫納德是自己生命中隱藏的核心，是她創造力的源泉。 1930年，弗吉尼亞告訴一位朋友，沒有倫納德，她可能早就開槍自殺了。弗吉尼亞能以多病（而且是精神病）之身取得非凡的文學成就，倫納德可謂居功至偉。
在弗吉尼亞·伍爾夫的小說中，異性之間總有一條難以逾越的鴻溝，倒是女性之間感情能水乳交融，《出航》中的雷切爾與姨母海倫，《夜與日》中的凱瑟琳與瑪麗，《達洛衛夫人》中的剋拉麗莎與薩利，《到燈塔去》中的莉麗與拉姆齊夫人，都能達至心靈的默契。
英國女作傢曼斯菲爾德和薇塔都是伍爾夫的閨中密友，如果說她與同病相憐的曼斯菲爾德衹是心心相印，那她與薇塔的關係則帶有濃厚的性愛色彩。現代批評傢邦德指出：“在她們的羅曼史最活躍的歲月裏，受到她對薇塔的愛情的哺育，最偉大的文學傑作《到燈塔去》、《奧蘭多》和《海浪》從弗吉尼亞·伍爾夫的金筆下流淌出來。”而隨着弗吉尼亞與薇塔之間的愛情趨於平淡，她生命中點石成金的創作盛期（1922 ——1933）即宣告終結。
弗吉尼婭.伍爾夫把藝術看得高於一切。不過，她每完成一部作品常會出現病兆，性格多變的她經常在臉上折射出內心的痛苦。唯一值得慶幸的衹是她的每一場發病，都有丈夫倫納德在身邊無微不至的照料，這無疑帶給弗吉尼婭極大的鼓勵和感動，“要不是為了他的緣故，我早開槍自殺了。”當瘋癲和幻聽等精神分裂的癥狀重複來襲，最終不堪忍受時，她還是想到了自殺，在給倫納德的遺言中她這樣寫到：“我不能再毀掉你的生活了。我想，兩個人不可能比我們一嚮更開心了。”
1941年3月28日， 英國作傢V-伍爾夫夫人以悲劇形式結束自己的生命。她投水自盡，迫使她免於再次受精神分裂和瘋狂的折磨。
主要著作有：風格獨特的長篇“意識流小說”《達洛威夫人》、《到燈塔去》，《奧蘭多》，《自己的房間》和《海浪》等。
During the interwar period, Woolf was a significant figure in London literary society and a member of the Bloomsbury Group. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum, "A woman must have money and a room of her own if she is to write fiction."
Early life
Photographic portrait of Julia Stephen, mother of Woolf, by Julia Margaret Cameron.
Virginia Woolf was born Adeline Virginia Stephen in London in 1882. Her mother, a renowned beauty, Julia Prinsep Stephen (born Jackson) (1846–1895), was born in India to Dr. John and Maria Pattle Jackson and later moved to England with her mother, where she served as a model for Pre-Raphaelite painters such as Edward Burne-Jones. Her father, Sir Leslie Stephen, was a notable historian, author, critic and mountaineer. The young Virginia was educated by her parents in their literate and well-connected household at 22 Hyde Park Gate, Kensington. Her parents had each been married previously and been widowed, and, consequently, the household contained the children of three marriages. Julia had three children from her first husband, Herbert Duckworth: George Duckworth, Stella Duckworth, and Gerald Duckworth. Her father was married to Minny Thackeray, and they had one daughter: Laura Makepeace Stephen, who was declared mentally disabled and lived with the family until she was institutionalized in 1891. Leslie and Julia had four children together: Vanessa Stephen (1879), Thoby Stephen (1880), Virginia (1882), and Adrian Stephen (1883).
Sir Leslie Stephen's eminence as an editor, critic, and biographer, and his connection to William Thackeray (he was the widower of Thackeray's youngest daughter), meant that his children were raised in an environment filled with the influences of Victorian literary society. Henry James, George Henry Lewes, Julia Margaret Cameron (an aunt of Julia Stephen), and James Russell Lowell, who was made Virginia's honorary godfather, were among the visitors to the house. Julia Stephen was equally well connected. Descended from an attendant of Marie Antoinette, she came from a family of renowned beauties who left their mark on Victorian society as models for Pre-Raphaelite artists and early photographers. Supplementing these influences was the immense library at the Stephens' house, from which Virginia and Vanessa (unlike their brothers, who were formally educated) were taught the classics and English literature.
Julia Prinsep Stephen portrayed by Edward Burne-Jones, 1866
According to Woolf's memoirs, her most vivid childhood memories, however, were not of London but of St. Ives in Cornwall, where the family spent every summer until 1895. The Stephens' summer home, Talland House, looked out over Porthminster Bay, and is still standing today, though somewhat altered. Memories of these family holidays and impressions of the landscape, especially the Godrevy Lighthouse, informed the fiction Woolf wrote in later years, most notably To the Lighthouse.
The sudden death of her mother in 1895, when Virginia was 13, and that of her half-sister Stella two years later, led to the first of Virginia's several nervous breakdowns. She was, however, able to take courses of study (some at degree level) in Greek, Latin, German and history at the Ladies’ Department of King’s College London between 1897 and 1901, and this brought her into contact with some of the early reformers of women’s higher education such as Clara Pater, George Warr and Lilian Faithfull (Principal of the King’s Ladies’ Department). Her sister Vanessa also studied Latin, Italian, art and architecture at King’s Ladies’ Department.
The death of her father in 1904 provoked her most alarming collapse and she was briefly institutionalized. Her breakdowns and subsequent recurring depressive periods, modern scholars (including her nephew and biographer, Quentin Bell) have suggested, were also influenced by the sexual abuse she and Vanessa were subjected to by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays A Sketch of the Past and 22 Hyde Park Gate).
Throughout her life, Woolf was plagued by periodic mood swings and associated illnesses. Though this instability often affected her social life, her literary productivity continued with few breaks until her suicide.
Bloomsbury
The Dreadnought Hoaxers in Abyssinian regalia; Virginia Woolf is the bearded figure on the far left
After the death of their father and Virginia's second nervous breakdown, Vanessa and Adrian sold 22 Hyde Park Gate and bought a house at 46 Gordon Square in Bloomsbury.
Woolf came to know Lytton Strachey, Clive Bell, Rupert Brooke, Saxon Sydney-Turner, Duncan Grant, Leonard Woolf and Roger Fry, who together formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. Several members of the group attained notoriety in 1910 with the Dreadnought hoax, which Virginia participated in disguised as a male Abyssinian royal. Her complete 1940 talk on the Hoax was discovered and is published in the memoirs collected in the expanded edition of The Platform of Time (2008). In 1907 Vanessa married Clive Bell, and the couple's interest in avant garde art would have an important influence on Virginia's development as an author.
Virginia Stephen married writer Leonard Woolf in 1912. Despite his low material status (Virginia referring to Leonard during their engagement as a "penniless Jew") the couple shared a close bond. Indeed, in 1937, Woolf wrote in her diary: "Love-making — after 25 years can’t bear to be separate... you see it is enormous pleasure being wanted: a wife. And our marriage so complete." The two also collaborated professionally, in 1917 founding the Hogarth Press, which subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others. The Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell.
The ethos of the Bloomsbury group discouraged sexual exclusivity, and in 1922, Virginia met the writer and gardener Vita Sackville-West, wife of Harold Nicolson. After a tentative start, they began a sexual relationship that lasted through most of the 1920s. In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both genders. It has been called by Nigel Nicolson, Vita Sackville-West's son, "the longest and most charming love letter in literature." After their affair ended, the two women remained friends until Woolf's death in 1941. Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa; Thoby had died of an illness at the age of 26.
Work
Woolf began writing professionally in 1900, initially for the Times Literary Supplement with a journalistic piece about Haworth, home of the Brontë family. Her first novel, The Voyage Out, was published in 1915 by her half-brother's imprint, Gerald Duckworth and Company Ltd.
This novel was originally entitled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life.
Lytton Strachey and Woolf at Garsington, 1923.
Woolf went on to publish novels and essays as a public intellectual to both critical and popular success. Much of her work was self-published through the Hogarth Press. She has been hailed as one of the greatest novelists of the twentieth century and one of the foremost modernists.
Woolf is considered one of the greatest innovators in the English language. In her works she experimented with stream-of-consciousness and the underlying psychological as well as emotional motives of characters. Woolf's reputation declined sharply after World War II, but her eminence was re-established with the surge of Feminist criticism in the 1970s.
Her work was criticised for epitomizing the narrow world of the upper-middle class English intelligentsia. Some critics judged it to be lacking in universality and depth, without the power to communicate anything of emotional or ethical relevance to the disillusioned common reader, weary of the 1920s aesthetes. She was also criticized by some as an anti-semite, despite her being happily married to a Jewish man. This anti-semitism is drawn from the fact that she often wrote of Jewish characters in stereotypical archetypes and generalizations, including describing some of her Jewish characters as physically repulsive and dirty. The overwhelming and rising 1920s and 30s anti-semitism possibly influenced Virginia Woolf. She wrote in her diary, "I do not like the Jewish voice; I do not like the Jewish laugh." However, in a 1930 letter to the composer, Ethel Smyth, quoted in Nigel Nicolson's biography,Virginia Woolf, she recollects her boasts of Leonard's Jewishness confirming her snobbish tendencies, "How I hated marrying a Jew- What a snob I was, for they have immense vitality." In another letter to her dear friend Ethel Smyth, Virginia gives a scathing denunciation of Christianity, seeing it as self-righteous "egotism" and stating "my Jew has more religion in one toe nail--more human love, in one hair." Virginia and her husband Leonard Woolf actually hated and feared 1930s fascism with its anti-semitism knowing they were on Hitler's blacklist. Her 1938 book Three Guineas was an indictment of fascism.
Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: Woolf is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions.
The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings - often wartime environments - of most of her novels. For example, Mrs Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organize a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars.
To the Lighthouse (1927) is set on two days ten years apart. The plot centers around the Ramsay family's anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. The novel is also a meditation upon the lives of a nation's inhabitants in the midst of war, and of the people left behind. It also explores the passage of time, and how women are forced by society to allow men to take emotional strength from them.
Orlando (1928) has a different quality from all Virginia Woolf's other novels suggested by its subtitle, "A Biography", as it attempts to represent the character of a real person and is dedicated to Vita Sackville-West. It was meant to console Vita for being a girl and for the loss of her ancestral home, though it is also a satirical treatment of Vita and her work. In Orlando the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed in order for it to be mocked.
The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centered novel.
Her last work, Between the Acts (1941) sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history. This book is the most lyrical of all her works, not only in feeling but in style being chiefly written in verse.
While nowhere near a simple recapitulation of the coterie's ideals, Woolf's work can be understood as consistently in dialogue with Bloomsbury, particularly its tendency (informed by G.E. Moore, among others) towards doctrinaire rationalism.
Her works have been translated into over 50 languages, by writers of the calibre of Jorge Luis Borges and Marguerite Yourcenar.
Suicide
After completing the manuscript of her last (posthumously published) novel, Between the Acts, Woolf fell victim to a depression similar to that which she had earlier experienced. The onset of World War II, the destruction of her London home during the Blitz, and the cool reception given to her biography of her late friend Roger Fry all worsened her condition until she was unable to work.
On 28 March 1941, Woolf committed suicide. She put on her overcoat, filled its pockets with stones, then walked into the River Ouse near her home and drowned herself. Woolf's skeletonised body was not found until 18 April 1941. Her husband buried her cremated remains under an elm in the garden of Monk's House, their home in Rodmell, Sussex.
In her last note to her husband she wrote:
“ I feel certain that I am going mad again. I feel we can't go through another of those terrible times. And I shan't recover this time. I begin to hear voices, and I can't concentrate. So I am doing what seems the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I don't think two people could have been happier 'til this terrible disease came. I can't fight any longer. I know that I am spoiling your life, that without me you could work. And you will I know. You see I can't even write this properly. I can't read. What I want to say is I owe all the happiness of my life to you. You have been entirely patient with me and incredibly good. I want to say that — everybody knows it. If anybody could have saved me it would have been you. Everything has gone from me but the certainty of your goodness. I can't go on spoiling your life any longer. I don't think two people could have been happier than we have been. V. ”
Modern scholarship and interpretations
Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer. Controversially, Louise A. DeSalvo reads most of Woolf's life and career through the lens of the incestuous sexual abuse Woolf suffered as a young woman in her 1989 book Virginia Woolf: The Impact of Childhood Sexual Abuse on her Life and Work.
Woolf's fiction is also studied for its insight into shell shock, war, class and modern British society. Her best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties female writers and intellectuals face because men hold disproportionate legal and economic power and the future of women in education and society.
Irene Coates's book Who's Afraid of Leonard Woolf: A Case for the Sanity of Virginia Woolf holds that Leonard Woolf's treatment of his wife encouraged her ill health and ultimately was responsible for her death. This is not accepted by Leonard's family but is extensively researched and fills in some of the gaps in the traditional account of Virginia Woolf's life. Victoria Glendinning's book Leonard Woolf: A Biography, which is even more extensively researched and supported by contemporaneous writings, argues that Leonard Woolf was not only supportive of his wife but enabled her to live as long as she did by providing her with the life and atmosphere she needed to live and write. Accounts of Virginia's supposed anti-semitism (Leonard was atheist) are not only taken out of historical context but greatly exaggerated. Virginia's own diaries support this view of the Woolfs' marriage.
Though at least one biography of Virginia Woolf appeared in her lifetime, the first authoritative study of her life was published in 1972 by her nephew Quentin Bell.
In 1992, Thomas Caramagno published the book The Flight of the Mind: Virginia Woolf's Art and Manic-Depressive Illness."
Hermione Lee's 1996 biography Virginia Woolf provides a thorough and authoritative examination of Woolf's life and work.
In 2001 Louise DeSalvo and Mitchell A. Leaska edited The Letters of Vita Sackville-West and Virginia Woolf. Julia Briggs's Virginia Woolf: An Inner Life, published in 2005 is the most recent examination of Woolf's life. It focuses on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. Thomas Szasz's book My Madness Saved Me: The Madness and Marriage of Virginia Woolf (ISBN 0-7658-0321-6) was published in 2006.
Rita Martin’s play Flores no me pongan (2006) considers Woolf's last minutes of life in order to debate polemical issues such as bisexuality, Jewishness and war. Written in Spanish, the play was performed in Miami under the direction of actress Miriam Bermudez.
In films
* Who's Afraid of Virginia Woolf? was an American play (1962) by Edward Albee and film (1966) directed by Mike Nichols (screenplay by Ernest Lehman adapted from the play). Virginia Woolf does not appear as a character. According to the playwright, the title of the play — which is about a dysfunctional university married couple — refers to an academic joke about "who's afraid of living life without false illusions".
* Virginia Woolf is a character in the film The Hours (2002). For her portrayal of Woolf, actress Nicole Kidman won the Academy Award for Best Actress.
Bibliography
See also: Bibliography of Virginia Woolf
Novels
* The Voyage Out (1915)
* Night and Day (1919)
* Jacob's Room (1922)
* Mrs Dalloway (1925)
* To the Lighthouse (1927)
* Orlando (1928)
* The Waves (1931)
* The Years (1937)
* Between the Acts (1941)
Short story collections
* Monday or Tuesday (1921)
* A Haunted House and Other Short Stories (1944)
* Mrs Dalloway's Party (1973)
* The Complete Shorter Fiction (1985)
"Biographies"
Virginia Woolf published three books to which she gave the subtitle "A Biography":
* Orlando: A Biography (1928, usually characterised Novel, inspired by the life of Vita Sackville-West)
* Flush: A Biography (1933, more explicitly cross-genre: fiction as "stream of consciousness" tale by Flush, a dog; non-fiction in the sense of telling the story of the owner of the dog, Elizabeth Barrett Browning)
* Roger Fry: A Biography (1940, usually characterised non-fiction, however: "[Woolf's] novelistic skills worked against her talent as a biographer, for her impressionistic observations jostled uncomfortably with the simultaneous need to marshall a multitude of facts.")
Non-fiction books
* Modern Fiction (1919)
* The Common Reader (1925)
* A Room of One's Own (1929)
* On Being Ill (1930)
* The London Scene (1931)
* The Common Reader: Second Series (1932)
* Three Guineas (1938)
* The Death of the Moth and Other Essays (1942)
* The Moment and Other Essays (1947)
* The Captain's Death Bed And Other Essays (1950)
* Granite and Rainbow (1958)
* Books and Portraits (1978)
* Women And Writing (1979)
* Collected Essays (four volumes)
Drama
* Freshwater: A Comedy (performed in 1923, revised in 1935, and published in 1976)
Autobiographical writings and diaries
* A Writer’s Diary (1953) - Extracts from the complete diary
* Moments of Being (1976)
* A Moment's Liberty: the shorter diary (1990)
* The Diary of Virginia Woolf (five volumes) - Diary of Virginia Woolf from 1915 to 1941
* Passionate Apprentice: The Early Journals, 1897-1909 (1990)
* Travels With Virginia Woolf (1993) - Greek travel diary of Virginia Woolf, edited by Jan Morris
* The Platform of Time: Memoirs of Family and Friends, Expanded Edition, edited by S. P. Rosenbaum (London, Hesperus, 2008)
Letters
* Congenial Spirits: The Selected Letters (1993)
* The Letters of Virginia Woolf 1888-1941 (six volumes, 1975–1980)
* Paper Darts: The Illustrated Letters of Virginia Woolf (1991)
Prefaces, contributions
* Selections Autobiographical and Imaginative from the Works of George Gissing ed. Alfred C. Gissing, with an introduction by Virginia Woolf (London & New York, 1929)