Begun as a "joke," Orlando is Virginia Woolf's fantastical biography of a poet who first appears as a sixteen-year-old boy at the court of Elizabeth I, and is left at the novel's end a married woman in the year 1928. Part love letter to Vita Sackville-West, part exploration of the art of biography, Orlando is one of Woolf's most popular and entertaining works. This new annotated edition will deepen readers' understanding of Woolf's brilliant creation. Annotated and with an introduction by Maria DiBattista
Begun as a "joke," Orlando is Virginia Woolf's fantastical biography of a poet who first appears as a sixteen-year-old boy at the court of Elizabeth I...
This collection of essays on modernist culture reassesses the convergence of low and high cultures, of socialist and aesthete, late Victorian and young Georgian, the popular and the coterie. Academic literary studies have until recently preferred to treat the "opaque," "difficult" writings of high moderns Conrad, Yeats, Woolf, and Eliot, and the more accessible work of the low moderns Kipling, Shaw, and Wells in separate categories. In contributions by scholars David Bromwich, Roy Foster, Edna Longley, Louis Menand, Edward Mendelson, and others, High and Low Moderns brings these...
This collection of essays on modernist culture reassesses the convergence of low and high cultures, of socialist and aesthete, late Victorian and youn...
"There is nothing like a dame," proclaims the song from South Pacific. Certainly there is nothing like the fast-talking dame of screen comedies in the 1930s and '40s. In this engaging book, film scholar and movie buff Maria DiBattista celebrates the fast-talking dame as an American original. Coming of age during the Depression, the dame--a woman of lively wit and brash speech-epitomized a new style of self-reliant, articulate womanhood. Dames were quick on the uptake and hardly ever downbeat. They seemed to know what to say and when to say it. In their fast and breezy talk seemed to lie the...
"There is nothing like a dame," proclaims the song from South Pacific. Certainly there is nothing like the fast-talking dame of screen comedies in the...
Blanche Lake is not like the other mothers who come to collect their children at the local nursery school on New York's Upper East Side. She lives alone, has a job, and has never been married. It's the first day of school when this story begins, and Blanche is eager to see how her daughter, Bunny, has fared away from home. But her expectant waiting becomes a mother's most dreaded nightmare: Bunny never materializes. Neither teachers nor students recall the small girl, and soon Blanche is engaged in a frantic search for any trace of her missing daughter. And the worst part is . . . no one...
Blanche Lake is not like the other mothers who come to collect their children at the local nursery school on New York's Upper East Side. She lives alo...
Where other works of literary criticism are absorbed with the question--How to read a book?--Imagining Virginia Woolf asks a slightly different but more intriguing one: how does one read an author? Maria DiBattista answers this by undertaking an experiment in critical biography. The subject of this work is not Virginia Woolf, the person who wrote the novels, criticism, letters, and famous diary, but a different being altogether, someone or something Maria DiBattista identifies as "the figment of the author." This is the Virginia Woolf who lives intermittently in the pages of her...
Where other works of literary criticism are absorbed with the question--How to read a book?--Imagining Virginia Woolf asks a slightly differ...
The Cambridge Companion to Autobiography offers a historical overview of the genre from the foundational works of Augustine, Montaigne, and Rousseau through the great autobiographies of the Romantic, Victorian, and modern eras. Sixteen essays from distinguished scholars and critics explore the diverse forms, audiences, styles, and motives of life writings traditionally classified under the rubric of autobiography. Chapters are arranged in chronological order and are grouped to reflect changing views of the psychological status, representative character, and moral authority of the...
The Cambridge Companion to Autobiography offers a historical overview of the genre from the foundational works of Augustine, Montaigne, and Rousseau t...
This volume offers sixteen original essays that attest to the extraordinary inventiveness and range of modernist autobiography. It examines the ways modernist writers chose to tell their life stories, with particular attention to forms, venues, modes of address, and degrees of truthfulness. The essays are grouped around a set of rubrics that isolate the distinctive character and shared preoccupations of modernist life-writings: questions of ancestry and tradition that foreground the modernists' troubled relation to their immediate familial as well as cultural past; their emergence as writers...
This volume offers sixteen original essays that attest to the extraordinary inventiveness and range of modernist autobiography. It examines the ways m...
A bold new literary history that says women's writing is defined less by domestic concerns than by an engagement with public life
In a bold and sweeping reevaluation of the past two centuries of women's writing, At Home in the World argues that this body of work has been defined less by domestic concerns than by an active engagement with the most pressing issues of public life: from class and religious divisions, slavery, warfare, and labor unrest to democracy, tyranny, globalism, and the clash of cultures. In this new literary history, Maria DiBattista and Deborah...
A bold new literary history that says women's writing is defined less by domestic concerns than by an engagement with public life
