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Non-fiction[edit]
Woolf wrote a body of autobiographical work and more than 500 essays and reviews,[215] some of which, like A Room of One's Own (1929) were of book length. Not all were published in her lifetime. Shortly after her death, Leonard Woolf produced an edited edition of unpublished essays titled The Moment and other Essays,[339] published by the Hogarth Press in 1947. Many of these were originally lectures that she gave,[340] and several more volumes of essays followed, such as The Captain's Death Bed: and other essays (1950).[341]
A Room of One's Own[edit]
Main article: A Room of One's Own
Among Woolf's non-fiction works, one of the best known is A Room of One's Own (1929),[197] a book-length essay. Considered a key work of feminist literary criticism, it was written following two lectures she delivered on "Women and Fiction" at Cambridge University the previous year. In it, she examines the historical disempowerment women have faced in many spheres, including social, educational and financial. One of her more famous dicta is contained within the book "A woman must have money and a room of her own if she is to write fiction". Much of her argument ("to show you how I arrived at this opinion about the room and the money") is developed through the "unsolved problems" of women and fiction writing to arrive at her conclusion, although she claimed that was only "an opinion upon one minor point".[342] In doing so, she states a good deal about the nature of women and fiction, employing a quasi-fictional style as she examines where women writers failed because of lack of resources and opportunities, examining along the way the experiences of the Brontës, George Eliot and George Sand, as well as the fictional character of Shakespeare's sister, equipped with the same genius but not position. She contrasted these women who accepted a deferential status with Jane Austen, who wrote entirely as a woman.[343]
Influences[edit]
A major influence on Woolf from 1912 onward was Russian literature as Woolf adopted many of its aesthetic conventions.[344] The style of Fyodor Dostoyevsky with his depiction of a fluid mind in operation helped to influence Woolf's writings about a "discontinuous writing process", though Woolf objected to Dostoyevsky's obsession with "psychological extremity" and the "tumultuous flux of emotions" in his characters together with his right-wing, monarchist politics as Dostoyevsky was an ardent supporter of the autocracy of the Russian Empire.[344] In contrast to her objections to Dostoyevsky's "exaggerated emotional pitch", Woolf found much to admire in the work of Anton Chekhov and Leo Tolstoy.[344] Woolf admired Chekhov for his stories of ordinary people living their lives, doing banal things and plots that had no neat endings.[344] From Tolstoy, Woolf drew lessons about how a novelist should depict a character's psychological state and the interior tension within.[344] From Ivan Turgenev, Woolf drew the lessons that there are multiple "I's" when writing a novel, and the novelist needed to balance those multiple versions of him- or herself to balance the "mundane facts" of a story vs. the writer's overreaching vision, which required a "total passion" for art.[344]
Another influence on Woolf was the American writer Henry David Thoreau, with Woolf writing in a 1917 essay that her aim as a writer was to follow Thoreau by capturing "the moment, to burn always with this hard, gem-like flame" while praising Thoreau for his statement "The millions are awake enough for physical labor, but only one in hundreds of millions is awake enough to a poetic or divine life. To be awake is to be alive".[345] Woolf praised Thoreau for his "simplicity" in finding "a way for setting free the delicate and complicated machinery of the soul".[345] Like Thoreau, Woolf believed that it was silence that set the mind free to really contemplate and understand the world.[345] Both authors believed in a certain transcendental, mystical approach to life and writing, where even banal things could be capable of generating deep emotions if one had enough silence and the presence of mind to appreciate them.[345] Woolf and Thoreau were both concerned with the difficulty of human relationships in the modern age.[345] Other notable influences include William Shakespeare, George Eliot, Leo Tolstoy, Marcel Proust, Anton Chekhov, Emily Brontë, Daniel Defoe, James Joyce, and E.M. Forster.
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