This volume covers a wide range of editorial confrontations with Virginia Woolf's writings, touching on almost every genre in which she wrote: fiction, diary, letter, and biography. It describes a variety of editorial practices and deals with current theories informing the critical editing of the prose of this singular 20th-century writer. Essays by distinguished scholar-critics of Virginia Woolf confront a number of contemporary issues in critical editing: the use of pre-print materials, authorial revisions, and the collation of historical texts.

With grace and style, noted Woolf critic and biographer Julia Briggs reconsiders the author's work from imaginative and unexpected angles, spanning her early fiction experiments to her late short story "The Symbol" and from the most to the least familiar of her novels, such as the neglected Night and Day.
Briggs investigates links between Woolf and writers like Byron and Shakespeare, her fascination with transitional places and moments, her ambivalent attitudes toward "Englishness" and censorship, and her methods of writing and revision...

From her girlhood in her father’s library to the end of her life, Virginia Woolf read widely and with passion. Virginia Woolf: Feminism and the Reader shows how Virginia Woolf’s reading affected her feminism and how her feminism affected her opinions of her reading. This new work looks at the impact of that intense reading on Woolf’s writing and on her feminism. Each chapter looks at an aspect of her thinking--her attitude towards the English nation, the imagination, the public sphere, and fame--through the lens of a literary period, from Ancient Greece through the Romantics.

This unique collection of essays brings together for the first time consideration of Virginia Woolf's writing within the political context of fascism. Virginia Woolf and Fascism probes Woolf's fiction and non-fiction from Mrs. Dalloway in 1927 to Between the Acts, in 1941, for her responses not only to the growing menaces of dictators abroad, but also to mounting evidence of fascist ideology at home in England. The essays present a portrait of Woolf as a woman writer who was politically engaged, and actively protesting against a worldview which aggressively targeted women for oppression.

Ably introduced by Caughie and building on a broad range of theoretical and cultural studie work by Diane Gillepsie, Brenda Silver, Gillian Beer, and others, the ten essays first pair Woolf and Walter Benjamin as beleaguered intellectuals in the marketplace (p.1) and analysts of modern machine-age European culture. They then explore Woolfs conceptual and artistic-responses to sound, film, cinematic, telescopic, automotive, and photographic technologies, consider Woolf as subject and object of mass-market designs, and speculate on possible e-text metamorphoses of Woolf and reading.