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During the interwar period, Woolf was a significant figure in London literary society and a central figure in the influential Bloomsbury Group of intellectuals. 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."
Jacob's Room is the third novel by Virginia Woolf, first published on 26 October 1922.
The novel centres, in a very ambiguous way, around the life story of the protagonist Jacob Flanders, and is presented entirely by the impressions other characters have of Jacob (except for those times when we do indeed get Jacob's perspective). Thus, although it could be said that the book is primarily a character study and has little in the way of plot or background, the narrative is constructed as a void in place of the central character, if indeed the novel can be said to have a 'protagonist' in conventional terms.
Motifs of emptiness and absence haunt the novel and establish its elegiac feel. Jacob is described to us, but in such indirect terms that it would seem better to view him as an amalgamation of the different perceptions of the characters and narrator. He does not exist as a concrete reality, but rather as a collection of memories and sensations.
During the formative years of the Industrial Revolution, English workers and artisans claimed a place in society that would shape the following centuries. But the capitalist elite did not form the working class—the workers shaped their own creations, developing a shared identity in the process. Despite their lack of power and the indignity forced upon them by the upper classes, the working class emerged as England’s greatest cultural and political force. Crucial to contemporary trends in all aspects of society, at the turn of the nineteenth century, these workers united into the class that we recognize all across the Western world today.
E. P. Thompson’s magnum opus, The Making of the English Working Class defined early twentieth-century English social and economic history, leading many to consider him Britain’s greatest postwar historian. Its publication in 1963 was highly controversial in academia, but the work has become a seminal text on the history of the working class. It remains incredibly relevant to the social and economic issues of current times, with the Guardian saying upon the book’s fiftieth anniversary that it “continues to delight and inspire new readers.”
The young Rachel Vinrance leaves England on her father’s ship, the Euphrosyne, on a voyage to South America. Despite being accompanied by her father and her aunt and uncle, Helen and Ridley Ambrose, the passage leads to Rachel’s awakening, both as a woman and as an individual. As the ship is wracked by storms, she finds herself romantically entangled with Richard Dalloway, an encounter that leaves her troubled and confused.
Upon arrival in Santa Marina, Rachel strikes off alone to contemplate her identity, and finds finds herself with the aspiring novelist Terence Hewet. As the emerging romance between the two is complicated by their disagreements about gender and art, another storm, and tragedy, appear on the horizon.
Introduction by Daniel J. Boorstin
Illustrations by Giovanni Battista Piranesi
Edward Gibbon’s masterpiece, which narrates the history of the Roman Empire from the second century A.D. to its collapse in the west in the fifth century and in the east in the fifteenth century, is widely considered the greatest work of history ever written. This abridgment retains the full scope of the original, but in a breadth comparable to a novel. Casual readers now have access to the full sweep of Gibbon’s narrative, while instructors and students have a volume that can be read in a single term. This unique edition emphasizes elements ignored in all other abridgments—in particular the role of religion in the empire and the rise of Islam.
"Mrs. Dalloway was the first novel to split the atom. If the novel before Mrs. Dalloway aspired to immensities of scope and scale, to heroic journeys across vast landscapes, with Mrs. Dalloway Virginia Woolf insisted that it could also locate the enormous within the everyday; that a life of errands and party-giving was every bit as viable a subject as any life lived anywhere; and that should any human act in any novel seem unimportant, it has merely been inadequately observed. The novel as an art form has not been the same since.
"Mrs. Dalloway also contains some of the most beautiful, complex, incisive and idiosyncratic sentences ever written in English, and that alone would be reason enough to read it. It is one of the most moving, revolutionary artworks of the twentieth century."
--Michael Cunningham, author of The Hours