By Dr Oliver Tearle (Loughborough University)
‘Solid Objects’ is not as well-known or widely studied as some of Virginia Woolf’s other short stories, such as ‘The Mark on the Wall’ or ‘Kew Gardens’, but it is one of the most consummate statements of her modernist aesthetic.
By Dr Oliver Tearle (Loughborough University)
‘Solid Objects’ is not as well-known or widely studied as some of Virginia Woolf’s other short stories, such as ‘The Mark on the Wall’ or ‘Kew Gardens’, but it is one of the most consummate statements of her modernist aesthetic. We’ll put together some thoughts on this story on Thursday, but in the meantime, here’s a brief summary of the ‘plot’ (if that word can even be used about such a story) of ‘Solid Objects’; the story itself can be read here.
By Dr Oliver Tearle (Loughborough University)
In a previous post we attempted a ‘summary’ of ‘In the Orchard’, which is not one of Virginia Woolf’s best-known short stories. But as we observed on Tuesday, it’s one of her most interesting experiments in short fiction because in a sense it’s three versions of the same (very short) story. You can read ‘In the Orchard’ here; below, we offer some notes towards an analysis of the story.
By Dr Oliver Tearle (Loughborough University)
‘In the Orchard’ is not one of Virginia Woolf’s best-known short stories, but it’s one of the most interesting because in a sense it’s three versions of the same (very short) story. You can read ‘In the Orchard’ here; below, we attempt a summary of the story’s ‘plot’.
By Dr Oliver Tearle (Loughborough University)
‘The String Quartet’ was published in Virginia Woolf’s short-story collection Monday or Tuesday in 1921. As we remarked in our summary of the story on Tuesday, it’s one of Woolf’s strongest evocations of music and its links to memory and imagination. You can read ‘The String Quartet’ here before proceeding to our analysis of the story below.