Mrs. Dalloway

Though there are some passing resemblances to Jane Austen, the comedy of manners, and Victorian narrative satire, this is a modernist novel and a fairly accessible introduction to Woolf, unless the reader is overly impatient or tone-deaf. Woolf creates a character's interior life through a virtuosic, highly mobile third-person narrator, who might be thought of as the character's "persona," not merely "expressing" the character's thoughts but "mirroring" how the character perceives him or herself as seen by others. Moreover, the indefinite pronouns can shift unexpectedly or occur in too close proximity to make identification easy or even definite. As a result, the reader has to work overtime to achieve entrance into the mind of the "right" character while simultaneously sensing the liquid, interpenetrating and shared qualities of human identity itself. And finally there's that tone, now soft, now loud, and rarely without irony. Woolf makes it fairly easy on the reader with the broad, sardonic strokes she uses to paint the practically villainous Sir William Bradshaw, the eminent psychiatrist viewed by many (especially himself) as the scientific high priest of this cross-section of deluded London luminaries; and she's equally nasty to her other "villain," Miss Kilman, a repressed and embittered born-again Christian who, like Sir William, lives by the code of "conversion," Woolf's euphemism for those powerful personalities who are bent upon breaking, controlling and dominating the will of anyone not strong enough to resist them. The other portraits are more subtle, requiring the reader either to hear the soft, nuanced ironical tones or risk missing both the social satire and the character. Woolf's targets range, perhaps not surprisingly, from the pretense, pride, and hypocrisy of an out-of-touch social stratum that clings to the "orderly" past; to the arrogance of modern medical "science"; to, more surprisingly, the suffocating alternatives offered by both religion and love. She uses the term "Human Nature" ironically, making it refer to those individuals who cannot see with understanding, empathy or vision, substituting for "life" the ego's own conventional, reductive and limited sense of a world that's all surface and order. Readers lured to this novel because of Cunningham's "The Hours" (novel or film) may be disappointed or quickly frustrated. Moving from Cunningham to Woolf is a bit like going from Fitzgerald to Faulkner, or from Austen to Shakespeare. What you immediately notice is the far greater range and more inclusive thematic focus and, most importantly, the sheer power and vitality of the prose (from fluid motion to dynamic rush). Woolf--like Joyce, Faulkner, and Shakespeare--employs a syntax that can cause the head to spin and the earth: she's a writer who represents not merely individual characters but captures a microcosm of life not to mention the life of language itself. The greatest challenge "Mrs. Dalloway" presents to a first-time reader is never to let up. It's essential to stay with Clarissa throughout her entire day, finally becoming a fully engaged participant in the party itself--the final thirty pages of the novel, which contain some of Woolf's best writing. Especially critical is the extended moment, almost 20 pages into the party scene, when Clarissa, like Septimus, walks to the window and has her epiphany. It's a moment highly reminiscent of Gabriel Conroy's singular internal struggle and ultimate attainment of vision in the closing paragraphs of "The Dead" (Woolf was not especially fond of Joyce, but it's hard to believe she was not influenced by him). At that moment, Clarissa sees her affinity and even oneness with Septimus, a character who suffers internally but is capable of resisting the worse alternative of the "cures" offered by Dr. Bradshaw, one of the guests at Clarissa's own party. The insight produces action: one character chooses death; the other, life. But Woolf enables us to see these apparently opposite choices as existential cognates: both characters make choices that enable them to save their souls. (The "Death of the Soul" is a theme introduced early in the novel by the insightful Peter, a "failure" by society's standards and his own admission and someone who cannot get the better of his fixations--on the irretrievable past and his own youth. By the story's end, it is not Peter but Clarissa who presents a whole and integrated self, capable of separating the illusory from the real, of the once dependent "Mrs. Dalloway" from the newly enlightened "Clarissa." Cunningham is a first-rate stylist and craftsman who can tell a story that's moving and evocative, a narrative, moreover, that connects with today's readers by affirming the choices available to the self. But it feels like a mechanical assembly next to the vibrant novel that is its source and inspiration. Ms. Woolf, like her character Clarissa, knows how to throw a party.

I must admit to some confusion. I think I have read Mrs. Dalloway, word for word, beginning to end. My uncertainty arises because I suddenly found myself, too soon, at the end of the book. My Kindle copy had jumped ahead about 15%. Not the fault of the book, my reader has been a tad twitchy. I did page back to where I thought I was, and I check against a few on line plot summaries. My real problem was that this is a book where you can miss parts and not always know that you have skipped ahead, or behind. The story of Mrs. Dalloway is the story of several people more or less connected to Mrs. Clarissa Dalloway. Each character is experiencing the same day, the day leading up to a party by the title character. Mostly we learn about these people by listening in on their thoughts, random mental notions and occasionally as they look at or speak with another of the fictional circle. The technique is a variation on Stream of Conscious. Not just the mental world of one person but of several , as they interact or move away from interaction. Ms Woolf's ability to take us into the heads of a diverse cast is art not artifice. The transitions from interior monologue to interior monologue are rarely announced. Rather we are lead into a thought that might apply to either the original thinker or the new one. That is the reader must pay attention or will have to go back a page and realign to the new character. Conclusion, this is not intended as a casual read. The audience for this book needs to stay focused. I had problems being this focused. Characters let their minds wonder. This is how normal minds work. But I found that it lead to my mind wandering and costing me the thread. Knowing that I have gone a woolgathering even as the fictional characters do, I suspect I have missed parts of a well written book. The physical setting Ms Woolf chooses is upscale, London. We are in or near Westminster, Trafalgar Square, Regent's Park and the time is just after World War One. Almost all of the characters are what I think of as the Mayfair Set. In my mind the cast is largely upper middle income, but not titled or financially independent. They are mostly conventional and all financially vulnerable. Clarissa herself has lived a life of privilege with no important responsibilities and we find her to be the shallowest. Her teenage daughter Elizabeth may grow past her mother, but her indecision to become a farmer or a doctor is almost comical given her lack of serious thought about either choice. Elizabeth has a history teacher, one of the few dependent characters who is at once filled with religious inspiration and jealous hatreds. The only other representatives of eh lower, or middle, middle class is Septimus, an man suffering what we would now call post traumatic shock from his war time experiences and his Italian wife, who trims hats and does not understand the threats in her husband's head. For the rest characters are more or less shallow. Their thoughts center on typical moneyed class problems: creating or keeping employment, surviving long lost loves, trying to remember when it was that life stopped being a thing of possibilities. No thought process is so important that the person has to stay focused on it until it is fully thought out. Always there are distractions. Virginia Woolf does tell a masterful story. The minds we inhabit are credible and well written. What are missing are clear individual idiosyncratic styles that would identify each individual brain in a minimum of words. This may be deliberate by Mw. Woolf. A way of saying we are all alike before we are all different. Mrs. Dalloway is worth reading. It may be a book that needs more than one reading. It is one that demands concentration. The lives we will visit are not that interesting. The technique used to tell us about them is.

For me this was less a story than an exploration of life and what it means to be human. And, by necessity, how to get the most out of the lives we live, which, as Woolf reminds us, go by in the blink of an eye. Woolf is a superb writer; perhaps one of the greatest of all time. And this may well be her best work, made all the more impressive by the fact that she used the stream of consciousness technique that jettisons many of the rules most readers are familiar with. There are no chapters, for example, and many of the most important sentences are so short and simple, by design, as to be overlooked. I won’t say it’s difficult to read but you do have to get used to it. The storyline has been well documented by other reviewers. Set in London following the First World War, we follow the day of Mrs. Dalloway, hostess extraordinaire to the “ruling class”, and the wife of an English bureaucrat in the upper crust of the British government but who will never quite grab the golden ring of appointment to the Cabinet. The achievement and the shortcoming both define him in equal measure. There is a long list of characters, many of them quite minor, but to whom Woolf devotes considerable print. That, I believe, is quite by design, because each represents a different representation of the human reality that we each, at some level, accomplish something, but that none of us ever quite realize complete and utter fulfillment. We choose who we are but can never quite choose who we ultimately want to be. It is the duality of human existence and there are no exceptions. Even Mrs. Dalloway, who has devoted her life to living in the present, faces the same existential dilemma. She is admired by some, tolerated by others, and quite disliked by a few. She is, in a word, human and, as a result, she is both defined and burdened by her duality. One of the characters is Septimus Warren Smith, a young veteran of World War I who suffers from what we now call PTSD. He is, in terms of the storyline itself, a minor character, to the point that many have questioned his inclusion. To me, however, he is a central character and the book couldn’t exist without him. And even Woolf herself admitted, when challenged on this, that he was the double of Mrs. Dalloway. Smith is central, it seems to me, because if Mrs. Dalloway hides the doubt and ambiguity of her life successfully, he loses himself to the same ambiguity quite obviously. They are quite like yin and yang, the complementary forces of light and dark, fire and ice, the masculine and the feminine. One cannot exist without the other. In the end it would be difficult to describe this work as uplifting. It is life. And life, as Woolf reminds us, despite pockets and moments of glamour, is always a bit messy and dispiriting. Life is a duality. Tragedy occurs alongside grace. Doubt inevitably accompanies hope. Can there be the joy of success without the crush of failure? All told I think this is a superb book and if you have any interest in exploring the duality of our existence there is a great deal here, in what is a relatively quick read.

I have to admit that I admire what Virginia Woolf did in writing this book — particularly for 1925. I get that the focus wasn't so much on the story but how its told in virtually, stream of consciousness. This is the story of a fairly wealthy woman as she goes through a single day preparing for a dinner party that evening. Once you understand that that is what is happening, it makes it easier to understand what is going on (easier, not necessarily clear) and to follow along but I wouldn't call this an easy book to read or one that I particularly enjoyed reading because I was often reading it at night after work and I was't willing to always put as much effort into it as I probably should have. I got the general story line, could appreciate what Ms. Woolf was doing but I have to say I would never choose to read this again because I can't call it a particularly rich, engrossing story.

"Mrs. Dalloway" by Virginia Woolf is a profound modernist novel that takes place over the course of a single day in June 1923, following Clarissa Dalloway as she prepares to host a lavish party in London. Through Woolf’s innovative stream-of-consciousness narrative, readers delve into Clarissa's reflections on her past decisions, societal expectations, and the transient nature of life and identity. As she navigates memories and encounters with various characters, including the effects of World War I and the struggles of those around her, the novel intricately weaves themes of connection, isolation, and the passage of time. More than just a simple account of a day in the life of a high-society woman, "Mrs. Dalloway" captures the complexity of human experiences, revealing the hidden depths of its characters and the impact of their histories. Woolf’s lyrical prose and innovative structure solidify this work as a classic of modernist literature and an essential exploration of the inner workings of the human mind. With its rich emotional landscape and insightful commentary on societal norms, "Mrs. Dalloway" remains a vital piece of literature that speaks to the enduring complexities of life and the human condition.

This novel depicts much of early 20th century Britain as others did - but in a very different manner. This is a detailed reflection of one person's ideas whose ideals are influenced and among the upper crust society of early 20th century England. Unlike Evelyn Waugh, Woolf does not stride with succinct and pernicious dialogue (but I find similarities between Clarissa in this book to Brenda Mast in "Handful of Dust"). Unlike Max Beerbohm, Woolf does not overly state how cutely atrocious British society can behave. Unlike E.M. Forster, Woolf does not engage in panoramic writing. Each is great. Woolf is unique and magnificent. Moving about in an undulating fashion, her ability to have the characters' thoughts zig and zag throughout each sentence of contemplation is unrivaled. She moves within their thoughts so quickly that within the confines of this less than 200-page novel, we know a tremendous amount about Clarissa and almost as much about her dumped early lover, Peter Walsh, and her old friend Sally Seton. Dialogue exists, but it is the characters' thoughts that speak so vividly. We learn what it is or was that Clarissa did to Peter Walsh that has made him upset or even mad at her. We learn a little about the depression funk of the war-damaged Septimus Warren Smith (Interestingly, as Woolf too was a depressed person who followed Smith in suicide, I wonder why more of his angst was not described or detailed). And, we discover that even one hundred years ago, mothers and daughters (Clarissa and Elizabeth) had problems with one another, in a fashion reminiscent of the "rebellious" years of today's teens. I have not read all of the great writers, but among those I have read, none can enter the thoughts and perceptions as well or as vividly as Woolf. This is a great skill by an unmistakenly great writer, who may have shined most with this novel or its contemporary - "To the Lighthouse." I add that I read this AFTER I read "The Hours." I would recommend to others to do the opposite. And, I would add a recommendation to sandwich those two books with "To the Lighthouse" -- as the three would make a great trilogy of exquisite reading.

I had looked forward to reading this for years yet I found it tedious and overblown. Glad I finally ticked it off my list, but it was such a chore sticking with it until the end.

The stream of consciousness style can be difficult to read. The story and the characters were not compelling enough to make up for the difficult writing style.

I love the cover and it is just exactly as I thought it would be. I like the touch of the book and the letters are clear and of a decent size.

After only a half page of introduction about Virginia Woolf , the readers are suddenly caught into the world which is both inward and outward microscope- like. What did the person think, act and how was the ambience .... light ,smell. movement of air? The author put her soul into just a droplet of water , then reflect the life of the characters in it with the rhythm of second hand of a clock. This is my summarised impression on Virginia Woolf. People who can touch the genius literature with this compact book are so lucky! This novel never includes difficult terminology , it is consisted of quite easy and simple vocabularies ,in a word, '' Page Turner''. However, it is worth to be regarded as an interpretation about humanity and philosophy. There are no appendixes or groceries etc after the plot.

Kitap İngilizce bu belirtilmemiş.

What a stunning book So well written and insightful Would highly recommend

edição linda, adorei. ainda não li, mas gostei do custo benefício.