Woolf Editing / Editing Woolf focuses on Woolf as editor both of her own work and of the Hogarth Press, and on editing Woolf—on the conflation of textual and theoretical criticism of Woolf’s oeuvre. Since many contributors are editors, creative writers, and critics, contributions highlight the intersections of those three roles. The essays variously addressed the “granite” of close textual reading and the “rainbow” of theoretical approaches to Woolf’s writings. Several more flexible versions of editing emerge in the papers that discuss adaptations of Woolf to film, theatre, and music. Brenda Silver’s contribution in memory of Julia Briggs opens the volume, and James Haule’s contribution concludes it.

The essays in this book variously addressed the "granite" of close textual reading and the "rainbow" of theoretical approaches to Woolf's writings. Several more flexible versions of editing emerge in the papers that discuss adaptations of Woolf to film, theatre, and music. Brenda Silver's contribution in memory of Julia Briggs opens the volume, and James Haule's concludes it.

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, biography. It describes a variety of editorial practices and deals with current theories informing the critical editing of the prose of this singular twentieth-century woman writer. This collections of essays by distinguished scholar-critics of Virginia Woof confronts a number of contemporary issues in critical editing: the use of pre-print materials, authorial revision, the collation of historical texts; and it engages in a lively discussion of the present-day editorial apparatus, tackling questions on annotation and paratext. The volume is essential reading for anyone seriously interested in the critical editing of Modernist writing or in the ways in which Woolf's canon has been and is being preserved for her present and future readers.

Just over hundred years ago, in 1917, Leonard and Virginia Woolf began a publishing house from their dining-room table. This volume marks the centenary of that auspicious beginning. Inspired by Leonard and Virginia Woolf's radical innovations as independent publishers, the volume celebrates the Hogarth Press as a key intervention in modernist and women's writing and demonstrates its importance to independent publishing and bookselling in the long twentieth century. Building on work shared at the 27th Annual Virginia Woolf Conference held at the University of Reading in June 2017, the contributors discuss what Leonard Woolf called "The World of Books" in his long-running column on all sorts of book matters in the weekly periodical the Nation and Athenaeum. Topics include archives, craftsmanship, artwork, libraries, collecting, reading, publishing, translation, reception, re-visions, editing, and teaching. The essays collected here foreground the growing interventions of book and material history in Woolf studies and together provide a timely contribution to debates about independent publishing in our own rapidly-shifting world of books.

With thirty-nine original chapters from internationally prominent scholars, The Oxford Handbook of Virginia Woolf is designed for scholars and graduate students. Feminist to the core, each chapter examines an aspect of Woolf's achievement and legacy. Each contribution offers an overview that is at once fresh and thoroughly grounded in prior scholarship. Six sections focus on Woolf's life, her texts, her experiments, her life as a professional, her contexts, and her afterlife. Opening chapters on Woolf's life address the powerful influences of family, friends, and home. The section on her works moves chronologically, emphasizing Woolf's practice of writing essays and reviews alongside her fiction. Chapters on Woolf's experimentalism pay special attention to the literariness of Woolf's writing, with opportunity to trace its distinctive watermark while 'Professions of Writing', invites readers to consider how Woolf worked in cultural fields including and extending beyond the Hogarth Press and the TLS. The 'Contexts' section moves beyond writing to depict her engagement with the natural world as well as the political, artistic, and popular culture of her time. The final section on afterlives demonstrates the many ways Woolf's reputation continues to grow, across the globe, and across media, in ideas and in artistic expression. Of particular note, chapters explore three distinct Woolfian traditions in fiction: the novel of manners, magical realism, and the feminist novel.

Revisiting Virginia Woolf's most experimental novels, Elsa Högberg explores how Woolf's writing prompts us to re-examine the meaning of intimacy. In Högberg's readings of Jacob's Room, Mrs Dalloway, To the Lighthouse and The Waves, intimacy is revealed to inhere not just in close relations with the ones we know and love, but primarily within those unsettling encounters which suspend our comfortable sense of ourselves as separate from others and the world around us. Virginia Woolf and the Ethics of Intimacy locates this radical notion of intimacy at the heart of Woolf's introspective, modernist poetics as well as her ethical and political resistance to violence, aggressive nationalism and fascism. Engaging contemporary theory – particularly the more recent works of Judith Butler, Luce Irigaray and Julia Kristeva – it reads Woolf as a writer and ethical thinker whose vital contribution to the modernist scene of inter-war Britain is strikingly relevant to critical debates around intimacy, affect, violence and vulnerability in our own time.