Showing posts with label Vera Brittain. Show all posts
Showing posts with label Vera Brittain. Show all posts

13 September 2015

A Woolfian Summer


The new school year has started, which means I've officially ended the work I did for a summer research fellowship from the University of New Hampshire Graduate School, although there are still a few loose ends I hope to finish in the coming days and weeks. I've alluded to that work previously, but since it's mostly finished, I thought it might be useful to chronicle some of it here, in case it is of interest to anyone else. (Parts of this are based on my official report, which is why it's a little formal.)

I spent the summer studying the literary context of Virginia Woolf’s writings in the 1930s. The major result of this was that I developed a spreadsheet to chronicle her reading from 1930-1938 (the period during which she conceived and wrote her novel The Years and her book-length essay Three Guineas), a tool which from the beginning I intended to share with other scholars and readers, and so created with Google Sheets so that it can easily be viewed, updated, downloaded, etc. It's not quite done: I haven't finished adding information from Woolf's letters from 1936-1938, and there's one big chunk of reading notebook information (mostly background material for Three Guineas) that still needs to be added, but there's a plenty there.

Originally, I expected (and hoped) that I would spend a lot of time working with periodical sources, but within a few weeks this proved both impractical and unnecessary to my overall goals. The major literary review in England during this period was the Times Literary Supplement (TLS), but working with the TLS historical database proved difficult because there is no way to access whole issues easily, since every article is a separate PDF. If you know what you’re looking for, or can search by title or author, you can find what you need; but if you want to browse through issues, the database is cumbersome and unwieldy. Further, I had not realized the scale of material — the TLS was published weekly, and most reviews were 800-1,000 words, so they were able to publish about 2,000 reviews each year. Just collecting the titles, authors, and reviewers of every review would create a document the length of a hefty novel. The other periodical of particular interest is the New Statesman & Nation (earlier titled New Statesman & Athenaeum), which Leonard Woolf had been an editor of, and to which he contributed many reviews and essays. Dartmouth College has a complete set of the New Statesman in all its forms, but copies are in storage, must be requested days in advance, and cannot leave the library.

All of this work could be done, of course, but I determined that it would not be a good use of my time, because much more could be discovered through Woolf’s diaries, letters, and reading notebooks, supplemented by the diaries, letters, and biographies of other writers. (As well  as  Luedeking and Edmonds’ bibliography of Leonard Woolf, which includes summaries of all of his NS&N writings — perfectly adequate for my work.)

And so I began work on the spreadsheet. Though I chronicled all of Woolf’s references to her reading from 1930-1938, my own interest was primarily in what contemporary writers she was reading, and how that reading may have affected her conception and structure of The Years and, to a lesser extent, Three Guineas (to a lesser extent because her references in that book itself are more explicit, her purpose clearer). As I began the work, I feared I was on another fruitless path. During the first years of the 1930s, Woolf was reading primarily so as to write the literary essays in The Common Reader, 2nd Series, which contains little about contemporary writing, and from the essays themselves we know what she was reading.

But then in 1933 I struck gold with this entry from 2 September 1933:

16 August 2015

The Perils of Biopics: Life in Squares and Testament of Youth


The universe has conspired to turn my research work this summer into mass culture — while I've been toiling away on a fellowship that has me investigating Virginia Woolf's reading in the 1930s and the literary culture of the decade, the mini-series Life in Squares, about the Bloomsbury group and Woolf's family, played on the BBC and the film Testament of Youth, based on Vera Brittain's 1933 memoir of her experiences during World War One, played in cinemas.

I've now seen both and have mixed feelings about them, though I enjoyed watching each. Life in Squares offers some good acting and excellent production design, though it never really adds up to much; Testament of Youth is powerful and well constructed, even as it falls into some clichés of the WWI movie genre, and it's well worth seeing for its lead performance. 

The two productions got me thinking about what we want from biographical movies and tv shows, how we evaluate them, and how they're almost always destined to fail. (Of course, "what we want" is a rhetorical flourish, a bit of fiction that would more accurately be expressed as "what I think, on reflection, that I want, at least now, and what I imagine, which is to say guess, what somebody other than myself might want". For the sake of brevity, I shall continue occasionally to use the phrase "what we want".)