Mrs. Dalloway
by Virginia Woolf
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Book Summary Information
Author: Virginia WoolfEdition: Paperback
Audio: English (Unknown); English (Original Language); English (Published)
Published: 1990-09-24
ISBN: 0156628708
Number of pages: 216
Publisher: Mariner Books
Product features:
- ISBN13: 9780156628709
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
Book Reviews of Mrs. Dalloway
Book Review: An expanding web
Summary: 5 Stars
This is a spellweaver of a book, slipping lucidly from minute to minute over the course of a perfect London summer's day, its gossamer threads forming an expanding web as complex and interconnected as a symphony. I came to it after reading TO THE LIGHTHOUSE, written two years later (1925 and 1927). Both books are set in summer, and both are confined to a single physical setting. But whereas the house and garden in TO THE LIGHTHOUSE, nominally in Scotland, might almost be anywhere, London is a real and precise presence in MRS DALLOWAY, lovingly described over a range of several miles. The later book, though concentrating on two specific days, has a span of almost a decade; MRS DALLOWAY follows the classical unity of time, starting in the early morning and continuing until night in a single unbroken span (a precedent perhaps imitated by Ian McEwan in his SATURDAY). Conversely, while TO THE LIGHTHOUSE confines itself to about a dozen characters, MRS DALLOWAY moves in ever-expanding ripples, adding more and more people as guests arrive for Clarissa Dalloway's party in the book's concluding scene.
The hours of the day are marked by the sound of Big Ben: "First a warning, musical; then the hour, irrevocable. The leaden circles dissolved in the air." The image of expanding and dissipating circles is central; as in TO THE LIGHTHOUSE, Woolf is preoccupied with the passage of time; both books are a memento mori. But neither one is grim; there is a summer freshness here, a feeling for the charm of society life in a great city, that fits the preliminary musical chimes of the great clock -- but the irrevocable toll of time is not forgotten. We see Clarissa Dalloway, a little over fifty, wife of a respected politician with an assured place in society. Like the sound of the clock, like ripples on the water, her circles have also expanded since her marriage, but have they also dissipated, dissolved in the air? Near the beginning of the book, she is visited by Peter Walsh, a former suitor whom she refused some thirty years before, now back home after many years in India. Both of them have changed, but the memories take her back and force her to weigh and reweigh her concepts of success and happiness.
All the characters in the novel are known personally to Clarissa Dalloway, with the exception of only two: Septimus Warren Smith and his Italian wife Lucrezia, whose story, weaving in and out of the main one, takes up about a fifth of the whole. Septimus, a clerk by profession but something of a poet and aesthete, has returned from the war unable to feel. When his best friend is killed in the last days of the war, he congratulates himself on surviving without cracking up, but soon begins to recognize his lack of emotion for the curse that it is; he married Lucrezia largely in an attempt to overcome this. He must be one of the first victims of shell-shock to appear in literature (but not the last: see Pat Barker's magnificent REGENERATION and, in a lighter vein, all of Jacqueline Winspear's MAISIE DOBBS series). Virtually everything in Woolf's mature novels is connected primarily by thought rather than through action, but this takes the principle even farther, linking Septimus to Clarissa in theme only, as her Doppelgänger; the author admitted as much in a later preface. In some ways they are opposites: Clarissa so full of life, a society hostess married to an establishment figure; and Septimus, potentially suicidal (like Woolf herself), a provincial nobody married to the daughter of a foreign innkeeper. And yet, for all his inability to feel, there is an immediacy to the scenes between Septimus and Lucrezia, whose lives are played out in emotional primary colors, whereas Clarissa's world, for all its brilliance, is in iridescent shimmers and half-tones.
And what of Mr. Richard Dalloway, MP? We see surprisingly little of him, but what we do see only emphasizes the theme of lost feeling that runs through the book. Something makes him realize that it has been years since he has told his wife of his love. So he buys a great bunch of flowers and we see him "walking across London to say to Clarissa in so many words that he loved her." The phrase is repeated again and again. When he does get home, the scene does not go quite like that, but it is a touching one all the same. For Richard is one of those Englishmen who can only show their feelings obliquely. Poor Peter Walsh, on the other hand, who weeps openly and is an emotional wreck, is considered a failure, "not quite the thing." And Clarissa, still precariously aware of both sides of her nature, must steer her way between the two. And we rejoice that she can.
Summary of Mrs. Dalloway
Direct and vivid in her account of Clarissa Dalloway?s preparations for a party, Virginia Woolf explores the hidden springs of thought and action in one day of a woman?s life.
In Mrs. Dalloway, the novel on which the movie The Hours was based, Virginia Woolf details Clarissa Dalloway?s preparations for a party of which she is to be hostess, exploring the hidden springs of thought and action in one day of a woman?s life. The novel "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).
As Clarissa Dalloway walks through London on a fine June morning, a sky-writing plane captures her attention. Crowds stare upwards to decipher the message while the plane turns and loops, leaving off one letter, picking up another. Like the airplane's swooping path, Virginia Woolf's Mrs. Dalloway follows Clarissa and those whose lives brush hers--from Peter Walsh, whom she spurned years ago, to her daughter Elizabeth, the girl's angry teacher, Doris Kilman, and war-shocked Septimus Warren Smith, who is sinking into madness.
As Mrs. Dalloway prepares for the party she is giving that evening, a series of events intrudes on her composure. Her husband is invited, without her, to lunch with Lady Bruton (who, Clarissa notes anxiously, gives the most amusing luncheons). Meanwhile, Peter Walsh appears, recently from India, to criticize and confide in her. His sudden arrival evokes memories of a distant past, the choices she made then, and her wistful friendship with Sally Seton.
Woolf then explores the relationships between women and men, and between women, as Clarissa muses, "It was something central which permeated; something warm which broke up surfaces and rippled the cold contact of man and woman, or of women together.... Her relation in the old days with Sally Seton. Had not that, after all, been love?" While Clarissa is transported to past afternoons with Sally, and as she sits mending her green dress, Warren Smith catapults desperately into his delusions. Although his troubles form a tangent to Clarissa's web, they undeniably touch it, and the strands connecting all these characters draw tighter as evening deepens. As she immerses us in each inner life, Virginia Woolf offers exquisite, painful images of the past bleeding into the present, of desire overwhelmed by society's demands. --Joannie Kervran Stangeland
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