Cover of To the Lighthouse

To the Lighthouse

by Unknown Author

3.8
(29 ratings)
240 pages2013HarperCollins Publishers LimitedISBN 9780007535323
Adventurousemotionalhopefullightheartedreflectiveslowchallengingdarkemotionalreflectivemediumchallengingemotionalreflectiveslowchallengingemotionalreflectiveslow

About this book

<p>HarperCollins is proud to present its incredible range of best-loved, essential classics.</p><br/> <p>Every summer, the Ramsays visit their summer home on the beautiful Isle of Skye, surrounded by the excitement and chatter of family and friends, mirroring Virginia Woolf's own joyful holidays of her youth. But as time passes, and in its wake the First World War, the transience of life becomes ever more apparent through the vignette of the thoughts and observations of the novel's disparate cast.</p><br/> <p>A landmark of high modernism and the most autobiographical of Virginia Woolf's novels, To the Lighthouse explores themes of loss, class structure and the question of perception, in a hauntingly beautiful memorial to the lost but not forgotten.</p><br/> <p>Chosen by TIME magazine as one of the 100 best English-language novels from 1923 to the present.</p>

Publication Details

Publisher
HarperCollins Publishers Limited
Published
2013
Pages
240
ISBN
9780007535323
Language
eng

About Unknown Author

Virginia Woolf was an English novelist, essayist, diarist, epistler, publisher, feminist, and writer of short stories, regarded as one of the foremost modernist literary figures of the twentieth century. ([Source][1].) [Comment from Ursula Le Guin on The Guardian][2]: > You can't write science fiction well if you haven't read it, though not all who try to write it know this. But nor can you write it well if you haven't read anything else. Genre is a rich dialect, in which you can say certain things in a particularly satisfying way, but if it gives up connection with the general literary language it becomes a jargon, meaningful only to an ingroup. Useful models may be found quite outside the genre. I learned a lot from reading the ever-subversive Virginia Woolf. > I was 17 when I read [Orlando][3]. It was half-revelation, half-confusion to me at that age, but one thing was clear: that she imagined a society vastly different from our own, an exotic world, and brought it dramatically alive. I'm thinking of the Elizabethan scenes, the winter when the Thames froze over. Reading, I was there, saw the bonfires blazing in the ice, felt the marvellous strangeness of that moment 500 years ago – the authentic thrill of being taken absolutely elsewhere. > How did she do it? By precise, specific descriptive details, not heaped up and not explained: a vivid, telling imagery, highly selected, encouraging the reader's imagination to fill out the picture and see it luminous, complete. > In [Flush][4], Woolf gets inside a dog's mind, that is, a non-human brain, an alien mentality – very science-fictional if you look at it that way. Again what I learned was the power of accurate, vivid, highly selected detail. I imagine Woolf looking down at the dog asleep beside the ratty armchair she wrote in and thinking what are your dreams? and listening . . . sniffing the wind . . . after the rabbit, out on the hills, in the dog's timeless world. > Useful stuff, for those who

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