Virginia Woolf and the World of Books : The Centenary of the Hogarth Press Selected Papers from the Twenty-seventh Annual International Conference on Virginia Woolf Virginia Woolf and the World of Books: The Centenary of the Hogarth Press Selected Papers from the Twenty-seventh Annual International Conference on Virginia Woolf Edited by Nicola Wilson and Claire Battershill © 2018 Clemson University Press All rights reserved First Edition print ISBN: 978-1-942954-56-9 epdf ISBN: 978-1-942954-57-6 For information about Clemson University Press, please visit our website at www.clemson.edu/press. Typeset in Minion Pro by series editor Wayne Chapman, with production and design specialist Charis Chapman. Cover imagery by Matthew Standage. iv Table of Contents Introduction by Claire Battershill and Nicola Wilson .....................................................vii List of Abbreviations ..............................................................................................................x Keynote Ted Bishop  Getting a Hold on Haddock: Virginia Woolf’s Inks ...................................1 In the Archives Alice Staveley  A Voice in the Archives: In Search of Woolf’s Lost Tape ....................20 Amanda Golden  On Manuscripts: Virginia Woolf and Archives ...............................26 Paulina Pająk  Echo’s Voices: Virginia Woolf, Irena Krzywicka, and The Well of Loneliness ...................................................................................................................31 Craftsmanship Michael Black  “Wood is a pleasant thing to think about”: William Blake and the Hand-Printed Books of the Hogarth Press .................................................40 Aimee Gasston  Virginia Woolf, the Hogarth Press, and “Short Things” ...................50 Karina Jakubowicz  “Scarcely a Brick to Be Seen”: Breaking Boundaries in “Kew Gardens” and “The Mark on the Wall” ............................................................56 Alexandra Peat  Virginia Woolf’s Arts and Craftsmanship ..........................................62 The Hogarth Press Megan Beech  “obscure, indecent and brilliant”: Female sexuality, the Hogarth Press, and Hope Mirrlees .............................................................................70 Sangam MacDuff  After the Deluge, The Waves ..............................................................74 Eleanor McNees  Alternative Histories: Hogarth Press’s World-Makers and World-Shakers Series ............................................................................................83 Virginie Podvin  The Hogarth Press, a Singular Art Gallery ........................................93 Hours in A Library Tom Breckin  Hours in a Library: Virginia Woolf and Leslie Stephen ......................102 Anne Reus  Two Libraries: Reading A Room of One’s Own and Margaret Oliphant’s “The Library Window” ...........................................................109 Leslie Arthur  Bibliographers, Booksellers, and Collectors of the Hogarth Press .....115 The Art of the Book Hana Leaper  Ekphrastic Writing, Illusive Illustration: Vanessa Bell’s Embroideries for Virginia Woolf’s “Kew Gardens” ...............................................122 Claudia Tobin  “The active and the contemplative”: Charles Mauron, Virginia Woolf, and Roger Fry .................................................................................128 Maggie Humm  Vanessa Bell’s “tiny book”: Woolf, Impressionism, Roger Fry, and Anti-Semitism .....................................................................................................135 The Art of the Narrative Adam Hammond  Woolf as a Model Builder: Complex Form in the “Ode to Cutbush” ........................................................................................................142 v Brian Richardson  “Books Were Not in Their Line”: The Material Book and the Deceptive Scene of Reading in To the Lighthouse ....................................149 Elisa Kay Sparks  Mrs. Brown and the Trojan Cow: Deconstructing Aristotle in “An Unwritten Novel” ...........................................................................155 Making New Books: Creative Approaches Jane Goldman, Calum Gardner, Colin Herd  Queer Woolf: Queer Approaches and Creative-Critical Research ...........................................................162 Leslie Kathleen Hankins  Following Virginia Woolf’s Call for a Press of One’s Own: Making Waves Press Launches Judith’s Room .............................................189 Paula Maggio  Thinking Is Our Fighting: How to Read and Write Like Woolf in the Age of Trump .......................................................................................195 The Book in the World: Woolf’s Global Reception Adriana Varga  The Woolf Behind the Iron Curtain: The Reception of Virginia Woolf’s Works in Romania, 1947–1989 ...................................................202 Maria Oliveira  Virginia Woolf: Translation, Reception and Impact in Brazil ........................................................................................................................208 Riley Wilson  Zines, Polyvocality, and Sound: How Modernist First-Wave Feminism Inspired Riot Grrrl ...................................................................................220 Lindsey Cordery  Virginia Woolf and South America: Border-reading ...................226 Editing and Teaching Woolf Elizabeth Willson Gordon, Tyler Johansson, Sara Grimm, and Rynelle Wiebe  Learning Through the (Digital) Archive: Notes on Undergraduate Research ...........................................................................234 Jessica Berman, Jane Goldman, Susan Sellers, Bryony Randall, and Madeleine Detloff  Editing Woolf ..........................................................................241 Intertextuality Joyce E. Kelley  Virginia Woolf’s Appreciation for Walt Whitman’s Leaves of Grass: Book Making/Reading, Intimacy, Collectivity ...........................254 Yukiko Kinoshita  Reading Intercultural, Intergenerational and Intertextual Woolf: Virginia Woolf’s “The Lady in the Looking-Glass,” Oscar Wilde’s “The Sphinx without a Secret,” and Lady Murasaki’s Yugao ........260 Kathryn Simpson  To “write about Mrs Lindbergh”: Woolf, Flight, and Anne Morrow Lindbergh’s North to the Orient ......................................................268 Lives in Writing Aaron J. Stone  Taste and the Tasteful: Woolf, Radclyffe Hall, and the Culture of Queer Elitism ..........................................................................................276 Julie Vandivere  Defining Life in Essays and Reports: “Mr. Bennett and Mrs. Brown” and the Government Reports on Infant Human Mortality ...........283 Gill Lowe  “Penning and pinning”: Vita, Virginia, and Orlando ................................289 Notes on Contributors .......................................................................................................296 vi Introduction by Claire Battershill and Nicola Wilson “By the way, we’ve bought our printing press.…Heaven knows how one prints—but please consider whether you haven’t a page or two of practically faultless prose in some desk.” —Virginia Woolf to Lady Robert Cecil, 14 April 1917 (L2 149) The year 2017 marked the centenary of the founding of the Hogarth Press. Begun small and domestic, with barely-paid assistants brought in to help typeset and print “all our friends [sic] stories” (L2 120), Virginia and Leonard Woolf’s table- top press grew into a financially prosperous and well-respected publishing house. It outlived its like-minded models and contemporaries in the period of modernist small presses—including Roger Fry’s Omega Workshops (1913–19), Nancy Cunard’s Hours Press (1928–31), and Laura Riding and Robert Graves’ Seizen Press (1927–35)—to flourish in the postwar era. With Leonard still at the helm, the Hogarth Press was ac- quired as a limited company by Chatto & Windus in 1946 when John Lehmann sold his fifty per cent share. The Hogarth Press as run by Leonard and Virginia Woolf was constantly surprising in its output. Though it is still best known for its publishing links within Bloomsbury, its lists were eclectic and outward-looking, generically and geographically diverse. The Press published educational pamphlets, essays, letters, self-help books, and children’s literature, as well as poetry and works on aesthetics, biographies and histories, and innovative and bestselling novels. We have been working on the Hogarth Press for several years now, but it was still a delight to be pulled up short by Professor Susheila Nasta’s description of it as “a radical left-wing publisher” during her keynote on “The Bloomsbury Indians.” Looking through Hogarth’s lists consistently asks us to re-think well-worn narratives and to question what we know about Virginia Woolf. Just like her writing, the Hogarth Press offers a queering of knowledge, a questioning of the basis of our assumptions. There are so many surprises in the nearly 500 works published up to and including its incorporation with Chatto in 1946. The Hogarth Press is a delight for collectors and readers and writers to explore. The 27th Annual Virginia Woolf conference was all about the centenary and the chance it offered us to rethink Woolf as publisher and author and to celebrate the world of small presses, the resurgence of letterpress, and the role of independent publishers today. The idea for the conference was conceived in the back of a taxi cab in Vancou- ver, as members of the Modernist Archives Publishing Project (MAPP) travelled home refreshed and enthused from the 23rd Annual Virginia Woolf conference in 2013. The idea to host at the University of Reading in the UK, which holds the business archives of the Hogarth Press as part of its Archive of British Publishing and Printing, made perfect sense. We hoped to recognize the growth of new work on the Hogarth Press, in book history and material culture in Woolf studies, and we adopted the title, “The vii World of Books,” from Leonard’s weekly column in the Nation and Athenaeum (1923– 1929). We were overwhelmed by the enthusiasm for the topic as the abstracts rolled in and are delighted to share some of these essays with you here. Thanks to all of the contributors, to Wayne Chapman and Clemson University Press for making this vol- ume possible, and to everyone who took part over five scintillating days in June 2017. Alongside the conference, we wanted to celebrate the contribution of the Hogarth Press to women’s writing and independent publishing and to engage with contemporary printers and letterpress artists working in our digital age. We put out a call for artworks to the letterpress community and received a stunning range of work that went on dis- play in Special Collections at the University of Reading between June–September 2017. This formed part of an exhibition “#HogarthPress100: Leonard and Virginia Woolf’s Hogarth Press” (kindly supported by the Museum of English Rural Life in Reading and the Virginia Woolf Society of Great Britain), that juxtaposed new letterpress artwork alongside archival materials and objects: original Hogarth artwork and advertisements, Order Books, correspondence, woodblocks by Vanessa Bell and Roger Fry, as well as the Woolfs’ travelling bags (loaned from the Penguin Random House archives in Rush- den). We worked hard to maintain this emphasis on praxis throughout. Geoff Wyeth and the Department of Typography and Graphic Communication at Reading ran a letterpress workshop for delegates; Guy Baxter of Special Collections took guided tours through the exhibition and offered a behind-the-scenes glimpse into the Archive of British Publishing and Printing. Our first keynote, Professor Ted Bishop, treated us to an interactive demonstration of ink-making in a celebration of his recent work on the history of ink. We also printed a limited edition centenary keepsake—designed by Su- sann Vatnedal, a student in the department of Typography at Reading—that included Woolf’s 1924 essay “The Patron and the Crocus” and an unpublished readers’ report from the Hogarth Press archives on John Hampson’s early submissions to the Press. The Hogarth Press centenary also offered the chance to work with the current Hogarth imprint (now under the aegis of Penguin Random House) and brought us into the orbit of the fabulous publisher, Clara Farmer. We hooked up with her team on social media to capture the variety of Hogarth-centenary themed events taking place over the year (see #HogarthPress100 on Twitter and Instagram). We got involved with printing Hope Mirrlee’s “Paris” in the old printing rooms in Oxford with Dennis Duncan and Oxford’s Centre for the Study of the Book, and celebrated the centenary with Mariella Frostrup and author Mark Haddon on BBC Radio 4’s “Open Book.” On the first night of the conference we hosted a Hogarth Press birthday party—complete with Hogarth colophon cake designed by Cressida Bell—cut by Clara Farmer and the inestimable Cecil Woolf. The following evening we had a discussion of Wayne McGregor’s “Woolf Works” with Uzma Hameed (dramaturg) and our keynote Professor Anna Snaith; fol- lowed by a multi-media performance by artist and violinist Michiko Theurer, “Circling the Waves.” The next day, Claire led a discussion between Clara Farmer and Nicola Beauman of Persephone Books on the challenges facing publishers and (independent) booksellers today. We talked brands, readers, and day-to-day working practices. And we reflected on what being able to publish their own work meant to the Woolfs, and what they model for us today. viii The conference also featured three roundtables—one on pedagogy, another on the difficulties and ethics of editing Woolf, as well as our own session where we launched the Modernist Archives Publishing Project (MAPP). There are essays from the first two roundtables in this volume and we hope you will want to learn more about MAPP: www.modernistarchives.com. MAPP is the fledgling product of our collective endeav- ors on the Hogarth Press and we hope it will live up to the generous welcome offered by conference delegates. We encourage readers of this volume to get in touch and be involved with the project and, if you are a teacher, to think about getting your students involved as contributors too. Organizing an international conference for a large and diverse group is no mean feat, and we toasted to feminism, friendship, and collaboration during our Saturday banquet. We would like to take this opportunity to thank everyone who contributed to the conference in so many ways and to thank all of our contributors to this volume for their dedication and good humor. Asking Woolfians to consider the Hogarth Press brought us everything that makes up the world of books: from the material and histori- cal to the textual and ineffable. Our conference keynotes began with Ted Bishop on the solid object, materiality, and ink on paper; we worked through Susheila Nasta’s talk on silence in the archive and the colonial and postcolonial geo-politics of the Press; we ended with Anna Snaith on ethereality, sound, and stunning recordings of the bird- song and war sounds that cluttered the air during Woolf’s lifetime. We look forward to further conversations with you about Woolf’s books in the world, and Woolf’s world of books, and we hope you enjoy reading these wonderful papers as much as we did. Works Cited Theurer, Michiko. “Circling the Waves.” Web. https://www.michikotheurer.com/circling-the-waves.html Wilson, Nicola. “#HogarthPress100: Leonard and Virginia Woolf’s Hogarth Press.” Web. http://www.reading. ac.uk/special-collections/exhibitions/sc-exhibition-hogarth.aspx Woolf, Virginia. The Letters of Virginia Woolf. Vol 2. Ed. Nigel Nicolson and Joanne Trautman. New York: Harcourt Brace, 1976. ix Virginia Woolf Standard Abbreviations (as established by Woolf Studies Annual) AHH A Haunted House AROO A Room of One’s Own AWD A Writer’s Diary, ed. Leonard Woolf BP Books and Portraits BTA Between the Acts CDB The Captain’s Death Bed and Other Essays CE Collected Essays (ed. Leonard Woolf, 4 vols.: CE1, CE2, CE3, CE4) CR1 The Common Reader CR2 The Common Reader, Second Series CSF The Complete Shorter Fiction (ed. Susan Dick) D The Diary of Virginia Woolf (5 vols.: D1, D2, D3, D4, D5) DM The Death of the Moth and Other Essays E The Essays of Virginia Woolf (ed. Stuart Clarke and Andrew McNeillie, 6 vols.: E1, E2, E3, E4, E5, E6) F Flush FR Freshwater GR Granite and Rainbow: Essays HPGN Hyde Park Gate News (ed. Gill Lowe) JR Jacob’s Room JRHD Jacob’s Room: The Holograph Draft (ed. Edward L. Bishop) L The Letters of Virginia Woolf (ed. Nigel Nicolson and Joanne Trautmann, 6 vols.: L1, L2, L3, L4, L5, L6) M The Moment and Other Essays MEL Melymbrosia MOB Moments of Being MT Monday or Tuesday MD Mrs. Dalloway ND Night and Day O Orlando PA A Passionate Apprentice RF Roger Fry TG Three Guineas TTL To the Lighthouse TW The Waves TY The Years VO The Voyage Out WF Women and Fiction: The Manuscript Versions of A Room of One’s Own (ed. S. P. Rosenbaum) x