Virginia Woolf: An Inner Life

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Virginia Woolf is one of the most influential figures in twentieth-century literature. She was original, passionate, vivid, dedicated to her art. Yet most writing about her still revolves around her social life and the Bloomsbury set. 
 
In this fresh, absorbing book, Julia Briggs puts the writing back at the center of Woolf’s life, reads that life through her work, and mines the novels themselves to create a compelling new form of biography. Analyzing Woolf’s own commen­tary on the creative process through her letters, diaries, and essays, Julia Briggs has produced a book that is a convincing, moving portrait of an artist, as well as a profound meditation on the nature of creativity.


544 pages, Paperback

First published January 1,2005

About the author

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Julia Briggs was a writer and critic of great talents, a gifted scholar and a profoundly generous teacher who pioneered the study of children's literature and of women's writing in universities. Deeply humanist in outlook, she had an abiding belief in the value of literary study and in the power of education to transform lives.

Julia Ballam grew up in London. Her father, Harry, worked in advertising, but also tried his hand at writing. Her mother, Trudi, had been a commercial artist. Julia attended South Hampstead high school and in 1963 won a scholarship to study English at St Hilda's College, Oxford.

Beautiful and brilliant, she also became pregnant at the end of her first year and was, she believed, the first female undergraduate not to be instantly expelled. She married the father, Peter Gold, and stayed on to give birth to her son and take a first-class degree. The marriage was short-lived, and in 1969 she married Robin Briggs, historian and fellow of All Souls College, with whom she had two more sons. They were divorced in 1989.

Julia always followed her literary instincts. At Oxford, while bringing up her family, she wrote a BLitt thesis on the English ghost story - not considered a proper subject for a doctorate - which became Night Visitors (1977), her first book. From 1978 she took up a permanent post as fellow of Hertford College, Oxford. In 1983 she published This Stage Play World: Texts and Contexts 1580-1625, revised in 1997 and still in use by students. She then devoted herself to finishing Donald Crompton's book on William Golding, A View from the Spire (1985), after he died. In 1987 she published a life of the children's writer and Fabian socialist, E Nesbit, A Woman of Passion, which contributed to the emerging study of children's literature, as did Children and Their Books: a Celebration of the Work of Iona and Peter Opie (1989), co-edited with Gillian Avery.

Very active in the Oxford English faculty, which she also chaired, Julia canvassed successfully for courses on women's writing. As general editor of the Penguin paperback re-issue of Virginia Woolf's work, when it came out of copyright in 1991, she oversaw the reprinting of 13 volumes, with introductions by renowned women scholars from Britain and the US, some of whom required delicate handling. She died aged 63 of a brain tumour.


Community Reviews

Rating(3.8 / 5.0, 28 votes)
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28 reviews All reviews
April 26,2025
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Woolf has survived into the 21st century as a literary great, holding her place among the men of her time and still, among the writers of today.

Briggs focuses more on the writing itself: the process of it, the woman who wrote it, etc., a biography of her words, if you will, rather than churning out well-known biographical content and the social aspect of her life, familiar to Woolf readers.

What’s interesting about this book is how the individual chapters chronologically correlate with each book published by Woolf, following events and ‘inner thoughts’ concerning the book of that particular time. Throughout the book, copies of drafts, letters and dist jackets are dispersed, offering revealing glimpses into Woolf’s writing processes.

Scrupulously researched and well laid out with a fresh perspective, Virginia Woolf: An Inner Life should be on every woman’s bookshelf, in a room of her own.
April 26,2025
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This book is very much a writer's look at a writer's life. Rather than being a conventional biography, going from childhood to adulthood, Briggs takes each of Woolf's major works and writes about her life at the time of writing, drawing extensively on Woolf's own letters and diaries as well as others' writing about her. In this way, we don't find out much about Woolf's childhood until near the end of the book, when Woolf herself started writing her autobiographical notes.

I read this book in order from cover to cover, but I am not convinced this was the best way to approach it. I think it would make more sense to read the relevant chapter alongside reading the Woolf book the chapter is about. As I come to read more of Woolf's work, I think it will be useful to go back to this book and read about the context of the work. Each chapter ends with the "aftermath" of the relevant book with extracts from contemporaneous reviews and essays. I found these interesting.

Briggs is clearly very knowledgeable about Virginia Woolf's work and I liked the approach of getting to know a writer's life via that writer's own writings. However, at times the writing was very dry, and I did find it a little bit of a slog as a result.
April 26,2025
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The life of Virginia Woolf, with all its lumps and imperfections, framed within the context of her writing. Each chapter represents one of her books, and talks about what she was doing at the time, and how the events of her real life inspired her work. My favourite chapters were about the works I was most familiar with, namely "Orlando" and "A Room of One's Own," as well as the chapter about "Three Guineas" that unpacks Woolf's antisemitism, which the author concludes was in line with the attitudes of the day. I'm going to look up some other takes on this now. I was also interested, as I always have been, in the parts about her and Vita Sackville-West. "You make me up and I'll make you up."

Also, this: "Shall I ever write again? And what is writing?"
April 26,2025
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Poorly written and factually suspect. The author reaches for an erudite form but fails on the basics of biography. A terrible slog.
April 26,2025
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A very interesting and well written book. It is a great gift Virginia but she paid greatly for it, like most artist.
April 26,2025
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While Briggs isn't radically insightful, she does a beautiful job tying Woolf's biography to her work. It feels very much like a writer's biography - written about a writer, for writers - in how it illuminates her process and creative struggle.

Also, the cover is flipping gorgeous.
April 26,2025
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Although the book was interesting--I mean, I do love Virginia Woolf, and I really enjoyed learning more about her, and this book did make me want to read her journals and letters more--largely it was a disappointment. The writing was shabby and lacked variety, engaged in gratuitous, not to mention elementary, word play, and the author's pounces on easy answers to question of Virginia Woolf's work (like what the significance is to the Manx cat in A Room of One's Own--really, what could lack possibly mean in a feminist text about women being locked out of the literary world and having men write their lives for them for years and years until reaching a point where a new language for women must be created so that a feminine voice can actually exist--what could lack possibly mean here? the mind reels).
April 26,2025
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Not the best choice I could've made for my first Virginia Woolf biography, but an interesting read nonetheless. The book is structured around her major works, moving through them in chronological order and exploring how each responded to its personal, political and social context. Good if you want to track the development of her style and ideas or if you're seeking insight into her creative process; not so good if you're looking for a traditional linear biography, since these back stories tend to overlap and flow into one other. Quite heavy on the literary analysis at times (the author assumes at least a familiarity with both Woolf's personal life and her oeuvre), which made for slow and demanding reading, but I imagine it would be a good field guide to reading her works in order.

While the book definitely sparked my interest in reading more of her work, the best part by far was the extensive use of Woolf's own diaries and letters. In Briggs' words, they have the capacity to both "descend to trivial annoyance and rise to pure poetry," revealing their author's wit, character and sharp intelligence more eloquently than any biographer could.
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