By Laura Walker, Lead Curator of Modern Archives and Manuscripts. Discover more about the British Library’s Virginia Woolf collections on Discovering Literature and find the three manuscript notebooks containing drafts of Mrs Dalloway on Digitised Manuscripts. See the Royal Society of Literature’s website for more information on their Dalloway Day events.

Virginia Woolf is perhaps best known for her ground breaking novel, Mrs Dalloway, which follows the events of a single Wednesday in June. The novel uses a stream of consciousness to follow individual characters inner thoughts and feelings. The two main characters, the socialite Clarissa Dalloway and the shell shocked First Wold War veteran Septimus Smith often provide mirrors of one another, reflecting concepts of sanity and insanity and life and death.

Virginia Woolf, The Hours or Mrs Dalloway, Add MS 51044 front cover and f.5

© The Society of Authors as the Literary Representative of the Estate of Virginia Woolf. You may not use the material for commercial purposes. Please credit the copyright holder when reusing this work. 

Unsurprisingly it took longer than a day for Woolf to write the novel. She wrote at least two drafts of Mrs Dalloway, originally called The Hours, in seven cloth bound notebooks. Three of these notebooks are now held at the British Library. Woolf kept a record of the dates on which she wrote particular sections of the drafts. The date on the first page of the first British Library notebook (Add MS 51044) is Wednesday 27 June 1923, and follows on from the draft in another notebook at the Berg collection at the New York Public Library.

Virginia Woolf, The Hours or Mrs Dalloway, Add MS 51045 f.113

© The Society of Authors as the Literary Representative of the Estate of Virginia Woolf. You may not use the material for commercial purposes. Please credit the copyright holder when reusing this work. 

The first notebook at the British Library begins with Peter Walsh, an old friend and flame of Clarissa’s walking in Westminster, which appears midway through the novel. This draft was completed over a year later on Thursday 9 October 1924 at 11.45 and runs into the second notebook (Add MS 51045) held at the British Library. Folio 113 is full of crossings out and changes to the text. It appears as though Woolf couldn’t get the ending quite right and, in this draft, it differs from the published version apart from the final line, ‘For there she was’.

Virginia Woolf, The Hours or Mrs Dalloway, Add MS 51045 f.114

© The Society of Authors as the Literary Representative of the Estate of Virginia Woolf. You may not use the material for commercial purposes. Please credit the copyright holder when reusing this work. 

Woolf begins the novel again on the next page, folio 114, 11 days later on 20 October. It opens with the socialite Clarissa Dalloway who is leaving her house to buy flowers in advance of a party she is hosting later in the day. She is in a buoyant mood and takes delight in the city of London and its occupants.

In people's eyes, in the swing, tramp, and trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment of June.

Woolf herself loved London, it was her ‘beloved city’ and she enjoyed visiting the landmarks, parks and gardens. In a diary entry from 29 March 1940 she describes ‘walking along the Strand and letting each face give me a buffet’.

The Royal Society of Literature are using London as the theme for a couple of their Dalloway events. From 10am on 17 June they will launch ‘“There We Stop; There We Stand” with S. I. Martin – author, artist and founder of 500 Years of Black London walks – on an aural tour of London, from the National Portrait Gallery to Tottenham Court Road, exploring the black cultural heritage of Clarissa Dalloway’s footsteps, and touching on the lives of those whose portraits hang in the National Portrait Gallery.’

10am There We Stop; There We Stand: Exploring the black cultural history of London with S. I. Martin – an aural walking tour

‘”I love walking in London”, said Mrs Dalloway. “Really, it’s better than walking in the country."

London under lockdown — or gradually easing lockdown — is very different to the bustling metropolis that Woolf described in the early 1920s. However, she would have known too well the experience of living through a pandemic; the Spanish Flu of 1918 was not a distant memory. In an article in The New Yorker, Mrs Dalloway is seen as ‘at least in part, a novel devoted to influenza’ and although not connected directly to the pandemic Clarissa is described to have fallen prey to the virus. The literary scholar Elizabeth Outka believes that any mention of influenza in the early 1920s must have been a reference to the pandemic of the Spanish Flu.

‘Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense (but that might be her heart, affected, they said, by influenza)’

The situation today ‘puts Clarissa’s pleasure in traversing the city in a new light. So does reading it in the midst of our own pandemic, which has temporarily dissolved the busy urban scenes Woolf describes so lovingly throughout her book.’ In the next event at 2pm the Royal Society of Literature have joined with the Literary Hub, whose managing editor Emily Temple will host a Zoom based book-group to explore how Mrs Dalloway affects readers lives during this pandemic. It will explore themes of ‘solitude, PTSD, societal progress, and autonomy and freedom, Mrs Dalloway reflects much of many readers’ lives, and offers a lot for other readers to consider.’

2pm Literary Hub and RSL book club discussing Mrs Dalloway

Hosted by Literary Hub’s Emily Temple

‘Moments like this are buds on the tree of life.’ —Virginia Woolf, Mrs Dalloway

Most of the characters in Mrs Dalloway share their experiences of walking through the city. For Clarissa London is a playground and she has the wealth and the position to make the most of what the city can offer. However, Woolf uses the city to reflect Clarissa’s fading worth as an older woman, her loss of identity and the ‘gilded confinement’ of being ‘Mrs Richard Dalloway’.

‘She had the oddest sense of being herself invisible; unseen; unknown; there being no more marrying, no more having of children now, but only this astonishing and rather solemn progress with the rest of them, up Bond Street, this being Mrs. Dalloway; not even Clarissa any more; this being Mrs. Richard Dalloway.’

Clarissa’s daughter Elizabeth also explores London including a wander down the Strand, which she sees as an adventure. ‘For no Dalloways came down the Strand daily; she was a pioneer, a stray, venturing, trusting.’ The Dalloways wealth and privilege and the opportunities it brought was something many aspired to and could never achieve. ‘To many of her contemporaries, this ordinary day buying flowers and organising a party represented a freedom they could only hope for due to inequalities of class, gender and race.’

8pm The Pleasure of the Everyday – presented with Literary Hub, with authors Rowan Hisayo Buchanan and Kate Young, chaired by Literary Hub’s Emily Temple

‘Everything had come to a standstill’ —Virginia Woolf, Mrs Dalloway

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These themes will be considered in a Royal Society of Literature event at 8pm, which will chaired by the Literary Hub’s managing editor Emily Temple, with authors Rowan Hisayo Buchanan and Kate Young. They will also ‘explore the quotidian pleasures we’ve developed appreciation for since lockdown, how literature can support us in these confusing times, and how this experience compares to Clarissa Dalloway’s own cerebral journey’.

Virginia Woolf, The Hours or Mrs Dalloway, Add MS 51046 f.177v

© The Society of Authors as the Literary Representative of the Estate of Virginia Woolf. You may not use the material for commercial purposes. Please credit the copyright holder when reusing this work. 

Contained within the cloth bound notebooks are other works and articles by Woolf that sit at the end of the notebooks and between sections of Mrs Dalloway. The second notebook, (Add MS 51045) contains a short story for children called Nurse Langton's Golden Thimble. The other two notebooks contain passages from essays published in the Common Reader including 'The Pastons and Chaucer' and 'On not knowing Greek' as well as other articles and reviews.

Virginia Woolf, Street Haunting (1930, San Francisco) Cup.510.pb.30

© The Society of Authors as the Literary Representative of the Estate of Virginia Woolf. You may not use the material for commercial purposes. Please credit the copyright holder when reusing this work.

Woolf believed that a ‘good essay must have this permanent quality about it; it must draw its curtain round us, but it must be a curtain that shuts us in not out’. ‘Perhaps as loved as her fiction and letters, Woolf’s essays guide their reader through considerations of equality, the importance of literature, health, and pleasure. Many readers have discovered or re-discovered Woolf’s essays during lockdown, finding in them inspiration and solace in uncertain times. In her essay “Street Haunting” Virginia Woolf noted, “we are no longer quite ourselves”, which takes on new meaning almost a century later, when essays still help us make sense of the world around us. Join writers Mona Eltahawy and Sinéad Gleeson in conversation with Charleston’s Susannah Stevenson at 6.30pm as they discuss the power of modern essay writing, the potential of the form to progress feminism, and the legacy of Virginia Woolf’s work.’

6.30pm The Common Reader in Uncommon Times with authors Sinéad Gleeson and Mona Eltahawy, chaired by Charleston’s Susannah Stevenson

‘A good essay must have this permanent quality about it; it must draw its curtain round us, but it must be a curtain that shuts us in not out’—Virginia Woolf, ‘The Common Reader’

Perhaps Woolf’s most famous essay is ‘A Room of One’s Own’, a key text in feminist literary criticism where she examines the educational, social and financial disadvantages women have faced throughout history. It contains Woolf’s famous argument that, ‘A woman must have money and a room of her own if she is to write fiction’ – although Woolf describes this as ‘an opinion upon one minor point’, and the essay explores the ‘unsolved problems’ of women and fiction ‘to show you how I arrived at this opinion about the room and the money’. 

 

Virginia Woolf, A Room of One's Own (Hogarth Press 1929), Cup.410.f.577
© The Society of Authors as the Literary Representative of the Estate of Virginia Woolf. You may not use the material for commercial purposes. Please credit the copyright holder when reusing this work. 

 

In the essay Woolf remarks upon the nature of female relationships, ‘Let us admit in the privacy of our own society that these things sometimes happen.  Sometimes women do like women.’ ‘Almost the entire body of Virginia Woolf’s writing – her novels, essays and letters –have been interpreted from a variety of queer perspectives, and her work has inspired many modern interpretations across film, dance and theatre.’ At 10pm BBC Radio 3 will air Free Thinking: ‘Queer Bloomsbury’, in which ‘presenter Shahidha Bari, authors Paul Mendez and Francesca Wade will discuss and debate Woolf’s legacy for modern queer writing, as well as lesser-known queer histories of Bloomsbury.’

10pm BBC Radio 3 Free Thinking: ‘Queer Bloomsbury’, with authors Paul Mendez and Francesca Wade , chaired by Shahidha Bari

‘Let us admit in the privacy of our own society that these things sometimes happen.  Sometimes women do like women.”—Virginia Woolf, A Room of One’s Own

The full programme for the events on Dalloway as well as details on how to join in can be found on the Royal Society of Literature’s website.