breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
To dissimulate and keep up the dissimulation over a long period without ever flagging, through silences, through smiles, to appear to be an entirely different person—this relegates the trifling exaggerations of gossips to a quite inferior category. It is a task, as I’ve had occasion to notice ever since, which is only possible for the young…


—Colette, The pure and the impure

(Recording because extremely relevant to Irene in "The hour should be the evening and the season winter"
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
But Virginia Woolf’s sexual squeamishness, which plays a part in the deflections and self-censorship of the novels, is combined with a powerful, intense sensuality, an erotic susceptibility to people and landscape, language and atmosphere, and a highly charged physical life. “Frigid” seems a ridiculously simplistic description of this complicated, polymorphous self.


—Hermione Lee, Virginia Woolf

I’m re-reading the section of Lee’s biography spanning 1913, for Strachey-related reasons, and remembering why I love it so much. Lee’s nuanced yet unflinching understanding and refusal to oversimplify her subjects, even when easy labels present themselves, is consistently inspirational to me.

Because I also have a long-term interest in fleshing out some workable, historically respectful version of Woolf’s sexuality for my eventual Virginia/Vita/Irene story, I am squirrelling away this kind of insight for future reference. The bit about the complicated, polymorphous self is very key to my love of Woolf and my understanding of her own self-conception, and this kind of… decentralized, non-genitally-centered but experientially intense eroticism is I think very compatible with the character arcs I have in mind.
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
… I beg for more illusions.
I can assure you, if you’ll make me up, I’ll make you …


—Virginia Woolf, in a letter to Vita Sackville-West, September 23, 1925
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
Dear Mrs Woolf
(That appears to be the suitable formula.) I regret that you have been in bed, though not with me—(a less suitable formula.)


—Vita Sackville-West, from a letter to Virginia Woolf dated 18 August 1933
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
The hour should be the evening and the season winter, for in winter the champagne brightness of the air and the sociability of the streets are grateful. We are not then taunted as in the summer by the longing for shade and solitude and sweet airs from the hayfields. The evening hour, too, gives us the irresponsibility which darkness and lamplight bestow. We are no longer quite ourselves. As we step out of the house on a fine evening between four and six, we shed the self our friends know us by and become part of that vast republican army of anonymous trampers, whose society is so agreeable after the solitude of one’s own room. For there we sit surrounded by objects which perpetually express the oddity of our own temperaments and enforce the memories of our own experience. That bowl on the mantelpiece, for instance, was bought at Mantua on a windy day. We were leaving the shop when the sinister old woman plucked at our skirts and said she would find herself starving one of these days, but, “Take it!” she cried, and thrust the blue and white china bowl into our hands as if she never wanted to be reminded of her quixotic generosity. So, guiltily, but suspecting nevertheless how badly we had been fleeced, we carried it back to the little hotel where, in the middle of the night, the innkeeper quarrelled so violently with his wife that we all leant out into the courtyard to look, and saw the vines laced about among the pillars and the stars white in the sky. The moment was stabilized, stamped like a coin indelibly among a million that slipped by imperceptibly. There, too, was the melancholy Englishman, who rose among the coffee cups and the little iron tables and revealed the secrets of his soul — as travellers do. All this — Italy, the windy morning, the vines laced about the pillars, the Englishman and the secrets of his soul — rise up in a cloud from the china bowl on the mantelpiece. And there, as our eyes fall to the floor, is that brown stain on the carpet. Mr. Lloyd George made that. “The man’s a devil!” said Mr. Cummings, putting the kettle down with which he was about to fill the teapot so that it burnt a brown ring on the carpet.


—Virginia Woolf, "Street Haunting," from The Death of the Moth

A conversation in Antidiogenes chat inspired me to dig up this essay, and man, the paragraph above is just fucking spectacular. The way it twists and wanders, mimicking the essay’s subject (the joys of rambling around London streets), and yet is always under perfect control. The way it evokes so precisely the investment of experience into objects, and the way the paraphernalia of our everyday lives then haunts us, surrounds us, both comforting and oppressive.

Just. The SENTENCES. I am torn between rapture and despair.
breathedout: Portrait of breathedout by Leontine Greenberg (bathtime)
I just miss you, in a quite simple desperate human way.


—Vita Sackville-West, excerpt of a letter to Virginia Woolf

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