Woolfian Boundaries - Clemson University

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42 WOOLFIAN BOUNDARIES Orwell, George. “Th e Cost of Letters.” Th e Collected Essays, Journalism and Letters. Ed. Sonia Orwell and Ian Angus. Vol. 4. Harmondsworth: Penguin, 1970. 236-38. Smith, F. H. “In a Mining Village.” Davies, Life as We Have Known It. 67-72. Woodcock, George. Th e Crystal Spirit: A Study of George Orwell. London: Jonathan Cape, 1967. Woolf, Virginia. “Introductory Letter to Margaret Llewelyn Davies.” Davies, Life as We Have Known It. Xvii-xxxxi. ——. “Th e Leaning Tower.” Collected Essays. Vol. 2. London: Hogarth, 1966. 162-81. ——. “Mr Bennett and Mrs Brown.” Bowlby. A Woman’s Essays. 69-87. ——. A Room of One’s Own. Harmondsworth: Penguin, 2000.
“OUTSIDE THE MAGIC (AND TYRANNICAL) TRIANGLE OF LONDON- OXFORD-CAMBRIDGE”: JOHN HAMPSON, THE WOOLFS, AND THE HOGARTH PRESS by Helen Southworth In honor of the choice of location for this year’s conference, my paper explores the relationship between the Woolfs, their Hogarth Press, and the work of Birmingham-born writer John Hampson Simpson (1901-1955). 1 Hampson, the name under which he wrote, published two novels with the Hogarth Press, the highly successful Saturday Night at the Greyhound (which was among the top ten bestsellers at the press) in February 1931 and a second novel entitled O Providence in 1932. A short story, “Th e Long Shadow,” was included in the Hogarth Press volume of prose and poetry entitled New Country edited by Michael Roberts in 1933. Two subsequent novels were rejected by the Woolfs, as had been Hampson’s fi rst submission in 1928—a homosexual novel called Go Seek a Stranger. Th is paper pursues Hogarth Press historian J. H.Willis’s assertion that Hampson’s Saturday Night at the Greyhound off ered the Woolfs “an uncharted literary landscape” and situates Hampson’s work in terms of the Woolfs’ agenda at the press (189). Hampson’s twenty-fi ve-year-long relationship with the Woolfs tells an interesting story about the kind of author and the kind of material published by the Hogarth Press and about the Woolfs’ attention to the political climate at a moment when the press, in operation since 1917, had already become as close as it got to being a commercial operation. To this end I will look at two things—fi rst the signifi cance of the Woolfs’ decision to publish Saturday Night at the Greyhound and O Providence and second their decision not to publish Go Seek a Stranger. While the latter has never been published it does exist in manuscript. Hampson has shown up in a couple of recent publications: two letters in Sybil Oldfi eld’s collection of condolence letters (90, 153-55) and another in Beth Daugherty’s collection of letters from readers to Woolf in which Hampson expresses his admiration for Th e Waves (94). What becomes clear in all three of these letters and others exchanged with the Woolfs is the respect and aff ection Hampson felt for both Virginia and Leonard Woolf and vice versa. Even after the Woolfs stopped publishing his work, Hampson maintained ties with them, dedicating his 1936 novel, Family Curse, “to Leonard Woolf, with gratitude.” By the time of Virginia Woolf’s death in 1941 Hampson had a wide circle of literary friends, many of whom he had acquired via the Woolfs and via the Press: among them South African based Hogarth Press writer William Plomer, E. M. Forster, Hogarth Press employee, poet and publisher John Lehmann, from whose autobiographical work In My Own Time the title quote of this paper is taken, and even Birmingham based author Walter Allen who says he fi rst contacted Hampson through the Hogarth Press (As I Walked 58). 2 After Virginia Woolf’s death Hampson maintained contact with Leonard; he also wrote a radio play tribute about Virginia Woolf called “A Room of One’s Own” for the Midlands Home Service (May 1946), an article about food and wine in her work for Wine and Food magazine (1944) and included a reference to Woolf’s Oxbridge lunch and dinner scenes in A Room of One’s Own in his Th e English at Table (part of the Britain
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Woolfi an Boundaries Selected Paper
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Page 6 and 7: Foreword by Ruth Gruber On October
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94 WOOLFIAN BOUNDARIES of pesticide
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96 WOOLFIAN BOUNDARIES Taxonomy in
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98 WOOLFIAN BOUNDARIES Th e name of
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“CE CHIEN EST À MOI”: VIRGINIA
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102 WOOLFIAN BOUNDARIES a statement
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104 WOOLFIAN BOUNDARIES pery: “An
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106 WOOLFIAN BOUNDARIES Woolf’s c
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VIRGINIA WOOLF, ECOFEMINISM, AND BR
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112 WOOLFIAN BOUNDARIES winters’
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WOOLF’S TRANSFORMATION OF PROVIDE
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124 WOOLFIAN BOUNDARIES and Lewis
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126 WOOLFIAN BOUNDARIES Works Cited
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128 WOOLFIAN BOUNDARIES black bars
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132 WOOLFIAN BOUNDARIES of Harriet
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134 WOOLFIAN BOUNDARIES Mrs. Grundy
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136 WOOLFIAN BOUNDARIES Alternative
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PERFORMING THE SELF: WOOLF AS ACTRE
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140 WOOLFIAN BOUNDARIES In the proc
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142 WOOLFIAN BOUNDARIES would be on
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“WHOSE FACE WAS IT?”: NICOLE KI
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146 WOOLFIAN BOUNDARIES for a full
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148 WOOLFIAN BOUNDARIES skin, and s
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“MEMORY HOLES” OR “HETEROTOPI
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152 WOOLFIAN BOUNDARIES fi rstly th
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158 WOOLFIAN BOUNDARIES directions,
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160 WOOLFIAN BOUNDARIES language, t
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162 WOOLFIAN BOUNDARIES work of art
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“THE EVENING UNDER LAMPLIGHT…WI
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166 WOOLFIAN BOUNDARIES a model for
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168 WOOLFIAN BOUNDARIES Humm’s re
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170 WOOLFIAN BOUNDARIES Figure 6: T
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Afterword INSIDE AND OUTSIDE THE CO
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174 WOOLFIAN BOUNDARIES ing before
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176 WOOLFIAN BOUNDARIES open future
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178 WOOLFIAN BOUNDARIES makes this
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180 WOOLFIAN BOUNDARIES Notes 1. Fo
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184 WOOLFIAN BOUNDARIES Woolf’s c
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186 WOOLFIAN BOUNDARIES net and Sep
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188 WOOLFIAN BOUNDARIES Friday, Jun
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190 WOOLFIAN BOUNDARIES Chair: Magg
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192 WOOLFIAN BOUNDARIES Stephen Bar
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194 WOOLFIAN BOUNDARIES Th aine Ste
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