Contents

pp v-vi

Introduction

pp vii-ix

List of Abbreviations

pp x-x

Keynote

pp 1-1

Getting a Hold on Haddock: Virginia Woolf's Inks

pp 2-18

In the Archives

pp 19-19

A Voice in the Archives: In Search of Woolf's Lost Tape

pp 20-25

On Manuscripts: Virginia Woolf and Archives

pp 26-30

Echo's Voices: Virginia Woolf, Irena Krzywicka, and The Well of Loneliness

pp 31-38

Craftsmanship

pp 39-39

“Wood is a pleasant thing to think about”: William Blake and the Hand-Printed Books of the Hogarth Press

pp 40-49

Virginia Woolf, the Hogarth Press, and “Short Things”

pp 50-55

“Scarcely a Brick to Be Seen”: Breaking Boundaries in “Kew Gardens” and “The Mark on the Wall”

pp 56-61

Virginia Woolf's Arts and Craftsmanship

pp 62-68

The Hogarth Press

pp 69-69

“obscure, indecent and brilliant”: Female sexuality, the Hogarth Press, and Hope Mirrlees

pp 70-75

After the Deluge, The Waves

pp 76-82

Alternative Histories: Hogarth Press's World-Makers and World-Shakers Series

pp 83-92

The Hogarth Press, a Singular Art Gallery

pp 93-100

Hours in A Library

pp 101-101

Hours in a Library: Virginia Woolf and Leslie Stephen

pp 102-108

Two Libraries: Reading A Room of One's Own and Margaret Oliphant's “The Library Window”

pp 109-114

Bibliographers, Booksellers, and Collectors of the Hogarth Press

pp 115-120

The Art of the Book

pp 121-121

Ekphrastic Writing, Illusive Illustration: Vanessa Bell's Embroideries for Virginia Woolf's “Kew Gardens”

pp 122-127

“The active and the contemplative”: Charles Mauron, Virginia Woolf, and Roger Fry

pp 128-134

Vanessa Bell's “tiny book”: Woolf, Impressionism, Roger Fry, and Anti-Semitism

pp 135-140

The Art of the Narrative

pp 141-141

Woolf as a Model Builder: Complex Form in the “Ode to Cutbush”

pp 142-148