Jacob's Room

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The tale of Jacob Flanders, a lonely young man unable to reconcile his love of classical culture with the chaotic reality of World War I society, unfolds in a series of brief impressions and conversations, internal monologues, and letters. A sensitive examination of character development and the meaning of life, this 1922 novel features first-rate examples of Woolf's influential techniques.
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Jacob's Room

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Overview

The tale of Jacob Flanders, a lonely young man unable to reconcile his love of classical culture with the chaotic reality of World War I society, unfolds in a series of brief impressions and conversations, internal monologues, and letters. A sensitive examination of character development and the meaning of life, this 1922 novel features first-rate examples of Woolf's influential techniques.
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Editorial Reviews

From the Publisher
"I wanted them all, even those I'd already read."
—Ron Rosenbaum, The New York Observer

"Small wonders."
Time Out London

"[F]irst-rate…astutely selected and attractively packaged…indisputably great works."
—Adam Begley, The New York Observer

"I’ve always been haunted by Bartleby, the proto-slacker. But it’s the handsomely minimalist cover of the Melville House edition that gets me here, one of many in the small publisher’s fine 'Art of the Novella' series."
The New Yorker

"The Art of the Novella series is sort of an anti-Kindle. What these singular, distinctive titles celebrate is book-ness. They're slim enough to be portable but showy enough to be conspicuously consumed—tiny little objects that demand to be loved for the commodities they are."
—KQED (NPR San Francisco)

"Some like it short, and if you're one of them, Melville House, an independent publisher based in Brooklyn, has a line of books for you... elegant-looking paperback editions ...a good read in a small package."
The Wall Street Journal

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Product Details

  • ISBN-13: 9780451526656
  • Publisher: Signet Classics
  • Publication date: 1/1/1998
  • Format: Mass Market Paperback
  • Pages: 224
  • Product dimensions: 4.18 (w) x 6.84 (h) x 0.63 (d)

Meet the Author

Edward L. Bishop is Professor of English at the University of Alberta, Canada. He has previously edited Jacob’s Room: The Holograph Draft (1998) and compiled The Bloomsbury Group, Dictionary of Literary Biography Documents Series (1992) and A Virginia Woolf Chronology (1989).

Biography

Virginia Woolf is now recognized as a major twentieth-century author, a great novelist and essayist and a key figure in literary history as a feminist and a modernist. Born in 1882, she was the daughter of the editor and critic Leslie Stephen, and suffered a traumatic adolescence after the deaths of her mother, in 1895, and her stepsister Stella, in 1897, leaving her subject to breakdowns for the rest of her life. Her father died in 1904 and two years later her favorite brother Thoby died suddenly of typhoid. With her sister, the painter Vanessa Bell, she was drawn into the company of writers and artists such as Lytton Strachey and Roger Fry, later known as the Bloomsbury Group. Among them she met Leonard Woolf, whom she married in 1912, and together they founded the Hogarth Press in 1917, which was to publish the work of T. S. Eliot, E. M. Forster and Katherine Mansfield as well as the earliest translations of Freud. Woolf lived an energetic life among friends and family, reviewing and writing, and dividing her time between London and the Sussex Downs. In 1941, fearing another attack of mental illness, she drowned herself.

Her first novel, The Voyage Out, appeared in 1915, and she then worked through the transitional Night and Day (1919) to the highly experimental and impressionistic Jacob's Room (1922). From then on her fiction became a series of brilliant and extraordinarily varied experiments, each one searching for a fresh way of presenting the relationship between individual lives and the forces of society and history. She was particularly concerned with women's experience, not only in her novels but also in her essays and her two books of feminist polemic, A Room of One's Own (1929) and Three Guineas (1938). Her major novels include Mrs. Dalloway (1925), the historical fantasy Orlando (1928), written for Vita Sackville-West, the extraordinarily poetic vision of The Waves (1931), the family saga of The Years (1937), and Between the Acts (1941).

Author biography courtesy of Penguin Group (USA).

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    1. Also Known As:
      Adeline Virginia Stephen Woolf (full name)
    1. Date of Birth:
      January 25, 1882
    2. Place of Birth:
      London
    1. Date of Death:
      March 28, 1941
    2. Place of Death:
      Sussex, England

Read an Excerpt

Jacob's Room (Annotated)
By Woolf, Virginia
Harvest Books Copyright © 2008 Woolf, Virginia
All right reserved.

ISBN: 9780156034791



ONE "SO OF COURSE," wrote Betty Flanders, pressing her heels rather deeper in the sand, "there was nothing for it but to leave." Slowly welling from the point of her gold nib, pale blue ink dissolved the full stop; for there her pen stuck; her eyes fixed, and tears slowly filled them. The entire bay quivered; the lighthouse wobbled; and she had the illusion that the mast of Mr. Connor’s little yacht was bending like a wax candle in the sun. She winked quickly. Accidents were awful things. She winked again. The mast was straight; the waves were regular; the lighthouse was upright; but the blot had spread. ". . . nothing for it but to leave," she read. "Well, if Jacob doesn’t want to play" (the shadow of Archer, her eldest son, fell across the notepaper and looked blue on the sand, and she felt chilly—it was the third of September already), "if Jacob doesn’t want to play"—what a horrid blot! It must be getting late. "Where is that tiresome little boy?" she said. "I don’t see him. Run and find him. Tell him to come at once." ". . . but mercifully," she scribbled, ignoring the full stop, "everything seems satisfactorily arranged, packed though we are like herrings in a barrel, and forced to stand the perambulator which the landlady quite naturally won’t allow. . . ." Such were Betty Flanders’s letters to Captain Barfoot—many-paged, tear-stained.Scarborough is seven hundred miles from Cornwall: Captain Barfoot is in Scarborough: Seabrook is dead. Tears made all the dahlias in her garden undulate in red waves and flashed the glass house in her eyes, and spangled the kitchen with bright knives, and made Mrs. Jarvis, the rector’s wife, think at church, while the hymn-tune played and Mrs. Flanders bent low over her little boys’ heads, that marriage is a fortress and widows stray solitary in the open fields, picking up stones, gleaning a few golden straws, lonely, unprotected, poor creatures. Mrs. Flanders had been a widow for these two years. "JA—COB! JA—COB!" Archer shouted. "SCARBOROUGH," MRS. FLANDERS wrote on the envelope, and dashed a bold line beneath; it was her native town; the hub of the universe. But a stamp? She ferreted in her bag; then held it up mouth downwards; then fumbled in her lap, all so vigorously that Charles Steele in the Panama hat suspended his paint-brush. Like the antennae of some irritable insect it positively trembled. Here was that woman moving—actually going to get up—confound her! He struck the canvas a hasty violet-black dab. For the landscape needed it. It was too pale—greys flowing into lavenders, and one star or a white gull suspended just so—too pale as usual. The critics would say it was too pale, for he was an unknown man exhibiting obscurely, a favourite with his landladies’ children, wearing a cross on his watch chain, and much gratified if his landladies liked his pictures—which they often did. "JA—COB! JA—COB!" Archer shouted. EXASPERATED BY the noise, yet loving children, Steele picked nervously at the dark little coils on his palette. "I saw your brother—I saw your brother," he said, nodding his head, as Archer lagged past him, trailing his spade, and scowling at the old gentleman in spectacles. "Over there—by the rock," Steele muttered, with his brush between his teeth, squeezing out raw sienna, and keeping his eyes fixed on Betty Flanders’s back. "Ja—cob! Ja—cob!" shouted Archer, lagging on after a second. The voice had an extraordinary sadness. Pure from all body, pure from all passion, going out into the world, solitary, unanswered, breaking against rocks—so it sounded. STEELE FROWNED; but was pleased by the effect of the black—it was just that note which brought the rest together. "Ah, one may learn to paint at fifty! There’s Titian . . ." and so, having found the right tint, up he looked and saw to his horror a cloud over the bay. Mrs. Flanders rose, slapped her coat this side and that to get the sand off, and picked up her black parasol. THE ROCK was one of those tremendously solid brown, or rather black, rocks which emerge from the sand like something primitive. Rough with crinkled limpet shells and sparsely strewn with locks of dry seaweed, a small boy has to stretch his legs far apart, and indeed to feel rather heroic, before he gets to the top. But there, on the very top, is a hollow full of water, with a sandy bottom; with a blob of jelly stuck to the side, and some mussels. A fish darts across. The fringe of yellow-brown seaweed flutters, and out pushes an opal-shelled crab—— "Oh, a huge crab," Jacob murmured——and begins his journey on weakly legs on the sandy bottom. Now! Jacob plunged his hand. The crab was cool and very light. But the water was thick with sand, and so, scrambling down, Jacob was about to jump, holding his bucket in front of him, when he saw, stretched entirely rigid, side by side, their faces very red, an enormous man and woman. An enormous man and woman (it was early-closing day) were stretched motionless, with their heads on pocket-handkerchiefs, side by side, within a few feet of the sea, while two or three gulls gracefully skirted the incoming waves, and settled near their boots. The large red faces lying on the bandanna handkerchiefs stared up at Jacob. Jacob stared down at them. Holding his bucket very carefully, Jacob then jumped deliberately and trotted away very nonchalantly at first, but faster and faster as the waves came creaming up to him and he had to swerve to avoid them, and the gulls rose in front of him and floated out and settled again a little farther on. A large black woman was sitting on the sand. He ran towards her. "Nanny! Nanny!" he cried, sobbing the words out on the crest of each gasping breath. The waves came round her. She was a rock. She was covered with the seaweed which pops when it is pressed. He was lost. There he stood. His face composed itself. He was about to roar when, lying among the black sticks and straw under the cliff, he saw a whole skull—perhaps a cow’s skull, a skull, perhaps, with the teeth in it. Sobbing, but absent-mindedly, he ran farther and farther away until he held the skull in his arms. "THERE HE IS!" cried Mrs. Flanders, coming round the rock and covering the whole space of the beach in a few seconds. "What has he got hold of? Put it down, Jacob! Drop it this moment! Something horrid, I know. Why didn’t you stay with us? Naughty little boy! Now put it down. Now come along both of you," and she swept round, holding Archer by one hand and fumbling for Jacob’s arm with the other. But he ducked down and picked up the sheep’s jaw, which was loose. Swinging her bag, clutching her parasol, holding Archer’s hand, and telling the story of the gunpowder explosion in which poor Mr. Curnow had lost his eye, Mrs. Flanders hurried up the steep lane, aware all the time in the depths of her mind of some buried discomfort. There on the sand not far from the lovers lay the old sheep’s skull without its jaw. Clean, white, wind-swept, sand-rubbed, a more unpolluted piece of bone existed nowhere on the coast of Cornwall. The sea holly would grow through the eye-sockets; it would turn to powder, or some golfer, hitting his ball one fine day, would disperse a little dust.—No, but not in lodgings, thought Mrs. Flanders. It’s a great experiment coming so far with young children. There’s no man to help with the perambulator. And Jacob is such a handful; so obstinate already. "Throw it away, dear, do," she said, as they got into the road; but Jacob squirmed away from her; and the wind rising, she took out her bonnet-pin, looked at the sea, and stuck it in afresh. The wind was rising. The waves showed that uneasiness, like something alive, restive, expecting the whip, of waves before a storm. The fishing-boats were leaning to the water’s brim. A pale yellow light shot across the purple sea; and shut. The lighthouse was lit. "Come along," said Betty Flanders. The sun blazed in their faces and gilded the great blackberries trembling out from the hedge which Archer tried to strip as they passed. "Don’t lag, boys. You’ve got nothing to change into," said Betty, pulling them along, and looking with uneasy emotion at the earth displayed so luridly, with sudden sparks of light from greenhouses in gardens, with a sort of yellow and black mutability, against this blazing sunset, this astonishing agitation and vitality of colour, which stirred Betty Flanders and made her think of responsibility and danger. She gripped Archer’s hand. On she plodded up the hill. "What did I ask you to remember?" she said. "I don’t know," said Archer. "Well, I don’t know either," said Betty, humorously and simply, and who shall deny that this blankness of mind, when combined with profusion, mother wit, old wives’ tales, haphazard ways, moments of astonishing daring, humour, and sentimentality—who shall deny that in these respects every woman is nicer than any man? Well, Betty Flanders, to begin with. She had her hand upon the garden gate. "The meat!" she exclaimed, striking the latch down. She had forgotten the meat. There was Rebecca at the window. THE BARENESS of Mrs. Pearce’s front room was fully displayed at ten o’clock at night when a powerful oil lamp stood on the middle of the table. The harsh light fell on the garden; cut straight across the lawn; lit up a child’s bucket and a purple aster and reached the hedge. Mrs. Flanders had left her sewing on the table. There were her large reels of white cotton and her steel spectacles; her needle-case; her brown wool wound round an old postcard. There were the bulrushes and the Strand magazines; and the linoleum sandy from the boys’ boots. A daddy-long-legs shot from corner to corner and hit the lamp globe. The wind blew straight dashes of rain across the window, which flashed silver as they passed through the light. A single leaf tapped hurriedly, persistently, upon the glass. There was a hurricane out at sea.   Copyright 1922 by Harcourt, Inc., and renewed 1950 by Leonard Woolf Annotated Edition copyright © 2008 by Houghton Mifflin Harcourt Publishing Company Preface copyright © 2005 by Mark Hussey Introduction copyright © 2008 by Vara Neverow All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. Requests for permission to make copies of any part of the work should be submitted online at harcourt.com/ contact or mailed to the following address: Permissions Department, Houghton Mifflin Harcourt Publishing Company, 6277 Sea Harbor Drive, Orlando, Florida 32887-6777.

Continues...

Excerpted from Jacob's Room (Annotated) by Woolf, Virginia Copyright © 2008 by Woolf, Virginia. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
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Table of Contents

Acknowledgements.

Introduction.

Frontispiece.

JACOB’S ROOM.

NOTES AND APPENDICES.

Notes.

Appendix A: Emendations.

Appendix B: Textual Variants.

Appendix C: Chronology

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Customer Reviews

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( 14 )
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Sort by: Showing all of 14 Customer Reviews
  • Anonymous

    Posted May 16, 2009

    woolf's favorite novel

    Of all her books, Virginia Woolf's "Jacob's Room" was her favorite. It is like an Impressionist painting - sketches and outlines of characters, hints of plot, swirling language. It's a beautifully written novel- but be sure to take the time to read it carefully.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 11, 2000

    alone in the night ...

    this book is very tiring one... you have to read it in the silence of the night. why? because this one gives you the sensation of being another one, being a very misterious.. being loved but unknown, being frustrated for live but you desire to live forever...

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted March 24, 2013

    Rm

    U here

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  • Posted October 12, 2009

    Jacob's Schmacob

    Maybe I wasn't in the mood for some artsy-fartsy literary style, but I couldn't get interested in this book in the first 20 pages, and had to put it down. I'll let my guilt over that fester for a while and try again, but I'm not holding out much hope that it'll somehow be better the second time.

    0 out of 2 people found this review helpful.

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    Posted August 2, 2011

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    Posted January 25, 2011

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    Posted January 3, 2012

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  • Anonymous

    Posted December 28, 2010

    No text was provided for this review.

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    Posted May 29, 2011

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    Posted March 9, 2013

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    Posted May 24, 2011

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  • Anonymous

    Posted March 13, 2009

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  • Anonymous

    Posted January 12, 2009

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  • Anonymous

    Posted October 26, 2008

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