Monday, August 19th
I suppose dinner interrupted. And I opened this book in another train of mind—to record the blessed fact that for good or bad I have just set the last correction to Women and Fiction, or A Room of One's Own. I shall never read it again I suppose. Good or bad? Has an uneasy life in it I think: you feel the creature arching its back and galloping on, though as usual much is watery and flimsy and pitched in too high a voice.
Monday, September 10th
Leonard is having a picnic at Charleston and I am here—"tired." But why am I tired? Well I am never alone. This is the beginning of my complaint. I am not physically tired so much as psychologically. I have strained and wrung at journalism and proof correction; and underneath has been forming my Moth book. Yes, but it forms very slowly; and what I want is not to write it, but to think it for two or three weeks say—to get into the same current of thought and let that submerge everything. Writing perhaps a few phrases here at my window in the morning. (And they've gone to some lovely place—Hurstmonceux perhaps, in this strange misty evening;—and yet when the time came to go, all I wanted was to walk off into the hills by myself. I am now feeling a little lonely and deserted and defrauded, inevitably.) And every time I get into my current of thought I am jerked out of it. We have the Keynes; then Vita came; then Angelica and Eve; then we went to Worthington, then my head begins throbbing—so here I am, not writing—that does not matter, but not thinking, feeling or seeing—and seizing an afternoon alone as a treasure—Leonard appeared at the glass door at this moment; and they didn't go to Hurstmonceux or anywhere; and Sprott was there and a miner, so I missed nothing—one's first egotistical pleasure.
Really these premonitions of a book—states of soul in creating—are very queer and little apprehended...
And then I am 47: yes; and my infirmities will of course increase. To begin with my eyes. Last year, I think, I could read without spectacles; would pick up a paper and read it in a tube; gradually I found I needed spectacles in bed; and now I can't read a line (unless held at a very odd angle) without them. My new spectacles are much stronger than the old and when I take them off I am blinded for a moment. What other infirmities? I can hear, I think, perfectly: I think I could walk as well as ever. But then will there not be the change of life? And may that not be a difficult and even dangerous time? Obviously one can get over it by facing it with common sense—that it is a natural process; that one can lie out here and read; that one's faculties will be the same afterwards; that one has nothing to worry about in one sense—I've written some interesting books, can make money, can afford a holiday—Oh no; one has nothing to bother about; and these curious intervals in life—I've had many—are the most fruitful artistically—one becomes fertilised—think of my madness at Hogarth—and all the little illnesses—that before I wrote the Lighthouse for instance. Six weeks in bed now would make a masterpiece of Moths. But that won't be the name. Moths, I suddenly remember, don't fly by day. And there can't be a lighted candle. Altogether, the shape of the book wants considering—and with time I could do it. Here I broke off.
Wednesday, September 25th
Yesterday morning I made another start on The Moths, but that won't be its title; and several problems cry out at once to be solved. Who thinks it? And am I outside the thinker? One wants some device which is not a trick.
Friday, October 11th
And I snatch at the idea of writing here in order not to write Waves or Moths or whatever it is to be called. One thinks one has learnt to write quickly; and one hasn't. And what is odd, I'm not writing with gusto or pleasure: because of the concentration. I am not reeling it off; but sticking it down. Also, never, in my life, did I attack such a vague yet elaborate design; whenever I make a mark I have to think of its relation to a dozen others. And though I could go on ahead easily enough, I am always stopping to consider the whole effect. In particular is there some radical fault in my scheme? I am not quite satisfied with this method of picking out things in the room and being reminded by them of other things. Yet I can't at the moment divine anything which keeps so close to the original design and admits of movement. Hence, perhaps, these October days are to me a little strained and surrounded with silence. What I mean by this last word I don't quite know, since I have never stopped "seeing" people—Nessa and Roger, the Jeffers, Charles Buxton, and should have seen Lord David and am to see the Eliots—oh and there was Vita too. No, it's not physical silence; it's some inner loneliness—interesting to analyse if one could. To give an example—I was walking up Bedford Place is it—the straight street with all the boarding houses this afternoon—and I said to myself spontaneously, something like this. How I suffer. And no one knows how I suffer, walking up this street, engaged with my anguish, as I was after Thoby * died—alone; fighting something alone. But then I had the devil to fight, and now nothing. And when I come indoors it is all so silent—I am not carrying a great rush of wheels in my head-yet I am writing—oh and we are very successful—and there is—what I most love—change ahead. Yes, that last evening at Rodmell when Leonard came down against his will to fetch me, the Keynes came over. And Maynard is giving up the Nation, and so is Hubert † and so no doubt shall we. And it is autumn; and the lights are going up; and Nessa is in Fitzroy Street—in a great misty room with flaring gas and unsorted plates and glasses on the floor—and the Press is booming—and this celebrity business is quite chronic—and I am richer than I have ever been—and bought a pair of earrings today—and for all this, there is vacancy and silence somewhere in the machine. On the whole, I do not much mind; because what I like is to flash and dash from side to side, goaded on by what I call reality. If I never felt these extraordinarily pervasive strains—of unrest or rest or happiness or discomfort—I should float down into acquiescence. Here is something to fight; and when I wake early I say to myself Fight, fight. If I could catch the feeling, I would; the feeling of the singing of the real world, as one is driven by loneliness and silence from the habitable world; the sense that comes to me of being bound on an adventure; of being strangely free now, with money and so on, to do anything. I go to take theatre tickets (The Matriarch) and see a list of cheap excursions hanging there, and at once think that I will go to Stratford on Avon Mob Fair tomorrow—why not?—or to Ireland or to Edinburgh for a weekend. I daresay I shan't. But anything is possible. And this curious steed, life, is genuine. Does any of this convey what I want to say? But I have not really laid hands on the emptiness after all. It's odd, now I come to think of it—I miss Clive.
Wednesday, October 23rd
As it is true—I write only for an hour, then rush back feeling I cannot keep my brain on that spin any more—then typewrite, and am done by 12. I will here sum up my impressions before publishing A Room of One's Own. It is a little ominous that Morgan won't review it. It makes me suspect that there is a shrill feminine tone in it which my intimate friends will dislike. I forecast, then, that I shall get no criticism, except of the evasive jocular kind, from Lytton, Roger and Morgan; that the press will be kind and talk of its charm and sprightliness; also I shall be attacked for a feminist and hinted at for a Sapphist; Sybil will ask me to luncheon; I shall get a good many letters from young women. I am afraid it will not be taken seriously. Mrs. Woolf is so accomplished a writer that all she says makes easy reading ... this very feminine logic ... a book to be put in the hands of girls. I doubt that I mind very much. The Moths; but I think it is to be waves, is trudging along; and I have that to refer to, if I am damped by the other. It is a trifle, I shall say; so it is; but I wrote it with ardour and conviction.
He wrote yesterday, 3 Dec. and said he very much liked it.
We dined last night with the Webbs and I had Eddy * and Dotty to tea. As for these mature dinner parties one has some friendly easy talk with one man—Hugh Macmillan †—about the Buchans and his own career; the Webbs are friendly but can't be influenced about Kenya; we sit in two lodging house rooms (the dining room had a brass bedstead behind a scr
een) eat hunks of red beef; and are offered whisky. It is the same enlightened, impersonal, perfectly aware of itself atmosphere. "My little boy shall have his toys"—but don't let that go any further—"that's what my wife says about my being in the Cabinet." No they have no illusions. And I compared them with L. and myself, and felt, (I daresay for this reason) the pathos, the symbolical quality of the childless couple; standing for something, united.
Saturday, November 2nd
Oh but I have done quite well so far with Room of One's Own; and it sells, I think; and I get unexpected letters. But I am more concerned with my Waves. I've just typed out my morning's work; and can't feel altogether sure. There is something there (as I felt about Mrs. Dalloway) but I can't get at it, squarely; nothing like the speed and certainty of the Lighthouse: Orlando mere child's play. Is there some falsity of method, somewhere? Something tricky?—so that the interesting things aren't firmly based? I am in an odd state; feel a cleavage; here's my interesting thing; and there's no quite solid table on which to put it. It might come in a flash, on re-reading—some solvent. I am convinced that I am right to seek for a station whence I can set my people against time and the sea—but Lord, the difficulty of digging oneself in there, with conviction. Yesterday I had conviction; it has gone today.
Saturday, November 30th
I fill in this page, nefariously; at the end of a morning's work. I have begun the second part of Waves—I don't know. I don't know. I feel that I am only accumulating notes for a book—whether I shall ever face the labour of writing it, God knows. From some higher station I may be able to pull it together—at Rodmell, in my new room. Reading the Lighthouse does not make it easier to write...
Sunday, December 8th
I read and read and finished I daresay 3 foot thick of MS. read carefully too; much of it on the border, and so needing thought. Now, with this load despatched, I am free to begin reading Elizabethans—the little unknown writers, whom I, so ignorant am I, have never heard of, Pullenham, Webb, Harvey.
This thought fills me with joy—no overstatement. To begin reading with a pen in my hand, discovering, pouncing, thinking of phrases, when the ground is new, remains one of my great excitements. Oh but L. will sort apples and the little noise upsets me; I can't think what I was going to say.
So I stopped writing, by which no great harm was done, and made out a list of Elizabethan poets. And I have, with great happiness, refused to write Rhoda Broughton, Ouida for de la Mare. That vein, popular as it is, witness Jane and Geraldine, is soon worked out in me. I want to write criticism. Yes, and one might make out an obscure figure or two. It was the Elizabethan prose writers I loved first and most wildly, stirred by Hakluyt, which father lugged home for me—I think of it with some sentiment—father tramping over the Library with his little girl sitting at H.P.G.* in mind. He must have been 65; I 15 or 16 then; and why I don't know but I became enraptured, though not exactly interested, but the sight of the large yellow page entranced me. I used to read it and dream of those obscure adventurers and no doubt practised their style in my copybook. I was then writing a long picturesque essay upon the Christian religion, I think; called Religio Laici, I believe, proving that man has need of a God; but the God was described in process of change; and I also wrote a history of Women; and a history of my own family—all very longwinded and Elizabethan in style.
RODMELL—Boxing Day
I find it almost incredibly soothing—a fortnight alone—almost impossible to let oneself have it. Relentlessly we have crushed visitors. We will be alone this once, we say; and really, it seems possible. Then Annie is to me very sympathetic. My bread bakes well. All is rather rapt, simple, quick, effective—except for my blundering on at The Waves. I write two pages of arrant nonsense, after straining; I write variations of every sentence; compromises; bad shots; possibilities; till my writing book is like a lunatic's dream. Then I trust to some inspiration on re-reading; and pencil them into some sense. Still I am not satisfied. I think there is something lacking. I sacrifice nothing to seemliness. I press to my centre. I don't care if it all is scratched out. And there is something there. I incline now to try violent shots—at London—at talk—shouldering my way ruthlessly—and then, if nothing comes of it—anyhow I have examined the possibilities. But I wish I enjoyed it more. I don't have it in my head all day like the Lighthouse and Orlando.
1930
Sunday, January 12th
Sunday it is. And I have just exclaimed: "And now I can think of nothing else." Thanks to my pertinacity and industry, I can now hardly stop making up The Waves. The sense of this came acutely about a week ago on beginning to write the Phantom Party: now I feel that I can rush on, after 6 months' hacking, and finish: but without the least certainty how it's to achieve any form. Much will have to be discarded: what is essential is to write fast and not break the mood—no holiday, no interval if possible, till it is done. Then rest. Then re-write.
Sunday, January 26th
I am 48: we have been at Rodmell—a wet, windy day again; but on my birthday we walked among the downs, like the folded wings of grey birds; and saw first one fox, very long with his brush stretched; then a second; which had been barking, for the sun was hot over us; it leapt lightly over a fence and entered the furze—a very rare sight. How many foxes are there in England? At night I read Lord Chaplin's life. I cannot yet write naturally in my new room, because the table is not the right height and I must stoop to warm my hands. Everything must be absolutely what I am used to.
I forgot to say that when we made up our 6 months accounts, we found I had made about £3,020 last year—the salary of a civil servant: a surprise to me, who was content with £200 for so many years. But I shall drop very heavily I think. The Waves won't sell more than 2,000 copies. I am stuck fast in that book—I mean, glued to it, like a fly on gummed paper. Sometimes I am out of touch; but go on; then again feel that I have at last, by violent measures—like breaking through gorse—set my hands on something central. Perhaps I can now say something quite straight out; and at length; and need not be always casting a line to make my book the right shape. But how to pull it together, how to comport it—press it into one—I do not know; nor can I guess the end—it might be a gigantic conversation. The interludes are very difficult, yet I think essential; so as to bridge and also to give a background—the sea; insensitive nature—I don't know. But I think, when I feel this sudden directness, that it must be right: anyhow no other form of fiction suggests itself except as a repetition at the moment.
It has sold about 6,500 today, Oct. 30th, 1931—after 3 weeks. But will stop now, I suppose.
Sunday, February 16th
To lie on the sofa for a week. I am sitting up today in the usual state of unequal animation. Below normal, with spasmodic desire to write, then to doze. It is a fine cold day and if my energy and sense of duty persist, I shall drive up to Hampstead. But I doubt that I can write to any purpose. A cloud swims in my head. One is too conscious of the body and jolted out of the rut of life to get back to fiction. Once or twice I have felt that odd whirr of wings in the head, which comes when I am ill so often—last year for example at this time I lay in bed constructing A Room of One's Own (which sold 10,000 two days ago). If I could stay in bed another fortnight (but there is no chance of that) I believe I should see the whole of The Waves. Or of course I might go off on something different. As it is I half incline to insist upon a dash to Cassis; but perhaps this needs more determination than I possess; and we shall dwindle on here. Pinker is walking about the room looking for the bright patch—a sign of spring. I believe these illnesses are in my case—how shall I express it?—partly mystical. Something happens in my mind. It refuses to go on registering impressions. It shuts itself up. It becomes chrysalis. I lie quite torpid, often with acute physical pain—as last year; only discomfort this. Then suddenly something springs. Two nights ago Vita was here; and when she went I began to feel the quality of the evening—how it was spring coming: a silver light; mixing with
the early lamps; the cabs all rushing through the streets; I had a tremendous sense of life beginning; mixed with that emotion which is the essence of my feeling, but escapes description (I keep on making up the Hampton Court scene in The Waves—Lord how I wonder if I shall pull this book off! It is a litter of fragments so far). Well, as I was saying, between these long pauses, for I am swimming in the head and write rather to stabilise myself than to make a correct statement—I felt the spring beginning; and Vita's life so full and flush; and all the doors opening; and this is I believe the moth shaking its wings in me. I then begin to make up my story whatever it is; ideas rush in me; often though this is before I can control my mind or pen. It is no use trying to write at this stage. And I doubt if I can fill this white monster. I would like to lie down and sleep, but feel ashamed. Leonard brushed off his influenza in one day and went about his business feeling ill. Here am I still loafing, undressed, with Elly * coming tomorrow. But as I was saying, my mind works in idleness. To do nothing is often my most profitable way. I am reading Byron: Maurois: which sends me to Childe Harold: makes me speculate. How odd a mixture: the weakest sentimental Mrs. Hemans combined with trenchant bare vigour. How did they combine? And sometimes the descriptions in C.H. are "beautiful"; like a great poet. There are the three elements in Byron:
1. The romantic dark haired lady singing drawing room melodies to the guitar.
"Tambourgi! Tambourgi! thy 'larum afar
Gives hope to the valiant and promise of war;"
"Oh! who is more brave than a dark Suliote,
In his snowy camese and his shaggy capote"