In the Memoir Club, the postwar Bloomsbury circle devoted to self-writing in the manner of Proust, I presented three of the 125 memoirs, between 1921 and 1936.
Through Three Guineas (1938) and the Hogarth Press list, I tied women's exclusion from legal and economic power to war, nationalism and colonialism — publishing anti-colonial pamphlets alongside feminist memoirs.
In A Room of One's Own I argued that the women history accused of witchcraft or possession were often suppressed artists — that missing women in literature is a story of lost creativity, not absent talent.
Between 1927 and 1931 I published To the Lighthouse, Orlando and The Waves, plus essays such as "Mr. Bennett and Mrs. Brown" — my most sustained run of experimental literature and art criticism.
Across my novels I let an uneventful, commonplace narrative be refracted — sometimes almost dissolved — in my characters' consciousness, fusing lyricism and style into a literature of sound and image.
