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- W2417482005 abstract "When, in writing about the Brownings, Virginia Woolf takes as her hero a spaniel, and when, to write about Keats, Forster assumes the standpoint of his unscrupulous guardian Mr Abbey (not even naming the poet till the last paragraph),1 we recognise a likeness and say to ourselves, here is a ‘Bloomsbury’ trick, here is ‘Bloomsbury’ writing. How shall we define the quality? Perhaps, ‘cultivated perversity’? In neither writer is the trick or invention a pointless whimsicality; and Forster’s essay, though it verges on over-playfulness, makes its point, a novelist’s point, very brilliantly. Nevertheless, this obliqueness and teasing refusal of the high road is a distinctively Bloomsbury trait. Indeed, come to think of it, such a devious approach to hallowed subjects is central to Bloomsbury’s appointed task, the dismantling of Victorianism. It is the technique prescribed by Lytton Strachey in the Preface to Eminent Victorians: It is not by the direct method of a scrupulous narration that the explorer of the past can hope to depict that singular epoch. If he is wise, he will adopt a subtler strategy. He will attack his subject in unexpected places; he will fall upon the flank, or the rear; he will shoot a sudden, revealing searchlight into obscure recesses, hitherto undivined. He will row out over that great ocean of material, and lower down into it, here and there, a little bucket…" @default.
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- W2417482005 date "1979-01-01" @default.
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- W2417482005 title "Forster and ‘Bloomsbury’ Prose" @default.
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- W2417482005 doi "https://doi.org/10.1007/978-1-349-04359-0_15" @default.
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