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• W289734500 abstract "Now my belief is that this poet who never wrote a word and was buried at crossroads still lives.... for great poets do not die; they are continuing presences; they need only opportunity to walk among us in flesh. --Virginia Woolf, A Room One s Own When Virginia Woolf wrote these words, she was not, course, referring to dead soldier-poets World I: men who also died young, their gifts still unrealized, and who were buried where they fell in battlefields Belgium and France. (1) Yet Woolf's invocation Shakespeare's sister, coming as it did ten years after Peace was declared, followed a period national obsession with fate, in spirit if not name, Shakespeare's brothers--the men, as David Cannadine puts it, of brilliance, promise and innocence, who were snuffed out in carnage First World War (199). And these war dead--these dead poets, as they were most commonly figured--were still very much alive in public consciousness when, in A Room One's Own, Woolf took up woman writer's cause. The years immediately succeeding war, in fact, saw an unprecedented display public and private acts commemoration, most notably erection Cenotaph, or the empty tomb, in in July 1919 and burial Unknown Warrior in Westminster Abbey on Armistice Day 1920, timed to coincide with unveiling a new Cenotaph, now made permanent popular demand. The response was not one that could be easily forgotten: by end week, it was estimated that one million people had visited Cenotaph and graveside, and that no less than 100,000 wreaths had been laid either in Abbey or in Whitehall (Cannadine 224). And process did not stop there; what, as Karen L. Levenback reminds us, Woolf called lurid night Cenotaph--a scene like one in Hell--was followed approximately forty thousand memorials throughout England, reaching their height in early 1920s, when memorial tributes and unveilings could be observed on a daily basis (Levenback 31; 39). (2) In East London alone, Mark Connelly has identified the unveiling and dedication some twenty-six memorials in East and West Ham between January 1919 and Armistice Day 1921, forty-one in City, twenty-two in Tower Hamlets, ten in Ilford and three in Romford (143). Elsewhere in London, notable memorials, impossible to miss, included London and North Western Railway memorial obelisk in Euston Station (1921) and Royal Artillery Memorial at Hyde Park Corner (1925). And throughout 1920s, Sir Edwin Lutyens, designer Cenotaph and one key architects for Imperial Graves Commission, continued to leave his mark on other London structures, including Royal Naval Division memorial at Horse Guards Parade (1925) and Mercantile Marine memorial at Tower Hill (1928). The London Woolf so avidly longed for with return peace could be seen, then, as an urban landscape that was being transformed into a testimonial tract. (3) Indeed, as Geoff Dyer has argued, in postwar years, Britain entered a phase protracted mourning only formally completed with inauguration Memorial to Missing Somme at Thiepval in 1932 (30-31). (4) This essay proposes to read A Room One's Own through and against this postwar context. The culture remembrance, it suggests, provides an important frame reference for understanding Woolf's own meditation in Room on absent and missing. But in invoking--and inhabiting--the tropes remembrance, Room also displaces them, allowing text to both engage and critique official structures memorialization. Formal monuments were not only way memorialization was being performed at this time, nor were they unique in way they entwined and impressed on public mind cult dead soldier-poet and idea a lost or missing generation. …" @default.
• W289734500 created "2016-06-24" @default.
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• W289734500 date "2010-01-01" @default.
• W289734500 modified "2023-09-24" @default.
• W289734500 title "Posthumous Was a Woman: World War I Memorials and Woolf's Dead Poet's Society" @default.
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