Virginia Wolf

Invitada por dos universidades de mujeres, en octubre de 1928, para hablar sobre las mujeres y la ficción, Virginia Woolf preparó una verdadera clase magistral sobre desigualdad de género y de clase. La autora dialoga con libros que va sacando de la biblioteca, con la intención de encontrar allí cuál pudo haber sido la razón por la que las bibliotecas no cuentan con autoras mujeres sino hasta el siglo XVIII. Virginia cuestiona, interroga, acusa, concede a veces, y descubre, quizás hasta con algún asombro, la verdad: si las mujeres no habían tenido un espacio dentro de la Historia, si las mujeres no habían tenido un lugar de igualdad en los espacios de educación formal y de formación y desarrollo artístico e intelectual, era porque siempre habían sido oprimidas por un mundo regido íntegramente por varones. Frente a este descubrimiento, muy significativo para un 1928 de entreguerras, cuestiona su propio lugar de privilegio y se pregunta: ¿por qué yo puedo escribir libremente?, ¿por qué puedo dedicarme a la escritura? Y se responde: porque cuento con 500 libras anuales y un cuarto propio.

Un cuarto propio

Paige Leitner

The very reason why that poetry excites one to such abandonment, such rapture, is that it celebrates some feeling that one used to have (at luncheon parties before the war perhaps), so that one responds easily, familiarly, without troubling to check the feeling, or to compare it with any that one has now. But the living poets express a feeling that is actually being made and torn out of us at the moment. One does not recognize it in the first place; often for some reason one fearsome it; watches it with keenness and compares it jealously and suspiciously with the old feeling that one knew. Hence the difficulty of modern poetry; and it is because of this difficulty that one cannot remember more than two consecutive lines of any good modern poet. For this reason-- that my memory failed me--the argument flagged for want of material. But why, I continued, moving on towards Headingley, have we stopped humming under our breath at luncheon parties?

clara

Perhaps if I lay bare the Ideas, the prejudices, that lie behind this statement you will find that they have some bearing upon women and some upon fiction. At any rate, when a subject is highly controversial-and any question about sex is that-one cannot hope to tell the truth. One can only show how one came to hold whatever opinion one does hold. One can only give one's audience the chance of drawing their own conclusions as they observe the limitations, the prejudices, the idiosyncrasies of the speaker. Fiction here is likely to contain more truth than fact. 

So I went back to my inn, and as I walked through the dark streets I pondered this and that, as one does at the end of the day's work. I pondered why it was that Mrs Seton had no money to leave us; and what effect poverty has on the mind; and what effect wealth has on the mind; (..); and I thought of the organ booming in the chapel and of the shut doors of the library;and I thought how unpleasant it is to be locked out; and I thought how it is worse perhaps to be locked in; and, thinking of the safety and prosperity of the one sex and of the poverty and insecurity of the other and of the effect of tradition and of the lack of tradition upon the mind of a writer

it was the professor's statement about the mental, moral and physical inferiority of women. My heart had leapt. My cheeks had burnt. I had flushed with anger. There was nothing specially remarkable, however foolish, in that. One does not like to be told that one is naturally the inferior of a little man

Indeed, if woman had no existence save in the fiction written by men, one would imagine her a person of the utmost importance; very various; heroic and mean; splendid and sordid: infinitely beautiful and hideous in the extreme, as great as a man, some think even greater. But this is the woman in fiction. In fact, as Professor Trevelyan points out, she was locked up, beaten and flung about the room. A very queer, composite being thus emerges. Imaginatively she is of the highest importance; practically she is completely Insignificant. She pervades poetry from cover to cover; she all but absent from history.

The spectacle is certainly a strange one, I thought. The history of men's opposition to women's emancipation is more interesting perhaps than the story of that emancipation itself .

Macy HB

That is why Napoleon and Mussolini both insist so emphatically upon the inferiority of women, for if they were not inferior, they would cease to enlarge. That serves to explain in part the Necessity that women so often are to men. And it serves to explain how restless they are under her criticism; how impossible it is for her to say to them this book is bad, this picture is feeble, or whatever it may be, without giving him far more pain and rousing far more anger than a man would do who gave the same criticism. For if she begins to tell the truth the figure in the looking glass shrinks; his fitness for life has diminished.

Indeed, if women had no existence save in the fiction written by men, one would imagine her a person of the utmost importance; very various; heroic and mean; splendid and sordid; infinitely beautiful and hideous in the extreme; as great as a man, some think even greater. But this woman is fiction in fact, as professor Trevelyan points out, she was locked up, beaten and flung about the room.

sorry last Virginia Woolf highlight I promise (I don’t promise)

Imaginatively she is of the highest importance; practically she is completely insignificant. She pervades poetry from cover to cover; she is all but absent from history.

For masterpieces are not single and solitary birth; they are the outcome of many years of thinking common, of thinking by the body of the people, so that the experience of the mass is behind the single voice

Un cuarto propio quotes

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