An urgent but compelling flurry of impression and feeling
In October 1928, Virginia Woolf, delivering a lecture to two women’s colleges at Cambridge, famously outlined some prerequisites for a woman to write fiction: she “must have money and a room of her own”. In Lucy Steeds’s debut novel The Artist, we are once again reminded that the successful exercise of substantial talent often rests on the crude but incontrovertible contingencies of having both the means and the time to achieve.
In Tartuffe, he sees a possibility of redemption, an opportunity to uncover the processes of a genius, but when he meets the man himself Adelaide finds a tortured artist whose immense talent is matched only by his infantile neediness. Tartuffe is reliant on his orphaned and obedient niece Ettie, and at times he is vicious in his helplessness.
Theory & Practice by Michelle de Kretser: Who’s afraid of the wealth, racism and snootiness of Virginia Woolf?
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