- Title Pages
- First Nations Acknowledgment
- Virginia Woolf Standard Abbreviations
- Multidisciplinary Woolf / Multiple Woolfs?
- Woolf, History, Us
- “Full of Experiments and Reforms”
and Ambiguous Sexualities in Jacob’s Room 1
- Challenging the Family Script
- History as Scaffolding
- Vincent Van Gogh, Virginia Woolf, and Old Shoes
- Stopped at the Border
- “Q. And Babies? A. And babies”
- Photography, History, and Memoir of the Spanish Civil War
- “Waving to Virginia”
- Woolf, Defoe, Derrida
- “The law is on the side of the normal”
- A Healing Center of One’s Own
- Sunflower Suture
- “One Must Be Scientific”
- Clarissa’s Glacial Skepticism
- Apollonian Illusion and Dionysian Truth in Mrs. Dalloway
- “Time has Whizzed back an inch or two on its reel”
- Speaking Citizen to Citizen in a Time of War
- Work as Salvation
- Drawing as Thinking
- Performing Feminism, Transmitting Affect
- Virginia Woolf and Clarice Lispector
- Mystical Gibberish or Renegade Discourse?
Selves and Others as Narrative Participants in Woolf’s Novels
- “The most unaccountable of machinery”
- The Hotel at the End of the Universe
- Globalization, Inter-Connectivity, and Anti-Imperialism
- Chinese Eyes and Muddled Armenians
- “No One Wants Biography”
- There Goes the Bride
- Redefining Woolf for the 1990s
- The Believers
- The Woolfs in Print and Online
- Notes on Contributors
- 22nd Annual International Conference on Virginia Woolf: Interdisciplinary / Multidisciplinary Woolf: Conference Program
Writers Publishing for Readers, or Preliminary Musings on the Hogarth Press and Mcsweeney’s
- (p.262) The Believers
- Interdisciplinary/Multidisciplinary Woolf
- Liverpool University Press
This chapter explores the question of marketing and the writer-run press by comparing Hogarth Press and McSweeney's, in terms of their constructions of cultural value, readership, and authorial signature. Through an extended comparative analysis of the Hogarth Press and McSweeney's, the chapter highlights the afterlife of historical modernist values as embodied by the strategies that author-publishers have adopted both then and now; author-run presses as an expression of the writers' conceptualization of readers; and whether recent work on “reading class” versus “reading culture” can afford literary critics a supplementary means of understanding the ongoing significance of adopting modernist modes of presenting value and prescribing frameworks of expectations. It also considers the dual role of Virginia Woolf and Dave Eggers as authors and publishers.
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