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Jacob’s Room
Adeline Virginia Woolf (25 January 1882 – 28 March 1941) was an English writer, and one of the foremost modernists of the twentieth century.
During the interwar period, Woolf was a significant figure in London literary society and a central figure in the influential Bloomsbury Group of intellectuals. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum, "A woman must have money and a room of her own if she is to write fiction."
Jacob's Room is the third novel by Virginia Woolf, first published on 26 October 1922.
The novel centres, in a very ambiguous way, around the life story of the protagonist Jacob Flanders, and is presented entirely by the impressions other characters have of Jacob (except for those times when we do indeed get Jacob's perspective). Thus, although it could be said that the book is primarily a character study and has little in the way of plot or background, the narrative is constructed as a void in place of the central character, if indeed the novel can be said to have a 'protagonist' in conventional terms.
Motifs of emptiness and absence haunt the novel and establish its elegiac feel. Jacob is described to us, but in such indirect terms that it would seem better to view him as an amalgamation of the different perceptions of the characters and narrator. He does not exist as a concrete reality, but rather as a collection of memories and sensations.
During the interwar period, Woolf was a significant figure in London literary society and a central figure in the influential Bloomsbury Group of intellectuals. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum, "A woman must have money and a room of her own if she is to write fiction."
Jacob's Room is the third novel by Virginia Woolf, first published on 26 October 1922.
The novel centres, in a very ambiguous way, around the life story of the protagonist Jacob Flanders, and is presented entirely by the impressions other characters have of Jacob (except for those times when we do indeed get Jacob's perspective). Thus, although it could be said that the book is primarily a character study and has little in the way of plot or background, the narrative is constructed as a void in place of the central character, if indeed the novel can be said to have a 'protagonist' in conventional terms.
Motifs of emptiness and absence haunt the novel and establish its elegiac feel. Jacob is described to us, but in such indirect terms that it would seem better to view him as an amalgamation of the different perceptions of the characters and narrator. He does not exist as a concrete reality, but rather as a collection of memories and sensations.