Virginia Woolf's playful exploration of a satirical »Oxbridge« became one of the world's most groundbreaking writings on women, writing, fiction, and gender. A Room of One's Own [1929] can be read as one or as six different essays, narrated from an intimate first-person perspective. Actual history blends with narrative and memoir. But perhaps most revolutionary was its address: the book is written by a woman for women. Male readers are compelled to read through women's eyes in a total inversion of the traditional male gaze. VIRGINIA WOOLF [1882–1941] was an English author. With novels like Jacob’s Room [1922], Mrs Dalloway [1925], To the Lighthouse [1927], and Orlando [1928], she became a leading figure of modernism and is considered one of the most important English-language authors of the 20th century. As a thinker, with essays like A Room of One’s Own [1929], Woolf has influenced the women’s movement in many countries.

Meet the creative women who are living life on their own terms, and the unique living spaces they have designed and inhabit in this lavishly produced volume. Creative practitioners, philosophers, and rebels, the women chronicled in this volume refuse to compartmentalize or neglect any of their talents or interests. Instead, their lives are a canvas for their artistry. We see it in their homes and studios, on their tables, and in their wardrobes. Equal parts biography and interior design study, A Room of Her Own features twenty extraordinary women and takes us on a private tour across the world into their personal and professional domains. Among them are painters, sculptors, writers, chefs, designers, jewelers, curators, makers, and directors. While each woman has navigated a unique path, they are united in their refusal to play by the rules of others. Taking in the likes of the grand, sweeping halls of a castle in the Austrian countryside, a convent-like property in Mexico, and a cozy home on the banks of the Hudson, this book celebrates the homes, philosophies, design aesthetics, and practices of these inspiring multihyphenates.

"Women from all walks of life introduce us to the sanctuaries they have created in their own homes. Some of these women, like Oprah Winfrey, Maya Angelou, and Ali McGraw, are well-known; others are known only in their own communities."--Jacket.

Virginia Woolf. The third chapter of Woolf's essay "A Room of One's Own," based on two lectures the author gave to female students at Cambridge in 1928 on the topic of women and fiction. 36 pages. Tale Blazers.

This oral history collection brings together extended interviews with fifteen women, illuminating the part that gender roles play in ensnaring women in cycles of domestic abuse and homelessness and highlighting the physical stresses. It also challenges liberal myths about homeless people, and homeless women in particular.

With the help of her family, a resourceful Mexican American girl realizes her dream of having a space of her own to read and to think.

What would Little Women be without the charms of the March family’s cozy New England home? Or Wuthering Heights without the ghost-infested Wuthering Heights? Getting lost in the setting of a good book can be half the pleasure of reading, and Decorating a Room of One’s Own brings literary backdrops to the foreground in this wryly affectionate satire of interior design reporting. English professor and humorist Susan Harlan spoofs decorating culture by reimagining its subject as famous fictional homes and “interviews” the residents who reveal their true tastes: Lady Macbeth’s favorite room in the castle, or the design inspiration behind Jay Gatsby’s McMansion of unfulfilled dreams. Featuring 30 entries of notable dwellings, sidebars such as “Setting Up an Ideal Governess’s Room,” and four-color spot illustrations throughout, Decorating a Room of One’s Own is the ideal book for readers who appreciate fine literature and a good end table.

This volume combines two books which were among the greatest contributions to feminist literature this century. Together they form a brilliant attack on sexual inequality and a passionate polemic which draws a startling comparison between the tyrannous hypocrisy of the Victorian patriarchal system and the evils of fascism. Virginia Woolf makes the connection between war and the economy and a woman's role (or lack there of) in both. A Room of One's Own, first published in 1929, is a witty, urbane and persuasive argument against the intellectual subjection of women, particularly women writers. The sequel, Three Guineas, is a passionate polemic which draws a startling comparison between the tyrannous hypocrisy of the Victorian patriarchal system and the evils of fascism.

Meet the women who wrote. They wrote against all odds. Some wrote defiantly; some wrote desperately. Some wrote while trapped within the confines of status and wealth. Some wrote hand-to-mouth in abject poverty. Some wrote trapped in a room of their father’s house, and some went in search of a room of their own. They had lovers and families. They were sometimes lonely. Many wrote anonymously or under a pseudonym for a world not yet ready for their genius and talent. We know many of their names—Austen and Alcott, Brontë and Browning, Wheatley and Woolf—though some may be less familiar. They are here, waiting to introduce themselves. They marched through the world one by one or in small sisterhoods, speaking to each other and to us over distances of place and time. Pushing back against the boundaries meant to keep us in our place, they carved enough space for themselves to write. They made space for us to follow. Here they are gathered together, an army of women who wrote and an arsenal of words to inspire us. They walk with us as we forge our own paths forward. These women wrote to change the world. The perfect keepsake gift for the reader in your life Anthology of stories and poems Book length: approximately 90,000 words

A woman must have money and a room of her own if she is to write fiction, wrote Virginia Woolf. Published in 1920, A Room of One's Own has often been heralded as the first modern work of feminist criticism. It remains one of the most widely read, quoted, and analyzed texts of its kind. Ellen Rosenman describes the book's genesis as the sense of exclusion Woolf and many women experienced when confronted with the sexism and elitism of the British university system of their day. Rosenman offers a balanced appraisal, refusing to ignore the difficulties with Woolf's argument and in particular, her inconsistencies and contradictions.