Three Guineas by Virginia Woolf

a feminish redux: all a girl needs to know

three_guineas_vanessa_bell.jpgFull text online:
University of Adelaide Library, electronic texts collection: Three Guineas

Recommended printed editions:
Penguin (Classics) ISBN: 0141184604 | Oxford (Classics) ISBN: 0192834843 | Blackwell (Critical ed’n) ISBN: 0631177248

i. the book in a nutshell
ii. what else the book says
iii. about the author
iv. key passages, quotes
v. Three Guineas trivia
vi. publications about Three Guineas

i. the book in a nutshell
Three Guineas is Virginia Woolf’s most controversial and polemical feminist work. The essay was written in Winter 1936/7 and published in 1938 to the backdrop of the Spanish Civil War and the muscle-flexing of fascists in Italy and Germany. It takes the form of a letter replying to a request (from a grey-haired old English barrister) for a guinea (21 shillings - about £1.05 in new money) towards a Society for the Justice, Equality and Liberty of all men and women. A donation, it is claimed, would help to prevent war.

By all means take your guinea, says Woolf, delighting in the fact it’s one she, a woman, has earned herself ( ‘the professions’ were only unbarred in 1919). But first she will give one guinea for women’s colleges:

if [daughters] are going to be restricted to the education of the private house they are going… to exert all their influence both consciously and unconsciously in favour of war. Of that there can be little doubt. Chapter 1

and a second to a society for the advancement of women in ‘the professions’:

to help women to earn their livings in the professions is to help them to possess that weapon of independent opinion which is still their most powerful weapon. It is to help them to have a mind of their own and a will of their own with which to help you to prevent war. Chapter 2

Woolf’s comprehensive, elaborate and well-defended argument over 190 pages is that the more women there are in positions of power (in politics, science, culture or the church) the less warmongering society will be. Three Guineas was an original foray into 1930s debates about war because it tackled head-on “what was regarded as too obvious or inapposite to be mentioned, much less brooded over: that war is a man’s game — that the killing machine has a gender, and it is male.” (Susan Sontag)


ii. what else the book says
In Three Guineas Woolf does far more than just distribute her coins. She also argues that:

Women should write, making the most of typewriters or private printing presses to publish without “the pressure of boards, policies and editors”. Then women can “speak your own mind, in your own words, at your own time, at your own length, at your own bidding”. In this way “intellectual liberty” can be protected, and women can “help in the most positive way now open to them—since the profession of literature is still that which stands widest open to them—to prevent war.” (for the full quote, see: feminish » Virginia Woolf says women should blog (well, almost))

The word feminist should be metaphorically burnt: “That word, according to the dictionary, means ‘one who champions the rights of women’. Since the only right, the right to earn a living, has been won, the word no longer has a meaning. […] The word ‘feminist’ is destroyed; the air is cleared; and in that clearer air what do we see? Men and women working together for the same cause [the prevention of war]. (for the full quote, see: feminish » Virginia Woolf burned the word ‘feminist’)

Women should maintain an attitude of indifference to war and not try “to incite their brothers to fight, or to dissuade them”. A woman should “bind herself to take no share in patriotic demonstrations; to assent to no form of national self-praise; to make no part of any claque or audience that encourages war; to absent herself from military displays, tournaments, tattoos, prize-givings and all such ceremonies as encourage the desire to impose ‘our’ civilization or ‘our’ dominion upon other people.”… these methods would “help to prevent war and to ensure freedom”.

The State should pay a wage to “those whose profession is marriage and motherhood.” “If the State paid your wife a living wage for her work which, sacred though it is, can scarcely be called more sacred than that of the clergyman, yet as his work is paid without derogation so may hers be—if this step which is even more essential to your freedom than to hers were taken, the old mill in which the professional man now grinds out his round, often so wearily, with so little pleasure to himself or profit to his profession, would be broken; the opportunity of freedom would be yours; the most degrading of all servitudes, the intellectual servitude, would be ended; the half-man might become whole.”

iii. about the author
Virginia Woolf (1882–1941), was an English novelist and essayist. A successful innovator in the form of the novel, she is considered a significant force in 20th-century fiction. In 1912 she married Leonard Woolf, a critic and writer on economics, with whom she set up the Hogarth Press in 1917. Their home became a gathering place for a circle of artists, critics, and writers known as the Bloomsbury group. Her other work includes Mrs. Dalloway (1925), To The Lighthouse (1927), Orlando (1928), A Room of One’s Own (1929), and The Waves (1931).

iv. key passages, quotes
There are many important quotes in Three Guineas beyond this, the most famous:
threeguineasbookcover1.jpg

… if you insist upon fighting to protect me, or “our” country, let it be understood, soberly and rationally between us, that you are fighting to gratify a sex instinct which I cannot share; to procure benefits which I have not shared and probably will not share; but not to gratify my instincts, or to protect either myself or my country. For,’ the outsider will say, ‘in fact, as a woman, I have no country. As a woman I want no country. As a woman my country is the whole world.’






Three Guineas has been called a ‘feminist, pacifist, anti-fascist, anti-imperialist polemic’. This is why:

The ‘aroma’ of sex:


… ‘Miss’ transmits sex; and sex may carry with it an aroma. ‘Miss’ may carry with it the swish of petticoats, the savour of scent or other odour perceptible to the nose on the further side of the partition and obnoxious to it. What charms and consoles in the private house may distract and exacerbate in the public office.
… Odour then—or shall we call it ‘atmosphere’?—is a very important element in professional life; in spite of the fact that like other important elements it is impalpable … Atmosphere plainly is a very mighty power. Atmosphere not only changes the sizes and shapes of things; it affects solid bodies, like salaries, which might have been thought impervious to atmosphere. An epic poem might be written about atmosphere, or a novel in ten or fifteen volumes.

Woman between the devil and the deep sea


… We, daughters of educated men, are between the devil and the deep sea. Behind us lies the patriarchal system; the private house, with its nullity, its immorality, its hypocrisy, its servility. Before us lies the public world, the professional system, with its possessiveness, its jealousy, its pugnacity, its greed. The one shuts us up like slaves in a harem; the other forces us to circle, like caterpillars head to tail, round and round the mulberry tree, the sacred tree, of property. It is a choice of evils. Each is bad. Had we not better plunge off the bridge into the river; give up the game; declare that the whole of human life is a mistake and so end it?

Men’s caravanserai


There they go, our brothers who have been educated at public schools and universities, mounting those steps, passing in and out of those doors, ascending those pulpits, preaching, teaching, administering justice, practising medicine, transacting business, making money. It is a solemn sight always—a procession, like a caravanserai crossing a desert. Great-grandfathers, grandfathers, fathers, uncles—they all went that way, wearing their gowns, wearing their wigs, some with ribbons across their breasts, others without. One was a bishop. Another a judge. One was an admiral. Another a general. One was a professor. Another a doctor. … We are here, on the bridge, to ask ourselves certain questions. And they are very important questions; and we have very little time in which to answer them. The questions that we have to ask and to answer about that procession during this moment of transition are so important that they may well change the lives of all men and women for ever. For we have to ask ourselves, here and now, do we wish to join that procession, or don’t we? On what terms shall we join that procession? Above all, where is it leading us, the procession of educated men? The moment is short; it may last five years; ten years, or perhaps only a matter of a few months longer. But the questions must be answered; and they are so important that if all the daughters of educated men did nothing, from morning to night, but consider that procession from every angle, if they did nothing but ponder it and analyse it, and think about it and read about it and pool their thinking and reading, and what they see and what they guess, their time would be better spent than in any other activity now open to them.
…Think we must. Let us think in offices; in omnibuses; while we are standing in the crowd watching Coronations and Lord Mayor’s Shows; let us think as we pass the Cenotaph; and in Whitehall; in the gallery of the House of Commons; in the Law Courts; let us think at baptisms and marriages and funerals. Let us never cease from thinking—what is this “civilization” in which we find ourselves? What are these ceremonies and why should we take part in them? What are these professions and why should we make money out of them? Where in short is it leading us, the procession of the sons of educated men?

Cripples in a cave


… [we have cause] to doubt and criticize and question the value of professional life—not its cash value; that is great; but its spiritual, its moral, its intellectual value… if people are highly successful in their professions they lose their senses. Sight goes. They have no time to look at pictures. Sound goes. They have no time to listen to music. Speech goes. They have no time for conversation. They lose their sense of proportion—the relations between one thing and another. Humanity goes. Money making becomes so important that they must work by night as well as by day. Health goes. And so competitive do they become that they will not share their work with others though they have more than they can do themselves. What then remains of a human being who has lost sight, and sound, and sense of proportion? Only a cripple in a cave.

Culture must be muscular, adventurous, free


who can doubt that once writers had the chance of writing what they enjoy writing they would find it so much more pleasurable that they would refuse to write on any other terms; or that readers once they had the chance of reading what writers enjoy writing, would find it so much more nourishing than what is written for money that they would refuse to be palmed off with the stale substitute any longer? Thus the slaves who are now kept hard at work piling words into books, piling words into articles, as the old slaves piled stones into pyramids, would shake the manacles from their wrists and give up their loathsome labour. And “culture”, that amorphous bundle, swaddled up as she now is in insincerity, emitting half truths from her timid lips, sweetening and diluting her message with whatever sugar or water serves to swell the writer’s fame or his master’s purse, would regain her shape and become, as Milton, Keats and other great writers assure us that she is in reality, muscular, adventurous, free.

Shroud the mind in darkness


We must extinguish the coarse glare of advertisement and publicity, not merely because the limelight is apt to be held in incompetent hands, but because of the psychological effect of such illumination upon those who receive it. Consider next time you drive along a country road the attitude of a rabbit caught in the glare of a head-lamp—its glazed eyes, its rigid paws. Is there not good reason to think without going outside our own country, that the ‘attitudes’, the false and unreal positions taken by the human form in England as well as in Germany, are due to the limelight which paralyses the free action of the human faculties and inhibits the human power to change and create new wholes much as a strong head-lamp paralyses the little creatures who run out of the darkness into its beams? It is a guess; guessing is dangerous; yet we have some reason to guide us in the guess that ease and freedom, the power to change and the power to grow, can only be preserved by obscurity; and that if we wish to help the human mind to create, and to prevent it from scoring the same rut repeatedly, we must do what we can to shroud it in darkness.

v. Three Guineas trivia
>>Virginia Woolf’s sister, Vanessa Bell, designed the first dustjacket for Three Guineas (pictured above).

>>Three Guineas was the fruit of a decade’s painstaking research. It grew out of a talk she gave at Girton College, Cambridge in 1928 and another in 1931 to the Junior Council of the London and National Society for Women’s Service (a former suffragist organisation). In preparing these talks, Woolf “felt she had conceived the sequel to A Room of One’s Own, about the sexual life of women.” The research eventually “turned into The Years (1937), a novel which charts social change from 1880 to the time of publication. Three Guineas then grew out of the leftover material, […] after a decade in which Woolf filled numerous “notebooks with clippings and quotations relating to women’s oppression” at the same time as “her fear and abhorrence of fascism also grew”. [source: www.litencyc.com/php/sworks.php?rec=true&UID=8321

>>Woolf received hundreds of letters following the publication of Three Guineas. The Woolf Studies Annual has published a collection of these. It’s not available online but you can order it.

>>Susan Sontag uses Woolf’s deployment of photographs of war in Three Guineas as an opening to her Regarding the Pain of Others (2003). “Let us see”, says Woolf in Three Guineas, “whether when we look at the same photographs [bombed house, dead bodies] we feel the same things.”

>>There’s even a Three Guineas Fund in San Francisco, U.S.A., and a grant-giving Three Guineas Trust in the U.K. (no website but you can contact them via Charities Direct).

>>A Room of One’s Own and Three Guineas have been described as “the Old and New Testament of the feminist’s Bible” (though I haven’t been able to track down who said it first).

>>This is a fun little review from the V. S. Pritchett in the Christian Science Monitor (06/29/1938):
“It is not often that the notes at the end of a book are more interesting than the text, but the 60 pages of them in Mrs. Woolf’s THREE GUINEAS are, I think, the most readable, the most pointed part of her book. The pill comes first… and the jam follows. It was an austere decision to segregate those lively illustrative anecdotes, queer fragments of argument, history, and sociology, and leave no oasis for the eye’s journey across the main theses.”

>>You can find an unbeatably extensive array of Virginia Woolf links, bibliographies and online/offline communities at Virginia Woolf Web.

vi. publications about Three Guineas
see also the editors’ notes in the Penguin, Oxford and Blackwell editions

BLACK, Naomi, Virginia Woolf as Feminist, Cornell University Press (2003)
SNAITH, Anna, “‘Stray Guineas’: Virginia Woolf and the Fawcett Library”, in Literature & History, Volume 12 Issue 2, Autumn 2003: 16-35
DALRYMPLE, Theodore “The Rage of Virginia Woolf”, City Journal, 2002
FARRELL, “A letter to Virginia Woolf”, Matrifocus Web Magazine, 2003
SILVER, Brenda R., ‘The Authority of Anger: Three Guineas as Case Study,’ Signs, 16, 2, Winter 1991: 340-70
BELL, Susan Groag, “‘1 am an Outsider”: The Politics of Virginia Woolf’, Virginia Woolf Miscellany, 20, Spring 1983: 2-3 .
BELL, Quentin, ‘Virginia Woolf, Her Politics’, Virginia Woolf Miscellany, 20, Spring 1983: 2.
BLACK, Naomi, ‘Virginia Woolf: The Life of Natural Happiness. (1882-1941 ) ‘, Feminist Theorists: Three Centuries of Key Women Thinkers, ed. Dale Spender, New York, 1983: 296-313,
CARR, Glynis, ‘Waging Peace: Virginia Woolf’s Three Guineas’, Proteus, 3, 2, Fall 1986: 13-21
BURR EVANS, Nancy Burr, ‘The Political Consciousness of Virginia Woolf: A Room of One’s Own and Three Guineas’, The New Scholar, 4, Spring 1974: 167-80.

early responses to Three Guineas
SOLOMON, Julie Robin, ‘Staking Ground: The Politics of Space in Virginia Woolf’s A Room of One’s Own and Three Guineas’, Women ’s Studies, 16, October 1989: 331-47
GREENE, Graham, ‘From the Mantlepiece’, The Spectator 17 June 1938: 1110-12.
ALLEN, Agnes, ‘Still a Man’s World’, The Saturday Review of Literature, 27 August 1938: 6.
LEAVIS, Q.D. ‘Caterpillars of the Commonwealth Unite!’ Scrutiny, 7, September 1938: 203-14.

2 Responses to “Virginia Woolf, Three Guineas: synopsis, quotes, bibliography”

  1. feminish » Stop war-mongering with 20 quid and a bit of Woolf Says:

    […] For a full lowdown on Three Guineas (including synopsis, key quotes and a bibliography), see the feminish » Three Guineas Redux: all a girl needs to know […]

  2. Katka Says:

    Wow - the link above is to a very hardcore pornographic site. Is that political commentary on the above, natures? Or are you just spam? Either way, you’re an abomination.

Leave a Reply


Three Guineas by Virginia Woolf

a feminish redux: all a girl needs to know

three_guineas_vanessa_bell.jpgFull text online:
University of Adelaide Library, electronic texts collection: Three Guineas

Recommended printed editions:
Penguin (Classics) ISBN: 0141184604 | Oxford (Classics) ISBN: 0192834843 | Blackwell (Critical ed’n) ISBN: 0631177248

i. the book in a nutshell
ii. what else the book says
iii. about the author
iv. key passages, quotes
v. Three Guineas trivia
vi. publications about Three Guineas

i. the book in a nutshell
Three Guineas is Virginia Woolf’s most controversial and polemical feminist work. The essay was written in Winter 1936/7 and published in 1938 to the backdrop of the Spanish Civil War and the muscle-flexing of fascists in Italy and Germany. It takes the form of a letter replying to a request (from a grey-haired old English barrister) for a guinea (21 shillings - about £1.05 in new money) towards a Society for the Justice, Equality and Liberty of all men and women. A donation, it is claimed, would help to prevent war.

By all means take your guinea, says Woolf, delighting in the fact it’s one she, a woman, has earned herself ( ‘the professions’ were only unbarred in 1919). But first she will give one guinea for women’s colleges:

if [daughters] are going to be restricted to the education of the private house they are going… to exert all their influence both consciously and unconsciously in favour of war. Of that there can be little doubt. Chapter 1

and a second to a society for the advancement of women in ‘the professions’:

to help women to earn their livings in the professions is to help them to possess that weapon of independent opinion which is still their most powerful weapon. It is to help them to have a mind of their own and a will of their own with which to help you to prevent war. Chapter 2

Woolf’s comprehensive, elaborate and well-defended argument over 190 pages is that the more women there are in positions of power (in politics, science, culture or the church) the less warmongering society will be. Three Guineas was an original foray into 1930s debates about war because it tackled head-on “what was regarded as too obvious or inapposite to be mentioned, much less brooded over: that war is a man’s game — that the killing machine has a gender, and it is male.” (Susan Sontag)


ii. what else the book says
In Three Guineas Woolf does far more than just distribute her coins. She also argues that:

Women should write, making the most of typewriters or private printing presses to publish without “the pressure of boards, policies and editors”. Then women can “speak your own mind, in your own words, at your own time, at your own length, at your own bidding”. In this way “intellectual liberty” can be protected, and women can “help in the most positive way now open to them—since the profession of literature is still that which stands widest open to them—to prevent war.” (for the full quote, see: feminish » Virginia Woolf says women should blog (well, almost))

The word feminist should be metaphorically burnt: “That word, according to the dictionary, means ‘one who champions the rights of women’. Since the only right, the right to earn a living, has been won, the word no longer has a meaning. […] The word ‘feminist’ is destroyed; the air is cleared; and in that clearer air what do we see? Men and women working together for the same cause [the prevention of war]. (for the full quote, see: feminish » Virginia Woolf burned the word ‘feminist’)

Women should maintain an attitude of indifference to war and not try “to incite their brothers to fight, or to dissuade them”. A woman should “bind herself to take no share in patriotic demonstrations; to assent to no form of national self-praise; to make no part of any claque or audience that encourages war; to absent herself from military displays, tournaments, tattoos, prize-givings and all such ceremonies as encourage the desire to impose ‘our’ civilization or ‘our’ dominion upon other people.”… these methods would “help to prevent war and to ensure freedom”.

The State should pay a wage to “those whose profession is marriage and motherhood.” “If the State paid your wife a living wage for her work which, sacred though it is, can scarcely be called more sacred than that of the clergyman, yet as his work is paid without derogation so may hers be—if this step which is even more essential to your freedom than to hers were taken, the old mill in which the professional man now grinds out his round, often so wearily, with so little pleasure to himself or profit to his profession, would be broken; the opportunity of freedom would be yours; the most degrading of all servitudes, the intellectual servitude, would be ended; the half-man might become whole.”

iii. about the author
Virginia Woolf (1882–1941), was an English novelist and essayist. A successful innovator in the form of the novel, she is considered a significant force in 20th-century fiction. In 1912 she married Leonard Woolf, a critic and writer on economics, with whom she set up the Hogarth Press in 1917. Their home became a gathering place for a circle of artists, critics, and writers known as the Bloomsbury group. Her other work includes Mrs. Dalloway (1925), To The Lighthouse (1927), Orlando (1928), A Room of One’s Own (1929), and The Waves (1931).

iv. key passages, quotes
There are many important quotes in Three Guineas beyond this, the most famous:
threeguineasbookcover1.jpg

… if you insist upon fighting to protect me, or “our” country, let it be understood, soberly and rationally between us, that you are fighting to gratify a sex instinct which I cannot share; to procure benefits which I have not shared and probably will not share; but not to gratify my instincts, or to protect either myself or my country. For,’ the outsider will say, ‘in fact, as a woman, I have no country. As a woman I want no country. As a woman my country is the whole world.’






Three Guineas has been called a ‘feminist, pacifist, anti-fascist, anti-imperialist polemic’. This is why:

The ‘aroma’ of sex:


… ‘Miss’ transmits sex; and sex may carry with it an aroma. ‘Miss’ may carry with it the swish of petticoats, the savour of scent or other odour perceptible to the nose on the further side of the partition and obnoxious to it. What charms and consoles in the private house may distract and exacerbate in the public office.
… Odour then—or shall we call it ‘atmosphere’?—is a very important element in professional life; in spite of the fact that like other important elements it is impalpable … Atmosphere plainly is a very mighty power. Atmosphere not only changes the sizes and shapes of things; it affects solid bodies, like salaries, which might have been thought impervious to atmosphere. An epic poem might be written about atmosphere, or a novel in ten or fifteen volumes.

Woman between the devil and the deep sea


… We, daughters of educated men, are between the devil and the deep sea. Behind us lies the patriarchal system; the private house, with its nullity, its immorality, its hypocrisy, its servility. Before us lies the public world, the professional system, with its possessiveness, its jealousy, its pugnacity, its greed. The one shuts us up like slaves in a harem; the other forces us to circle, like caterpillars head to tail, round and round the mulberry tree, the sacred tree, of property. It is a choice of evils. Each is bad. Had we not better plunge off the bridge into the river; give up the game; declare that the whole of human life is a mistake and so end it?

Men’s caravanserai


There they go, our brothers who have been educated at public schools and universities, mounting those steps, passing in and out of those doors, ascending those pulpits, preaching, teaching, administering justice, practising medicine, transacting business, making money. It is a solemn sight always—a procession, like a caravanserai crossing a desert. Great-grandfathers, grandfathers, fathers, uncles—they all went that way, wearing their gowns, wearing their wigs, some with ribbons across their breasts, others without. One was a bishop. Another a judge. One was an admiral. Another a general. One was a professor. Another a doctor. … We are here, on the bridge, to ask ourselves certain questions. And they are very important questions; and we have very little time in which to answer them. The questions that we have to ask and to answer about that procession during this moment of transition are so important that they may well change the lives of all men and women for ever. For we have to ask ourselves, here and now, do we wish to join that procession, or don’t we? On what terms shall we join that procession? Above all, where is it leading us, the procession of educated men? The moment is short; it may last five years; ten years, or perhaps only a matter of a few months longer. But the questions must be answered; and they are so important that if all the daughters of educated men did nothing, from morning to night, but consider that procession from every angle, if they did nothing but ponder it and analyse it, and think about it and read about it and pool their thinking and reading, and what they see and what they guess, their time would be better spent than in any other activity now open to them.
…Think we must. Let us think in offices; in omnibuses; while we are standing in the crowd watching Coronations and Lord Mayor’s Shows; let us think as we pass the Cenotaph; and in Whitehall; in the gallery of the House of Commons; in the Law Courts; let us think at baptisms and marriages and funerals. Let us never cease from thinking—what is this “civilization” in which we find ourselves? What are these ceremonies and why should we take part in them? What are these professions and why should we make money out of them? Where in short is it leading us, the procession of the sons of educated men?

Cripples in a cave


… [we have cause] to doubt and criticize and question the value of professional life—not its cash value; that is great; but its spiritual, its moral, its intellectual value… if people are highly successful in their professions they lose their senses. Sight goes. They have no time to look at pictures. Sound goes. They have no time to listen to music. Speech goes. They have no time for conversation. They lose their sense of proportion—the relations between one thing and another. Humanity goes. Money making becomes so important that they must work by night as well as by day. Health goes. And so competitive do they become that they will not share their work with others though they have more than they can do themselves. What then remains of a human being who has lost sight, and sound, and sense of proportion? Only a cripple in a cave.

Culture must be muscular, adventurous, free


who can doubt that once writers had the chance of writing what they enjoy writing they would find it so much more pleasurable that they would refuse to write on any other terms; or that readers once they had the chance of reading what writers enjoy writing, would find it so much more nourishing than what is written for money that they would refuse to be palmed off with the stale substitute any longer? Thus the slaves who are now kept hard at work piling words into books, piling words into articles, as the old slaves piled stones into pyramids, would shake the manacles from their wrists and give up their loathsome labour. And “culture”, that amorphous bundle, swaddled up as she now is in insincerity, emitting half truths from her timid lips, sweetening and diluting her message with whatever sugar or water serves to swell the writer’s fame or his master’s purse, would regain her shape and become, as Milton, Keats and other great writers assure us that she is in reality, muscular, adventurous, free.

Shroud the mind in darkness


We must extinguish the coarse glare of advertisement and publicity, not merely because the limelight is apt to be held in incompetent hands, but because of the psychological effect of such illumination upon those who receive it. Consider next time you drive along a country road the attitude of a rabbit caught in the glare of a head-lamp—its glazed eyes, its rigid paws. Is there not good reason to think without going outside our own country, that the ‘attitudes’, the false and unreal positions taken by the human form in England as well as in Germany, are due to the limelight which paralyses the free action of the human faculties and inhibits the human power to change and create new wholes much as a strong head-lamp paralyses the little creatures who run out of the darkness into its beams? It is a guess; guessing is dangerous; yet we have some reason to guide us in the guess that ease and freedom, the power to change and the power to grow, can only be preserved by obscurity; and that if we wish to help the human mind to create, and to prevent it from scoring the same rut repeatedly, we must do what we can to shroud it in darkness.

v. Three Guineas trivia
>>Virginia Woolf’s sister, Vanessa Bell, designed the first dustjacket for Three Guineas (pictured above).

>>Three Guineas was the fruit of a decade’s painstaking research. It grew out of a talk she gave at Girton College, Cambridge in 1928 and another in 1931 to the Junior Council of the London and National Society for Women’s Service (a former suffragist organisation). In preparing these talks, Woolf “felt she had conceived the sequel to A Room of One’s Own, about the sexual life of women.” The research eventually “turned into The Years (1937), a novel which charts social change from 1880 to the time of publication. Three Guineas then grew out of the leftover material, […] after a decade in which Woolf filled numerous “notebooks with clippings and quotations relating to women’s oppression” at the same time as “her fear and abhorrence of fascism also grew”. [source: www.litencyc.com/php/sworks.php?rec=true&UID=8321

>>Woolf received hundreds of letters following the publication of Three Guineas. The Woolf Studies Annual has published a collection of these. It’s not available online but you can order it.

>>Susan Sontag uses Woolf’s deployment of photographs of war in Three Guineas as an opening to her Regarding the Pain of Others (2003). “Let us see”, says Woolf in Three Guineas, “whether when we look at the same photographs [bombed house, dead bodies] we feel the same things.”

>>There’s even a Three Guineas Fund in San Francisco, U.S.A., and a grant-giving Three Guineas Trust in the U.K. (no website but you can contact them via Charities Direct).

>>A Room of One’s Own and Three Guineas have been described as “the Old and New Testament of the feminist’s Bible” (though I haven’t been able to track down who said it first).

>>This is a fun little review from the V. S. Pritchett in the Christian Science Monitor (06/29/1938):
“It is not often that the notes at the end of a book are more interesting than the text, but the 60 pages of them in Mrs. Woolf’s THREE GUINEAS are, I think, the most readable, the most pointed part of her book. The pill comes first… and the jam follows. It was an austere decision to segregate those lively illustrative anecdotes, queer fragments of argument, history, and sociology, and leave no oasis for the eye’s journey across the main theses.”

>>You can find an unbeatably extensive array of Virginia Woolf links, bibliographies and online/offline communities at Virginia Woolf Web.

vi. publications about Three Guineas
see also the editors’ notes in the Penguin, Oxford and Blackwell editions

BLACK, Naomi, Virginia Woolf as Feminist, Cornell University Press (2003)
SNAITH, Anna, “‘Stray Guineas’: Virginia Woolf and the Fawcett Library”, in Literature & History, Volume 12 Issue 2, Autumn 2003: 16-35
DALRYMPLE, Theodore “The Rage of Virginia Woolf”, City Journal, 2002
FARRELL, “A letter to Virginia Woolf”, Matrifocus Web Magazine, 2003
SILVER, Brenda R., ‘The Authority of Anger: Three Guineas as Case Study,’ Signs, 16, 2, Winter 1991: 340-70
BELL, Susan Groag, “‘1 am an Outsider”: The Politics of Virginia Woolf’, Virginia Woolf Miscellany, 20, Spring 1983: 2-3 .
BELL, Quentin, ‘Virginia Woolf, Her Politics’, Virginia Woolf Miscellany, 20, Spring 1983: 2.
BLACK, Naomi, ‘Virginia Woolf: The Life of Natural Happiness. (1882-1941 ) ‘, Feminist Theorists: Three Centuries of Key Women Thinkers, ed. Dale Spender, New York, 1983: 296-313,
CARR, Glynis, ‘Waging Peace: Virginia Woolf’s Three Guineas’, Proteus, 3, 2, Fall 1986: 13-21
BURR EVANS, Nancy Burr, ‘The Political Consciousness of Virginia Woolf: A Room of One’s Own and Three Guineas’, The New Scholar, 4, Spring 1974: 167-80.

early responses to Three Guineas
SOLOMON, Julie Robin, ‘Staking Ground: The Politics of Space in Virginia Woolf’s A Room of One’s Own and Three Guineas’, Women ’s Studies, 16, October 1989: 331-47
GREENE, Graham, ‘From the Mantlepiece’, The Spectator 17 June 1938: 1110-12.
ALLEN, Agnes, ‘Still a Man’s World’, The Saturday Review of Literature, 27 August 1938: 6.
LEAVIS, Q.D. ‘Caterpillars of the Commonwealth Unite!’ Scrutiny, 7, September 1938: 203-14.

2 Responses to “Virginia Woolf, Three Guineas: synopsis, quotes, bibliography”

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