---
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title: "Mrs. Dalloway: The Virginia Woolf Library Authorized Edition"
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# Modernist Narrative Style Top 200 Classic & Psychological Fiction Authorized Edition Mrs. Dalloway: The Virginia Woolf Library Authorized Edition

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## Summary

> 📖 Unlock the mind-bending brilliance of Woolf’s modernist masterpiece — don’t just read, experience it!

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- **What is this?** Mrs. Dalloway: The Virginia Woolf Library Authorized Edition
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## Key Features

- • **Celebrate Literary Legacy:** Be part of the timeless conversation around Woolf’s social satire, existential themes, and innovative storytelling.
- • **Own an Authorized Edition:** Collect the officially sanctioned Virginia Woolf Library edition, a must-have for discerning literary connoisseurs.
- • **Dive into Modernist Mastery:** Experience Woolf’s groundbreaking narrative that mirrors human consciousness with unmatched literary finesse.
- • **Explore Complex Human Psyche:** Navigate the intricate interior lives of characters through Woolf’s fluid, immersive prose—perfect for deep thinkers.
- • **Join a Cult Classic Community:** Ranked top 200 in Classic & Psychological Fiction, this book connects you with a vibrant, intellectual readership.

## Overview

Mrs. Dalloway: The Virginia Woolf Library Authorized Edition is a critically acclaimed modernist novel that explores the fluidity of human consciousness through a sophisticated third-person narrative. Ranked among the top 200 in Classic and Psychological Fiction, this edition offers readers an immersive journey into early 20th-century social satire and existential themes, making it an essential addition for literary enthusiasts and professionals seeking intellectual depth.

## Description

desertcart.com: Mrs. Dalloway: The Virginia Woolf Library Authorized Edition: 9780156628709: Woolf, Virginia: Books

Review: How to Throw a Party - Though there are some passing resemblances to Jane Austen, the comedy of manners, and Victorian narrative satire, this is a modernist novel and a fairly accessible introduction to Woolf, unless the reader is overly impatient or tone-deaf. Woolf creates a character's interior life through a virtuosic, highly mobile third-person narrator, who might be thought of as the character's "persona," not merely "expressing" the character's thoughts but "mirroring" how the character perceives him or herself as seen by others. Moreover, the indefinite pronouns can shift unexpectedly or occur in too close proximity to make identification easy or even definite. As a result, the reader has to work overtime to achieve entrance into the mind of the "right" character while simultaneously sensing the liquid, interpenetrating and shared qualities of human identity itself. And finally there's that tone, now soft, now loud, and rarely without irony. Woolf makes it fairly easy on the reader with the broad, sardonic strokes she uses to paint the practically villainous Sir William Bradshaw, the eminent psychiatrist viewed by many (especially himself) as the scientific high priest of this cross-section of deluded London luminaries; and she's equally nasty to her other "villain," Miss Kilman, a repressed and embittered born-again Christian who, like Sir William, lives by the code of "conversion," Woolf's euphemism for those powerful personalities who are bent upon breaking, controlling and dominating the will of anyone not strong enough to resist them. The other portraits are more subtle, requiring the reader either to hear the soft, nuanced ironical tones or risk missing both the social satire and the character. Woolf's targets range, perhaps not surprisingly, from the pretense, pride, and hypocrisy of an out-of-touch social stratum that clings to the "orderly" past; to the arrogance of modern medical "science"; to, more surprisingly, the suffocating alternatives offered by both religion and love. She uses the term "Human Nature" ironically, making it refer to those individuals who cannot see with understanding, empathy or vision, substituting for "life" the ego's own conventional, reductive and limited sense of a world that's all surface and order. Readers lured to this novel because of Cunningham's "The Hours" (novel or film) may be disappointed or quickly frustrated. Moving from Cunningham to Woolf is a bit like going from Fitzgerald to Faulkner, or from Austen to Shakespeare. What you immediately notice is the far greater range and more inclusive thematic focus and, most importantly, the sheer power and vitality of the prose (from fluid motion to dynamic rush). Woolf--like Joyce, Faulkner, and Shakespeare--employs a syntax that can cause the head to spin and the earth: she's a writer who represents not merely individual characters but captures a microcosm of life not to mention the life of language itself. The greatest challenge "Mrs. Dalloway" presents to a first-time reader is never to let up. It's essential to stay with Clarissa throughout her entire day, finally becoming a fully engaged participant in the party itself--the final thirty pages of the novel, which contain some of Woolf's best writing. Especially critical is the extended moment, almost 20 pages into the party scene, when Clarissa, like Septimus, walks to the window and has her epiphany. It's a moment highly reminiscent of Gabriel Conroy's singular internal struggle and ultimate attainment of vision in the closing paragraphs of "The Dead" (Woolf was not especially fond of Joyce, but it's hard to believe she was not influenced by him). At that moment, Clarissa sees her affinity and even oneness with Septimus, a character who suffers internally but is capable of resisting the worse alternative of the "cures" offered by Dr. Bradshaw, one of the guests at Clarissa's own party. The insight produces action: one character chooses death; the other, life. But Woolf enables us to see these apparently opposite choices as existential cognates: both characters make choices that enable them to save their souls. (The "Death of the Soul" is a theme introduced early in the novel by the insightful Peter, a "failure" by society's standards and his own admission and someone who cannot get the better of his fixations--on the irretrievable past and his own youth. By the story's end, it is not Peter but Clarissa who presents a whole and integrated self, capable of separating the illusory from the real, of the once dependent "Mrs. Dalloway" from the newly enlightened "Clarissa." Cunningham is a first-rate stylist and craftsman who can tell a story that's moving and evocative, a narrative, moreover, that connects with today's readers by affirming the choices available to the self. But it feels like a mechanical assembly next to the vibrant novel that is its source and inspiration. Ms. Woolf, like her character Clarissa, knows how to throw a party.
Review: Review of the condition of the book, not the contents - The book itself is great, but the copy I received had a weirdly varied amount of ink used to print each page: some pages look like all the words are in bold, and some pages have faintly printed words. It’s not the best copy, but it’s good enough!

## Features

- Portada aleatoria

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Best Sellers Rank | #14,214 in Books ( See Top 100 in Books ) #155 in Classic Literature & Fiction #193 in Psychological Fiction (Books) #561 in Literary Fiction (Books) |
| Customer Reviews | 4.1 out of 5 stars 5,678 Reviews |

## Images

![Mrs. Dalloway: The Virginia Woolf Library Authorized Edition - Image 1](https://m.media-amazon.com/images/I/71gFRamMa1L.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ How to Throw a Party
*by S***L on May 14, 2007*

Though there are some passing resemblances to Jane Austen, the comedy of manners, and Victorian narrative satire, this is a modernist novel and a fairly accessible introduction to Woolf, unless the reader is overly impatient or tone-deaf. Woolf creates a character's interior life through a virtuosic, highly mobile third-person narrator, who might be thought of as the character's "persona," not merely "expressing" the character's thoughts but "mirroring" how the character perceives him or herself as seen by others. Moreover, the indefinite pronouns can shift unexpectedly or occur in too close proximity to make identification easy or even definite. As a result, the reader has to work overtime to achieve entrance into the mind of the "right" character while simultaneously sensing the liquid, interpenetrating and shared qualities of human identity itself. And finally there's that tone, now soft, now loud, and rarely without irony. Woolf makes it fairly easy on the reader with the broad, sardonic strokes she uses to paint the practically villainous Sir William Bradshaw, the eminent psychiatrist viewed by many (especially himself) as the scientific high priest of this cross-section of deluded London luminaries; and she's equally nasty to her other "villain," Miss Kilman, a repressed and embittered born-again Christian who, like Sir William, lives by the code of "conversion," Woolf's euphemism for those powerful personalities who are bent upon breaking, controlling and dominating the will of anyone not strong enough to resist them. The other portraits are more subtle, requiring the reader either to hear the soft, nuanced ironical tones or risk missing both the social satire and the character. Woolf's targets range, perhaps not surprisingly, from the pretense, pride, and hypocrisy of an out-of-touch social stratum that clings to the "orderly" past; to the arrogance of modern medical "science"; to, more surprisingly, the suffocating alternatives offered by both religion and love. She uses the term "Human Nature" ironically, making it refer to those individuals who cannot see with understanding, empathy or vision, substituting for "life" the ego's own conventional, reductive and limited sense of a world that's all surface and order. Readers lured to this novel because of Cunningham's "The Hours" (novel or film) may be disappointed or quickly frustrated. Moving from Cunningham to Woolf is a bit like going from Fitzgerald to Faulkner, or from Austen to Shakespeare. What you immediately notice is the far greater range and more inclusive thematic focus and, most importantly, the sheer power and vitality of the prose (from fluid motion to dynamic rush). Woolf--like Joyce, Faulkner, and Shakespeare--employs a syntax that can cause the head to spin and the earth: she's a writer who represents not merely individual characters but captures a microcosm of life not to mention the life of language itself. The greatest challenge "Mrs. Dalloway" presents to a first-time reader is never to let up. It's essential to stay with Clarissa throughout her entire day, finally becoming a fully engaged participant in the party itself--the final thirty pages of the novel, which contain some of Woolf's best writing. Especially critical is the extended moment, almost 20 pages into the party scene, when Clarissa, like Septimus, walks to the window and has her epiphany. It's a moment highly reminiscent of Gabriel Conroy's singular internal struggle and ultimate attainment of vision in the closing paragraphs of "The Dead" (Woolf was not especially fond of Joyce, but it's hard to believe she was not influenced by him). At that moment, Clarissa sees her affinity and even oneness with Septimus, a character who suffers internally but is capable of resisting the worse alternative of the "cures" offered by Dr. Bradshaw, one of the guests at Clarissa's own party. The insight produces action: one character chooses death; the other, life. But Woolf enables us to see these apparently opposite choices as existential cognates: both characters make choices that enable them to save their souls. (The "Death of the Soul" is a theme introduced early in the novel by the insightful Peter, a "failure" by society's standards and his own admission and someone who cannot get the better of his fixations--on the irretrievable past and his own youth. By the story's end, it is not Peter but Clarissa who presents a whole and integrated self, capable of separating the illusory from the real, of the once dependent "Mrs. Dalloway" from the newly enlightened "Clarissa." Cunningham is a first-rate stylist and craftsman who can tell a story that's moving and evocative, a narrative, moreover, that connects with today's readers by affirming the choices available to the self. But it feels like a mechanical assembly next to the vibrant novel that is its source and inspiration. Ms. Woolf, like her character Clarissa, knows how to throw a party.

### ⭐⭐⭐⭐ Review of the condition of the book, not the contents
*by E***S on August 9, 2025*

The book itself is great, but the copy I received had a weirdly varied amount of ink used to print each page: some pages look like all the words are in bold, and some pages have faintly printed words. It’s not the best copy, but it’s good enough!

### ⭐⭐⭐⭐⭐ What it means to be human
*by G***R on December 9, 2018*

For me this was less a story than an exploration of life and what it means to be human. And, by necessity, how to get the most out of the lives we live, which, as Woolf reminds us, go by in the blink of an eye. Woolf is a superb writer; perhaps one of the greatest of all time. And this may well be her best work, made all the more impressive by the fact that she used the stream of consciousness technique that jettisons many of the rules most readers are familiar with. There are no chapters, for example, and many of the most important sentences are so short and simple, by design, as to be overlooked. I won’t say it’s difficult to read but you do have to get used to it. The storyline has been well documented by other reviewers. Set in London following the First World War, we follow the day of Mrs. Dalloway, hostess extraordinaire to the “ruling class”, and the wife of an English bureaucrat in the upper crust of the British government but who will never quite grab the golden ring of appointment to the Cabinet. The achievement and the shortcoming both define him in equal measure. There is a long list of characters, many of them quite minor, but to whom Woolf devotes considerable print. That, I believe, is quite by design, because each represents a different representation of the human reality that we each, at some level, accomplish something, but that none of us ever quite realize complete and utter fulfillment. We choose who we are but can never quite choose who we ultimately want to be. It is the duality of human existence and there are no exceptions. Even Mrs. Dalloway, who has devoted her life to living in the present, faces the same existential dilemma. She is admired by some, tolerated by others, and quite disliked by a few. She is, in a word, human and, as a result, she is both defined and burdened by her duality. One of the characters is Septimus Warren Smith, a young veteran of World War I who suffers from what we now call PTSD. He is, in terms of the storyline itself, a minor character, to the point that many have questioned his inclusion. To me, however, he is a central character and the book couldn’t exist without him. And even Woolf herself admitted, when challenged on this, that he was the double of Mrs. Dalloway. Smith is central, it seems to me, because if Mrs. Dalloway hides the doubt and ambiguity of her life successfully, he loses himself to the same ambiguity quite obviously. They are quite like yin and yang, the complementary forces of light and dark, fire and ice, the masculine and the feminine. One cannot exist without the other. In the end it would be difficult to describe this work as uplifting. It is life. And life, as Woolf reminds us, despite pockets and moments of glamour, is always a bit messy and dispiriting. Life is a duality. Tragedy occurs alongside grace. Doubt inevitably accompanies hope. Can there be the joy of success without the crush of failure? All told I think this is a superb book and if you have any interest in exploring the duality of our existence there is a great deal here, in what is a relatively quick read.

## Frequently Bought Together

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