《普通读者》是吴尔夫的随笔精选，共两辑。吴尔夫以一个普通读者的身份对一些文人及其作品做了评论，文笔犀利深刻，透着浓郁的情趣和幽默，给人以强烈的多样化的启迪。本书精选《普通读者I》和《普通读者II》中的精彩美文以飨读者。吴尔夫是一个非常敏感的作家，她的散文写得理性、深邃、博大、犀利、机智、细腻、幽默，这些特色在这些散文中无不表现得淋漓尽致。

Throughout history, some books have changed the world. They have transformed the way we see ourselves and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization, and helped make us who we are.

弗吉尼亚·伍尔夫（Virginia Woolf, 1882—1941）是20世纪著名的英国“意识流”小说家。她的小说不注重情节，而着重以抒情散文的形式写出人物内心世界的活动、进行细致的心理描写。同时，她也是一位散文家，善于用轻灵活泼的文笔写出她对于自己所喜爱的作家和作品的印象。她这方面的文章主要收入题为《普通读者》和《普通读者二集》两书（The Common Reader, 1925; The Second Common Reader, 1932）。这些文章乃是一个具有高度文化修养和丰富创作经验的女作家，在创作之余所写的一批富有个人独特风格的随笔散文。本书选译其中的十三篇。

The delicate artistry and lyrical prose of Woolf's novels have established her as a writer of sensitivity and profound talent. Virginia Woolf displays genuine humanity and concern for the experiences that enrich and stultify existence. Society hostess, Clarissa Dalloway is giving a party and her thoughts on that one day, and the interior monologues of others with interwoven lives reveal the characters of the central protagonists. To the Lighthouse is the most autobiographical of Virginia Woolf's novels. Based on her early experiences, it touches on childhood and children's perceptions and desires. It is at its most trenchant when exploring adult relationships and the changing class-structure in the period spanning the Great War. Orlando, 'the longest and most charming love letter in literature', playfully constructs the figure of Orlando as the fictional embodiment of Woolf's close friend and lover, Vita Sackville-West. 'I am writing to a rhythm and not to a plot', said Woolf of The Waves. Regarded as one of her greatest and most original works, it conveys the rhythms of life in synchrony with the cycle of nature and the passage of time'.

《海浪》中每个引子都是一篇精致的散文诗，以太阳和海浪的涨落与变迁对应生命的兴衰沉浮；跟在每段引子后面的是六个没有姓氏的、高度形式化的人物在各自相应人生阶段——从儿童时代、学生时代、青春时代、中年时代直到 老年时代的瞬间内心独白。引子与正文互相映射，为读者的感官辟开前所未有的、细致入微的通道，最大限度地接近生命、时间、意识以及感觉的实质。这是一部在现代文学的殿堂中占据重要地位的作品，时至今日，仍以其精美绝伦的文本结构和诗意盎然的笔调激荡着我们的灵魂。 Book Description Tracing the lives of a group of friends, this novel follows their development from childhood to youth and middle age. Separately and together, they query the relationship of past to present, and the meaning of life itself. From AudioFile This narrative traces the lives and friendships of six childhood friends from their childhood to their old age. It tells of the friends' true feelings, which are often different from the ones they portray to each other. The narration is done in a light, airy poetic voice by Frances Jeater, who comforts the listener with her reading but fails to provide enough differentiation to the characters, making it difficult to know who is the focus of each point of the story. J.F.M. About Author Virginia Woolf was born in London in 1882. From 1915 onward, she maintained an astonishing output of fiction, literary criticism, essays and biography. She married Leonard Woolf and in 1917 they founded the Hogarth Press. She died in 1941. Book Dimension : length: (cm)19.8 　　　 　　　　　 　　　　　 width:(cm)12.6

Book Description The Wordsworth Classics covers a huge list of beloved works of literature in English and translations. This growing series is rigorously updated, with scholarly introductions and notes added to new titles. This novel is an extraordinarily poignant evocation of a lost happiness that lives on in the memory. For years now the Ramsays have spent every summer in their holiday home in Scotland, and they expect these summers will go on forever. The most autobiographical of Virginia Woolf's work, "To the Lighthouse" is based on her own childhood experiences, and while it touches on childhood and children's perceptions and desires, it also explores adult relationships, marriage and the changing class structure of its time. From Publishers Weekly It's wondrous to listen to a fine reading of a long-loved novel. Leishman makes masterly use of volume, timbre and resonance to distinguish between characters and draw us into the emotional swings and vibrations of the internal musings of each. She creates not a new but a more nuanced reading, following the interwoven streams of consciousness in a British English that lends authenticity to each voice. Leishman swims smoothly through Woolf's sentences that ebb and flow with numerous parenthetical thoughts and fresh images. These passages are interspersed with quick, sharp, simple sentences that gain strength in contrast. Leishman also draws our attention to Woolf's poetic prose: her rhythms and images, her use of hard consonants in monosyllabic words in counterpoint to long, soft, dreamy words and phrases. To The Lighthouse plays back and forth between telescopic and microscopic views of nature and human nature. Mrs. Ramsey is both trapped in and pleased in her roles as wife, mother and hostess. The introspective Mr. Ramsey is consumed with his legacy of long-since-published abstract philosophy. This is a book that cannot be read—or heard—too often. (Jan.) From AudioFile Woolf's beautiful, if somber, 1927 novel falls into three parts. First is a scene of a large, complex family on summer holiday before the Great War, their guests, their servants, their belongings, their style of life, and a postponed day trip to the distant lighthouse, longed for by the youngest child, James. The second section deals with what happened next, to them and to England, and the last reassembles some of the remaining characters at the scene of the first, for the lighthouse trip, so changed from the one once anticipated. Phyllida Law's rhythmic, poetic reading renders it with finesse, though her reading of Mrs. Ramsey may not satisfy every reader's concept of the character. B.G. The Merriam-Webster Encyclopedia of Literature Novel by Virginia Woolf, published in 1927. The work is one of her most successful and accessible experiments in the stream-of-consciousness style. The three sections of the book take place between 1910 and 1920 and revolve around various members of the Ramsay family during visits to their summer residence on the Isle of Skye in Scotland. A central motif of the novel is the conflict between the feminine and masculine principles at work in the universe. With her emotional, poetical frame of mind, Mrs. Ramsay represents the female principle, while Mr. Ramsay, a self-centered philosopher, expresses the male principle in his rational point of view. Both are flawed by their limited perspectives. A painter and friend of the family, Lily Briscoe, is Woolf's vision of the androgynous artist who personifies the ideal blending of male and female qualities. Her successful completion of a painting that she has been working on since the beginning of the novel is symbolic of this unification. About Author Virginia Woolf was born in London in 1882. From 1915 onward, she maintained an astonishing output of fiction, literary criticism, essays and biography. She married Leonard Woolf and in 1917 they founded the Hogarth Press. She died in 1941. Book Dimension : length: (cm)19.8 width:(cm)12.6 点击链接进入中文版： 到灯塔去

《吴尔夫文集:远航》这部作品，从构思到最后出版，前后经历了近九年的时间，并且几经易稿，终于一九一五年三月的英国首次发表，当时就获得了很好的反响。当年四月的《观察家报》发表文章对吴尔夫表示祝贺，并对这部小说作了如下评价：“……书中所表现出的那种幽默、讽刺，以及间或辛辣的笔触，其中的创作天赋，令人刮目相看……”《吴尔夫文集:远航》是英国女作家弗吉尼亚•吴尔夫发表的第一部长篇小说。这是她的一部以“较传统的风格”写成的小说，也是她的重要作品之一。故事开始于伦敦街头。步入中年的安布罗斯夫妇前往搭乘一艘开往南美洲的航船“欧佛洛绪涅”号。船主是这对夫妇的亲戚。进而作者开始了对船上情况的描写。船主的女儿雷切尔•温雷克早年丧母，是一个单纯、不谙世故的姑娘，她自我封闭，已经成年后(小说开始时她已二十四岁)还对社会、政治、两性关系、爱情、婚姻等一无所知。对于雷切尔的无知，刚上船来的她的舅母海伦•安布罗斯开始很看不惯。作者在把雷切尔这个人物形象推进社会做了种种铺垫之后，插入了达洛维夫妇上船一段小插曲。达洛维夫人是一个上流社会保守妇女的典型代表。她人生的惟一目的似乎就是不停地忙碌于为家庭中的男性服务。从书中提到的一些对社会、政治等问题(例如妇女选举权的问题)的争论上，也可以看出她所持的满足现状和顺从的态度。相比之下，海伦•安布罗斯就显得更有个性和自己的主张。海伦希望雷切尔的单调的生活有所改变。于是，在征得船主同意后，他们夫妇带着雷切尔来到南美一个有不少英国人聚集的度假区。

《夜与日》的主要内容是：小说主要描述了大诗人的后裔凯瑟琳小姐与颇有文才、风流倜傥的青年诗人罗德尼门当户对，似乎很快就能名正言顺地成为伴侣……《夜与日》主要描述了大诗人的后裔凯瑟琳小姐与颇有文才、风流倜傥的青年诗人罗德尼门当户对，似乎很快就能名正言顺地成为伴侣。她（他）们的长辈，她（他）们的朋友都欣喜地关注着他们，为他们祝福。但是真正的爱情并不是假借人手安排的，就是这对热恋中的年轻人也感觉到没有爱情的婚姻将是折磨人的桎梏。凯瑟琳、拉尔夫、玛丽一群年轻人都在苦苦地思索，满怀希冀地探求着爱情的真谛。经过一番挣扎，凯瑟琳与罗德尼冲破各种观念上的藩篱，终于各自找寻到了自己的意中人，最终在长辈的谅解下，解除了婚约。

Orlando’s journey, from the court of Queen Elizabeth I to modern times will also be an internal one. He is an impulsive poet who learns patience in matters of the heart, and a woman who knows what it is to be a man. Virginia’s Woolf’s most unusual and fantastic creation is a funny, exuberant tale which examines the very nature of sexuality.

On a June morning in 1923, Clarissa Dalloway is preparing for a party and remembering her past. Elsewhere in London, Septimus Smith is suffering from shell-shock and on the brink of madness. Their days interweave and their lives converge as the party reaches its glittering climax. Here, Virginia Woolf perfected the interior monologue and the novel's lyricism and accessibility have made it one of her most popular works.

要说清楚这本书的来龙去脉实在是有点绕，它跟电影《时时刻刻》有何关系呢？ 先说电影《时时刻刻》，该电影根据美国杰出作家迈克尔·坎宁安1998年的同名小说改编，该小说获得次年的普利策奖。小说围绕《Mrs.Dalloway（一般被译为“达洛维夫人”）》作者伍尔芙，讲述三个女人一天中的时时刻刻：伍尔芙在严重的神经衰弱影响下创作《达洛维夫人》；纽约女编辑克拉丽莎，绰号即“达洛维夫人”，命运和小说中的达洛维夫人有着千丝万缕的联系；怀孕的中年主妇劳拉·布朗是《达洛维夫人》的读者，为生活的烦闷所包围。小说叙事手法别出心裁，思想内涵深刻，被好莱坞搬上银幕，经由妮可·基德曼、梅丽尔·斯特里普、茱丽安·摩尔激情演绎后立即凭借卓越的艺术表现，荣膺全美评委会大奖第60届金球奖最佳影片，第75届奥斯卡将9项提名。 而本书就是那本深具魔力的小说《Mrs.Dalloway》的中文翻译版！书名没有按常规译为“达洛维夫人”，而起名为《时时刻刻》！尽管出版社有借机炒作的嫌疑，我们也可以认为是对对维吉尼亚·伍尔芙的又一次致敬吧。 “《时时刻刻》证明了电影是一种艺术。” －美国有线电视新闻网CNN “本年度最重要的电影，会是奥斯卡的大赢家。” －《早安美国》 “斯蒂芬·戴得利和戴维·黑尔的电影描述了三个不同时代的女人的一天。一日复一日，时时刻刻都进行的生命得到应有的赞颂。电影可以设定是在1921年，或者1951年，或者2001年，但这主题永远都生动而迫切。” －《新闻周刊》 “美丽的演出，极度关注生活的导演，《时时刻刻》从开始到结束，都紧紧抓住你的心，让你的眼睛须臾不离银幕，这是一件艺术品。” －拉里·金 我认为这部电影应该获得奥斯卡最佳影片 －梅丽尔·斯特里普 内容简介： 《时时刻刻》（又译《达洛维夫人》）是英国女作家维吉尼亚·伍尔芙的一部代表性小说。小说中以一天的活动为框架，展现了女主人公的一生事情、她的性格与命运、她的亲人和朋友、她与上流社会的丈夫达路维及平民情人皮特的三角关系等等——小说中有人际间的恩恩怨怨，有对青春少女的美好的描述、同性恋、自杀，有老年来临的种种恐慌，有对权贵的嘲讽和对社会名流的丑恶揭露，有对战争罪行的控诉，有对强国侵略弱国的抨击，有对下层民众艰难生活的同情，有对女权的呼吁；生与死、灵与肉、爱与恨、金钱与名誉、外在与内心、理智与情感、出世与媚俗……小说内容跌宕多姿，令人读得惊心动魄。 　　维吉尼亚·伍尔芙在世界文学中占有极其重要的地位。她是“作家中的作家”，维吉尼亚·伍尔芙与法国的普鲁斯特和爱尔兰的乔伊斯一起，共同开创了意识流文学流派，是意识流的代表作家之一。 　　维吉尼亚·伍尔芙天资卓绝，她忍受着精神疾病的折磨，极为勤奋地创作出了大量的作品。对于她的作品，历来有许多争论，但随着时间的推移，在今日西方对研究者越来越多、评价越来越高，比较公认的是，她的作品“变得越来越成为她的时代、她的精神世界和现代艺术思想的精髓”。

Virginia Woolf is one of the most influential figures in twentieth-century literature. She was original, passionate, vivid, dedicated to her art. Yet most writing about her still revolves around her social life and the Bloomsbury set. In this fresh, absorbing book, Julia Briggs puts the writing back at the center of Woolf's life, reads that life through her work, and mines the novels themselves to create a compelling new form of biography. Analyzing Woolf's own commentary on the creative process through her letters, diaries, and essays, Julia Briggs has produced a book that is a convincing, moving portrait of an artist, as well as a profound meditation on the nature of creativity. Virginia Woolf: An Inner Life-a brilliant new insight into a literary genius.

The first full-scale biography of the eminent British writer, written by her nephew. Index; photographs.

Moments of Being contains Virginia Woolfs only autobiographical writing: By far the most important book about Virginia Woolf...that has appeared since her death [Angus Wilson, Observer (London)]. Edited and with an Introduction by Jeanne Schulkind; Index.

在线阅读本书 Cambridge Literature is a series of literary texts edited for study by students aged 14-18 in English-speaking classrooms. It will include novels, poetry, short stories, essays, travel-writing and other non-fiction. The series will be extensive and open-ended and will provide school students with a range of edited texts taken from a wide geographical spread. --This text refers to an out of print or unavailable edition of this title.

写作于一九四二年的《幕间》，是弗吉尼亚·伍尔夫辞世之前的最后一部作品。当这部小说进展到约前五分之一的部分时，作家在让波因茨宅一个干粗活的女仆到清凉的睡莲池旁喘息片刻时顺便交待，十年前曾经有一位贵妇人在该处投水溺亡。那是一片浓绿的水，其间有无数鱼儿“遨游在以自我为中心的世界里，闪着亮光。” 这真是一个不详之兆：仅在小说完成又过了一个月之后，举世无双的伍尔夫便也投水身亡，为自己的人生画上了句号。任何人遗弃自己的生命，都一定有着十分具体的原因，但吴尔夫不会有，她只不过感到了心灵的厌倦，然后，她结束了这厌倦。《幕间》正是关于这厌倦的一系例表征：家道中落的贵族后裔，受困于无爱的婚姻中的君子淑女，古董摆设一般的波因茨宅，还有在最后如镜子般照出了生命实际上已沦为“饭渣、油渣和碎片”的众生之相的露天历史剧——由书中人物拉特鲁布女士指导村民演出，是英国的一项民间传统。谙熟一切现代小说经验的吴尔夫，以比妥斯托耶夫斯基、乔伊斯和普鲁斯特更精致、秀美和聪慧的笔触，展开了她忧伤的画卷。“风景是那么惨淡，那么美丽……风景会永远存在……即便我们不存在了”，发出这喟叹的，是一些欲保持古人姿态的、只知道喝着加了奶油咖啡欣赏风景，间或还背些莎士比亚、济慈等人词句的遗老，也可以说是一些仍在养尊处优的庸人，但这并不是吴尔夫所反对或谴责的；同样，对粗俗风流的曼瑞萨太太那些似乎是能在死水中搅起一片波澜的轻俏之举，吴尔夫也是不置可否。粗俗就是粗俗，它并不是因为具有活力或者革命性就可以被重新评价。相比之下，贞洁的但一看见乡村农场主鲁珀特·海恩斯那饱经风霜的脸“就感觉一种神秘”，“一看见他沉默不语的样子就感觉到一种激情”的年轻女子伊莎，吴尔夫也只不过让她继续保持其奇特的脆弱与克制，她的与雨水溶于一体的眼泪，虽然“就像她自己的泪水”，但那也“是所有人的人的泪水，为所有的人而流淌。”因为这位生活在丈夫冷遇中的妻子早已在思索中知道，什么是“从襁褓时就加在我们身上的重负”，而这重负其实并不生硬，“它是由海浪的切切私语、不安的榆树的轻拂、唱歌的女人的小曲表达出来的——我们必须记住什么；我们要忘掉什么”。 总而言之，吴尔夫如同熟知艺术一般熟知人性，也就是那虽表现得各不相同但终归又没有什么不同的、终古如斯的人性。波因茨宅苟延残喘的平静，和大洋彼岸已经如同刺猬般“浑身的刺都竖起来”了的欧洲(二战在即)，这都是我们再熟悉不过的人性在自然发作时的样态。当次一级的大师们都忙于将意识流、复调之类的小说方法推向极致时，吴尔夫对同时代匠人们所做的所作所为只是报之以会心的一笑。她没有在智力竞技的巅峰夺筹的好大喜功式的雄心。但在《幕间》这部薄薄的小说中，她的现代小说技法一样炉火纯青，梦幻，潜意识，文本叠加，时空观念，以及用典的丰富，绝不逊色于乔伊斯或者T?S艾略特。不拒绝任何必要的手法，但不以发明或推广了某些新奇手法而沾沾自喜忘乎所以，这正是女性艺术家的魅力所在。波因茨宅接古通今的秩序与静谧，辅之以用笑闹方式展开的露天历史剧。有时候是剧情溢出了戏剧之外而渗入到“现实”中(本来就没有舞台，也没有专门的演员)，有时候，则是“现实”在弥补、拼接着戏剧之历史叙事中的漏洞和断裂。这就是“幕间”的意味所在：时间永无停息，剧情亦无片刻的中断，巴比伦、尼尼微、特洛伊、阿伽门农、凯撒，这些歌声中的名字，会随着一阵风而被吹散。年迈昏聩的巴塞罗缪(脑中残存着昔日在印度的骄傲时光)，他的同样年迈的妹妹露西·斯威辛太太(喜欢读《历史纲要》)，不速之客曼瑞萨太太，还有贾尔斯妇等等，这些在一九三九年六月的某一天，坐在古老的英国小镇上的人们，他们的谈吐和教养，他们的自负和空虚，乃至他们的生命本身，也会随着夜幕的到来而离散，曲终人尽。 最后，惟有为露天历史剧的出演而忙得心憔神悴的拉特鲁布女士，才使我们看到吴尔夫的一丝困惑：这位竭尽全力的导演之所以功败垂成，是因为自己做了“观众的奴隶”，之前她想在剧情中引入一部分现实(包括观众本身)的试验，因现实的过于强大而出了问题，这使她知道那些不可碰触的观众正等同于魔鬼。最后，她发现写一部不给观众看的剧本可能是必要的。这是否也正是吴尔夫失去了用艺术或自己的眼睛打量尘世的兴趣的原因？ 转自凤凰网 殷实专栏

《岁月》是吴尔夫的第八部长篇小说，也是她的倒数第二部小说。实际上，她的最后一部小说《幕间》写成后还没修改完，她就投水自尽了。因此，《岁月》这部经过她反复修改的作品，在她的长篇小说创作中便具有了非同一般的地位；它不仅体现了吴尔夫后期在小说理念上的成熟，也是她在长篇小说写作上不断创新、不断突破的成功实践之一……

Subject of this extraordinary novel is the daily life of an English family in the Hebrides. "Radiant as To the Lighthouse] is in its beauty, there could never be a mistake about it: here is a novel to the last degree severe and uncompromising. I think that beyond being about the very nature of reality, it is itself a vision of reality."-Eudora Welty, from her Introduction.

《雅各的房间:闹鬼的屋子及其他》发表于一九二二年。同年，詹姆斯•乔伊斯的《尤利西斯》问世，这是欧洲文学史上的两件大事。此前，弗吉尼亚•吴尔夫发表了《远航》和《夜与日》两部在风格上较接近于传统现实主义的小说。《雅各的房间:闹鬼的屋子及其他》通常被认为是她创作过程中的一个转折点，是她尝试用意识流手法创作的一个开端，也是她后来著名的竟识流小说《达洛维太太》、《到灯塔去》和《海浪》的前奏……翻开《雅各的房间:闹鬼的屋子及其他》的书页，读者会期待什么?一个以雅各为中心的情节完整的故事，一段悲剧或喜剧；雅各的房间应该是一个重大事件的发生地，一个值得描写并能引起读者极大兴趣的地方；雅各则应该是一个拜伦式的男主人公，一个有着无数浪漫奇遇的漫游者。然而，弗吉尼亚•吴尔夫却是在故意逃避读者的这种期待视野，她像变魔术一样，把雅各的房间当成一个吸引观众视线的道具。当读者专注于此时，看到的只是：一张圆桌，两把矮椅，壁炉上的广口瓶，几支黄色的鸢尾花，几张照片和名片、烟斗、稿纸等毫无特色、平淡琐碎的东西。她对房间的描写只是寥寥数笔，但是却让读者隔着紧闭的房门听到雅各和弗洛琳达做爱时的“轻微吱呀声”和那种“突然的骚动”，并由这种声音和桌上佛兰德斯夫人的信联想到这位守寡的母亲会对儿子的放纵行为如何痛心疾首。可以说雅各的房间是一个巧妙的设置，它既空无一物，又无所不包。这种手法尽管不同于传统小说的直接描绘，精雕细琢，但所传达的信息和内涵却丰富得多。