'I lay in the garden and red the Browning love letters, and the figure of their dog made me laugh so I couldn't resist making him a Life.' Throughout her career, Woolf invokes the animal world both directly and metaphorically. She started to write a biography of Elizabeth Barrett Browning's spaniel after finishing The Waves, tracing the life of the spaniel from his country origins, his puppyhood spent with the writer Mary Mitford, through his sheltered existence with Elizabeth Barrett in her sick room, and later travels in Florence. But Flush is much more than a playful writer's holiday. As well as offering an exploration of a life of the senses free from the tyranny of words, Flush can be read as an allegorical testimony to the inscrutable, discarded, unrepresentable lives of the Victorian women poets, who were barely discussed or read in the 1930s. From a quite literally low point of view, Woolf explores class and gender in Victorian London, with gently mocking humour. Charming yet also radical, Flush is a work of sensuous imagination, an apparently light text that opens up a range of questions concerning difference which are woven through the whole of Woolf's writing.
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Virginia Woolf nació en Londres en 1882. Hija de un erudito eminente, a su formación contribuyó en gran medida el ambiente familiar, frecuentado por personalidades artísticas, literarias y políticas. Viviendo ya la autora con su hermana, tras la muerte de su padre, los asiduos de su casa en Bloomsbury eran tenidos por detentores de una auténtica dictadura intelectual sobre el país. En 1912 se casó con el economista Leonard S. Woolf, y juntos fundaron con escasos medios la editorial Hogarth Press, que presentó escritores entonces desconocidos como Katherine Mansfield y T. S. Eliot y desempeñó un importante papel en la literatura inglesa de entreguerras. Tras sus primeras novelas, la autora quiso romper con los cánones tradicionales y se situó con El cuarto de Jacob (1922) en la corriente del monólogo interior y del fluir de la conciencia. A ésta siguieron obras cada vez más ambiciosas como La señora Dalloway (1925), Al faro (1927), Orlando (1928), Las olas (1931) o Los años (1937), con las que se consagró como una de las figuras más representativas de la novelística inglesa experimental. Sus artículos y ensayos críticos están en parte reunidos en dos volúmenes del Common Reader (1925-1932). Aterrada por la idea de la locura, que al parecer unos posibles síntomas le hicieron presentir, Virginia se ahogó, en 1941, cerca de su casa de Lewes.
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