The Mumpsimus

The new school year has started, which means I've officially ended the work I did for a summer research fellowship from the University of New Hampshire Graduate School , although there are still a few loose ends I hope to finish in the coming days and weeks. I've alluded to that work previously, but since it's mostly finished, I thought it might be useful to chronicle some of it here, in case it is of interest to anyone else. (Parts of this are based on my official report, which is why it's a little formal.) I spent the summer studying the literary context of Virginia Woolf’s writings in the 1930s. The major result of this was that I developed a spreadsheet to chronicle her reading from 1930-1938 (the period during which she conceived and wrote her novel The Years and her book-length essay Three Guineas ), a tool which from the beginning I intended to share with other scholars and readers, and so created with Google Sheets so that it can easily be viewed, updated...

The universe has conspired to turn my research work this summer into mass culture — while I've been toiling away on a fellowship that has me investigating Virginia Woolf's reading in the 1930s and the literary culture of the decade, the mini-series Life in Squares ,  about the Bloomsbury group and Woolf's family, played on the BBC and the film Testament of Youth , based on Vera Brittain's 1933 memoir of her experiences during World War One, played in cinemas. I've now seen both and have mixed feelings about them, though I enjoyed watching each. Life in Squares  offers some good acting and excellent production design, though it never really adds up to much;  Testament of Youth  is powerful and well constructed, even as it falls into some clichés of the WWI movie genre, and it's well worth seeing for its lead performance.  The two productions got me thinking about what we want from biographical movies and tv shows, how we evaluate them, and how they're...