To the Lighthouse
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The reader becomes a spirit flitting between the minds of the novel's characters. Their thoughts become the substance of the story. The plot is minimal; the action insignificant. In fact, the most physically active participants of TTL are the sun and the wind which prowl through a decaying house in the book's mid-section. Here Ms. Woolf becomes particularly poetic in describing the effects of the elements on a house that has been abandoned for ten years.
Mrs. Ramsey is a strong woman who is married to a professor who is well grounded in Victorian views about women. Her role is to serve her family, and to praise and feel sympathy for her husband. A physically attractive woman with eight children she still has ways of wielding power over people. Lily, on the other hand, is a single woman who values her independence, but doesn't seem -to me- to be achieving anything. The male characters are generally weak men who compensate by being arrogant. And it is not what these characters say that matters as much as what they think, and that is something you are privy to throughout the book.
The first 100 or so pages portray a one day scene in the lives of the Ramsey's and their guests in their seaside vacation home. Around thirty pages of the book are devoted to a dinner scene in which most everyone is bored. I must admit that the boredom was convincing as I began to be suffused with the same feeling. I am sure, however, that if I read this section one more time I will view it in a different light.
This stream of consciousness novel should be read by everyone interested in reading their way through the literary canon. Although it is a 1920s experiment in form it is still highly accessible to the average reader.
If you ever took a literature class in college you will remember that there are a variety of ways to critique a book. Most classifications include basing your critique on how well the work teaches true principles, the form of the work, the background and ambience of the work and the author, and how well the work stands the test of time. This work fails abysmally in all of these areas.
First of all this is a book about nothing and nothing happens. There is no plot and the author does not say anything worth thinking about or reading twice to get the meaning. Some critics claim that this is why the book is so good. Some even claim that Woolf is trying to say something about hum-drum life, family structure and even, absurdly, male and female roles. Don't believe it! Don't waste your time reading this.
Secondly, this book has no form, no climax, no denouement, no nothing. I suppose you could say that this means the form is that literary word used to describe books that make you want to commit suicide when they are assigned in an English course taught by some spinster Lesbian - stream-of-consciousness. Well there's no stream and no character in the book is conscious. Obviously the author did carefully construct the inner and external dialogues so it is emphatically not stream-of-consciousness. Read Joyce and then this garbage and you will see the difference.
Thirdly, there is no point looking into the life and ambience of the author and period of writing if this is the best book she wrote. (And it is generally considered the best book she wrote)
Lastly, this book fails the test-of-time standard. It is becoming more and more irrelevant.
Now you may ask why did I read this then? Because it was assigned reading. This book is the written equivalent of strychnine. Every page is so utterly bereft of anything of value that your mind and intellect writhe in agony as you force your abused eyes to read the next sentence. Be kind to yourself and tell your literature teacher you would prefer self-immolation to having to read this.
I've been much more intrigued by Virginia Woolf after Michael Cunningham's "The Hours," (and the subsequent film) brought her back into the limelight. She was fascinated with the degree to which everyday, seemingly trivial details of life can seem to be matters upon which the state of the world hinge in the lives of those experiencing them. Therefore, in Virginia Woolf's world, the decision as to whether or not a vacationing family will visit a lighthouse on the following day becomes the focus of everyone's thoughts--to a little boy, it seems as if his world will end if he doesn't get to go; to the father, his ability to determine whether or not they will go gives him a sense of power and authority over his wife and children.
And at the center of all this non-drama is Mrs. Ramsay, wife and mother, who is the foundation upon which the family is built. Woolf is expert in communicating the influence Mrs. Ramsay has on those around her. Everyone is struck by her beauty, her bearing, her very existence. It's this quality in her that makes so many wives and mothers the center of their respective families, which gives "To the Lighthouse" a sort of universality that resonated very strongly with me.
There has been a lot of literary study on the psychology of the novel (especially Freudian), which has become somewhat less interesting as Freud has become commonplace. I would instead appreciate it for the utter mastery of language exhibited by Woolf, and the insights she has into male/female relationships.
"To the Lighthouse" is one of those books that left me feeling incredibly sad in a very satisfied way, and I can't even tell you why. I don't always enjoy such ethereal writing (I don't even enjoy other books by Woolf) but in this case I enjoyed every word.
The most prominent characters are the Ramsay family, whose internal conflicts form the basis for their existence, much like any other nuclear family. Mr. Ramsay is a philosophy professor, an imperious man who dreams of being remembered for his work and enjoys laying down the law with his children. Mrs. Ramsay's love for her husband has dwindled to the point of her not being sure why she ever fell in love with him in the first place, but she is enamored with the *idea* of being in love, always looking forward to her single friends getting married.
The central character, however, is a woman named Lily Briscoe who paints canvases of an apparently abstract nature. Her conflict appears in the form of a character named Charles Tansley, an unsociable chauvinist who admonishes her that "women can't paint, women can't write." Lily Briscoe's efforts to paint represent the difficult, introspective process of artistic creation.
In combining the themes represented by Lily and the Ramsays, Woolf portrays the problems of being a woman artist in a society that discouraged women to be artistic or creative (the discouragement represented by the voice of Tansley) and therefore having to deal with the disappointment and frustration of conflicting with social mores (illustrated by Mrs. Ramsay's discontent in her marriage). However, Lily triumphs in completing her painting at the end, as Woolf triumphs in completing her novel.