Other editions of book Jacob's Room

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

Virginia Woolf's third novel, Jacob's Room, marked a radical, new departure in her style: the most experimental of all her novels, it enacts the 'smashing and crashing' of form that Woolf called for in the modernist movement. Set in pre-war England, the novel tells the life story of Jacob Flanders. Through the collective memories of those who knew him, we follow his childhood, through to his time at Cambridge, and then into adulthood. Jacob's Room is an evocative and poignant story, made more so so as Woolf describes scenes and characters with a beauty unsurpassed. The author combines language in a majestic manner as she meditates on the inexorable flux of life and provides an elegiac stream found in her best-known work such as To the Lighthouse

Set in pre-war England, the novel begins in Jacob's childhood and follows him through college at Cambridge and into adulthood. The story is told mainly through the perspectives of the women in Jacob's life, including the repressed upper-middle-class Clara Durrant and the uninhibited young art student Florinda, with whom he has an affair. His time in London forms a large part of the story, though towards the end of the novel he travels to Italy and then Greece.

Jacob's Room is the third novel by Virginia Woolf, first published on 26 October 1922. The novel centers, in a very ambiguous way, around the life story of the protagonist Jacob Flanders, and is presented entirely by the impressions other characters have of Jacob [except for those times when we do indeed get Jacob's perspective]. Thus, although it could be said that the book is primarily a character study and has little in the way of plot or background, the narrative is constructed as a void in place of the central character, if indeed the novel can be said to have a 'protagonist' in conventional terms. Motifs of emptiness and absence haunt the novel and establish its elegiac feel. Jacob is described to us, but in such indirect terms that it would seem better to view him as an amalgamation of the different perceptions of the characters and narrator. He does not exist as a concrete reality, but rather as a collection of memories and sensations.

Jacob Flanders is a uniquely ambiguous protagonist: he is defined almost entirely by others’ impressions and is nearly unknowable as a result—but that does not at all detract from the vitality of Virginia Woolf’s story. In her experimental first novel, she tracks Jacob through the seemingly mundane early years of his life—from a boyhood trip to the Cornwall coast to his college years at Cambridge to his time as an adult in London and Greece—before arriving at his shocking, even tragic, entry into war.With its stream-of-consciousness style and its ever-shifting timeline, Woolf’s elegiac tale defied conventions and signified a major turning point in twentieth-century English literature: the start of the post–World War I modernist era.Revised edition: Previously published as Jacob’s Room, this edition of Jacob’s Room (AmazonClassics Edition) includes editorial revisions.

"So of course," wrote Betty Flanders, pressing her heels rather deeper in the sand, "there was nothing for it but to leave." Slowly welling from the point of her gold nib, pale blue ink dissolved the full stop; for there her pen stuck; her eyes fixed, and tears slowly filled them. The entire bay quivered; the lighthouse wobbled; and she had the illusion that the mast of Mr. Connor's little yacht was bending like a wax candle in the sun. She winked quickly. Accidents were awful things. She winked again. The mast was straight; the waves were regular; the lighthouse was upright; but the blot had spread. “…nothing for it but to leave," she read. "Well, if Jacob doesn't want to play" (the shadow of Archer, her eldest son, fell across the notepaper and looked blue on the sand, and she felt chilly—it was the third of September already), "if Jacob doesn't want to play"—what a horrid blot! It must be getting late. "Where IS that tiresome little boy?" she said. "I don't see him. Run and find him. Tell him to come at once.” “…but mercifully," she scribbled, ignoring the full stop, "everything seems satisfactorily arranged, packed though we are like herrings in a barrel, and forced to stand the perambulator which the landlady quite naturally won't allow…" Such were Betty Flanders's letters to Captain Barfoot—many-paged, tear-stained. Scarborough is seven hundred miles from Cornwall: Captain Barfoot is in Scarborough: Seabrook is dead. Tears made all the dahlias in her garden undulate in red waves and flashed the glass house in her eyes, and spangled the kitchen with bright knives, and made Mrs. Jarvis, the rector's wife, think at church, while the hymn-tune played and Mrs. Flanders bent low over her little boys' heads, that marriage is a fortress and widows stray solitary in the open fields, picking up stones, gleaning a few golden straws, lonely, unprotected, poor creatures. Mrs. Flanders had been a widow for these two years. "Ja—cob! Ja—cob!" Archer shouted. "Scarborough," Mrs. Flanders wrote on the envelope, and dashed a bold line beneath; it was her native town; the hub of the universe. But a stamp? She ferreted in her bag; then held it up mouth downwards; then fumbled in her lap, all so vigorously that Charles Steele in the Panama hat suspended his paint-brush. Like the antennae of some irritable insect it positively trembled. Here was that woman moving—actually going to get up—confound her! He struck the canvas a hasty violet-black dab. For the landscape needed it. It was too pale—greys flowing into lavenders, and one star or a white gull suspended just so—too pale as usual. The critics would say it was too pale, for he was an unknown man exhibiting obscurely, a favourite with his landladies' children, wearing a cross on his watch chain, and much gratified if his landladies liked his pictures—which they often did. "Ja—cob! Ja—cob!" Archer shouted. Exasperated by the noise, yet loving children, Steele picked nervously at the dark little coils on his palette.

Widely regarded as one of the most important modernist writers, Virginia Woolf was also one of the most important female authors of the twentieth century. Jacob's Room, Woolf's third novel, is an experimental character study that delves into the life of protagonist Jacob Flanders, largely through the eyes of the friends, acquaintances, family members, and lovers who surround him.

This impressionistic novel by Virginia Woolf marks the author's first move toward the experimentation for which she would later become recognized. Through a montage of passing images, conversations, and stream-of-consciousness monologues, it tells the story of Jacob Flanders, an idealistic and sensitive young man attempting to reconcile his love of classical culture with the chaotic reality of contemporary society. As Jacob grows from childhood into adulthood, we follow his experiences in college and in travels, in love and in war, through the perspectives and impressions of the various people in his life. Jacob's Room established Virginia Woolf's reputation as a highly poetic and symbolic writer who places emphasis not on plot or action but on the psychological realm of her characters. Hailed by friends such as T. S. Eliot, the book represents a turning point in the history of the English novel. Wrote E. M. Forster, "The impossible has occurred...A new type of fiction has swum into view."

With its publication in 1922, Virginia Woolf revolutionized the modern novel with Jacob's Room. Based on the life of her own brother, this unforgettable book chronicles the life and times of Jacob Flanders, from childhood to his death in World War I. An untraditional tale focusing on a flow of random impressions through the minds of its characters, Jacob's Room remains an important work in the development of the novel form-and a shining example of Woolf's genius and literary daring.

Jacob's Room is the third novel by Virginia Woolf, first published on 26 October 1922. The novel centers, in a very ambiguous way, around the life story of the protagonist Jacob Flanders and is presented almost entirely through the impressions other characters have of Jacob. Thus, although it could be said that the book is primarily a character study and has little in the way of plot or background, the narrative is constructed with a void in place of the central character if, indeed, the novel can be said to have a 'protagonist' in conventional terms. Motifs of emptiness and absence haunt the novel and establish its elegiac feel. Jacob is described to us, but in such indirect terms that it would seem better to view him as an amalgam of the different perceptions of the characters and narrator. He does not exist as a concrete reality, but rather as a collection of memories and sensations. Set in pre-war England, the novel begins in Jacob's childhood and follows him through college at Cambridge and into adulthood. The story is told mainly through the perspectives of the women in Jacob's life, including the repressed upper-middle-class Clara Durrant and the uninhibited young art student Florinda, with whom he has an affair. His time in London forms a large part of the story, though towards the end of the novel he travels to Italy and then Greece.