5 Key Takeaways from the NYPL’s Virginia Woolf Exhibit

Even those with a basic understanding of 20th-century literature can likely recall a few details about Virginia Woolf. She authored classics like To the Lighthouse and Mrs. Dalloway, pioneered the stream-of-consciousness writing technique, shared a groundbreaking relationship with Vita Sackville-West, and tragically ended her own life. 

This is often the fate of iconic authors—their lives are reduced to memorable soundbites and keywords, overshadowing their humanity. But who was Virginia Woolf beyond her literary achievements? What filled her days when she wasn’t crafting groundbreaking novels? How did her personal writings contrast with her published works, and what can this reveal about her legacy?

The New York Public Library’s current exhibition, Virginia Woolf: A Modern Mind, delves into these questions and more. Through unpublished letters, early drafts, and rare archival items from the library’s Henry W. and Albert A. Berg Collection of English and American Literature, the exhibit offers a comprehensive look at Woolf’s life and enduring influence. 

“For Woolf, writing was not just a profession but a therapeutic outlet. She refined her craft to achieve commercial success while also using it as a means to navigate her emotional landscape,” says Carolyn Vega, curator of the Berg Collection and organizer of the exhibition, in an interview with Mytour. “This duality is both inspiring and relatable. Through her diaries, drafts, and family photos, I hope visitors feel motivated to explore Woolf’s works—whether a new read or a beloved classic—for their emotional richness and poetic elegance. And let’s not forget her playful side, as seen in the whimsical journey of Orlando.”

The exhibition features audio snippets from a discussion between modern authors Brandon Taylor and Francesca Wade. Vega elaborates, “Brandon Taylor, known for his acclaimed novel Real Life, delves into the intricate realities of his characters, echoing Woolf’s style. Francesca Wade, on the other hand, examines Woolf’s work through a critical lens, focusing on the environments, relationships, and contexts that shaped her writing, as highlighted in her book Square Haunting. Their unique perspectives brought fresh insights to the archival materials, sparking a dynamic and thought-provoking exchange.”

The exhibition, complete with Taylor and Wade’s conversation, is available online for global audiences. However, if you’re in Manhattan before March 5, don’t miss the chance to experience it in person at the Stephen A. Schwarzman Building’s Wachenheim Gallery. Here are five intriguing highlights from the showcase.

1. Virginia Woolf and her husband operated their own printing press.

In 1917, Virginia and Leonard Woolf, despite having no prior printing knowledge, established Hogarth Press. Virginia handled typesetting and bookbinding, while Leonard managed page arrangement, ink, and operating the handpress. The structured nature of these tasks provided a therapeutic counterbalance to the stress and dissatisfaction Virginia often felt while writing her novels.

“The Press serves as a distraction from overthinking and offers something tangible to focus on. If I can’t write myself, I can help others write and build a business,” she wrote in a 1924 diary entry.

The debut publication of Hogarth Press was Two Stories, featuring one story by Leonard (“Three Jews”) and another by Virginia (“The Mark on the Wall”). Over the following decade, the press grew remarkably diverse and productive, releasing works ranging from Julia Margaret Cameron’s photography and T.S. Eliot’s poetry to the first English translation of Freud’s The Ego and the Id.

2. Many of Virginia Woolf’s book covers were designed by her sister.

Vanessa Bell, Woolf’s sister and a talented artist, created many of the cover designs for Hogarth Press, including those for Woolf’s books. “The sisters shared a lifelong bond, supporting each other professionally despite their contrasting personalities,” Vega notes. Sydney Waterlow, a British diplomat, once described Bell as “cool, skeptical, and artistic,” while Woolf was “more passionate and focused on life rather than aesthetics.” Naturally, their long-standing personal and professional relationship faced occasional strains.

“Tensions arose when Woolf had a brief romantic interest in Vanessa’s husband, and again when Vanessa almost withdrew from future collaborations due to what she considered a poor printing job by Hogarth Press,” Vega explains. “Yet, they were not only sisters but also genuine friends, continuing to collaborate until Woolf’s tragic death in 1941.”

3. Woolf frequently used purple ink for her writing.

Some displayed pages were penned in purple ink—a hue Woolf preferred for diary entries, manuscripts, and romantic letters. She believed black ink lacked the ability to convey subtle emotional tones.

“I need to purchase shaded inks—lavenders, pinks, violets—to better express my thoughts. Using only black ink, I realize I’ve miscommunicated,” she wrote to Sackville-West on January 19, 1941. “Our drifting apart was a joke, but my wish for you to write was sincere. … No, I must get my colored inks.”

4. Woolf once traveled to Haworth, the home of the Brontë family.

In 1904, a 22-year-old Woolf traveled to Haworth, the West Yorkshire village where Charlotte, Emily, and the other Brontës grew up. While the Brontë family home didn’t become a museum until the 1920s, the Brontë Society had maintained a museum in the village since 1895. Devotees of the Brontës had been visiting Haworth even during Charlotte’s lifetime (she passed away in 1855).

Woolf documented her visit in an essay for The Guardian, an early version of which is showcased in the NYPL exhibition. In the essay, she questions the value of literary tourism, arguing that it’s only worthwhile if the setting enhances our understanding of the author’s works. She concluded that Haworth achieved this: “Haworth embodies the Brontës; the Brontës embody Haworth—they are as inseparable as a snail and its shell.”

Woolf’s home in East Sussex, Monk’s House, is now a popular destination for literary enthusiasts. She and Leonard bought the quaint cottage in 1919, drawn to its expansive garden. “With each new book and the royalties it brought, she added extensions like a new bathroom, making it a deeply evocative place to visit,” Wade remarks in her discussion with Taylor.

5. Woolf wasn’t as serious as many assume.

Woolf’s striking features—her deep-set eyes and slender face—often lend her a solemn appearance in photographs. Combined with the tragic aspects of her life—such as the loss of family members, abuse by her half-brothers, her ongoing mental health battles, and her eventual suicide—many perceive her as a perpetually serious and brooding figure.

“While she did experience periods of depression, she was far from being constantly sad. In fact, she was often the opposite,” her nephew Cecil Woolf recalled in a 2004 speech. “Leonard once mentioned that during World War I, when they took shelter from bombings in their London basement, Virginia’s humor had the servants laughing so hard he couldn’t sleep. My own memories of her are of someone lively, sharp-witted, and occasionally a bit mischievous.”

The NYPL exhibition showcases photographs and letters that highlight Woolf’s often-overlooked playful side. “One of my favorites is the image of Woolf on the beach with Clive Bell, her future brother-in-law. She’s dressed in a knee-length swimsuit, beaming with joy, and appears to be in the middle of a lively moment,” Vega remarks. “While I’ve always admired Woolf for her intellectual brilliance and mastery of language, it’s clear she also embraced joy and fun in her life.”