Take a photo of a barcode or cover
A review by teresatumminello
Night and Day by Virginia Woolf
3.0
Ralph adores Katharine. Mary loves Ralph. William, who seems to love himself mostly, desperately wants to marry Katharine.
Katharine, who seems to be sleepwalking through her life, loves…Mathematics. Katharine, an upper-class woman living with her parents, has to hide her love. The above “entanglements” are only the start. Love, or its facsimile, is dissected and lost; dissected and gained; or regained.
Katharine and Mary are opposites, “night and day” (though I don’t think that’s the reason for the title): the light of the late afternoon glowed green behind the straight trees, and became a symbol of her [Katharine].; …Mary Datchet, a sturdy russet figure, with a dash of scarlet. (Both quotes from Chapter XV.) The younger Cassandra, who comes into the picture later to both complicate and simplify matters, is the weakest link, as far as characterization goes. Her dialogue in one particular chapter is both too forced and too obvious as concerning her name—though unlike the mythological Cassandra, her reassurances are believed. She’s first portrayed as an Edwardian girl who can follow her fancy wherever her various interests take her, but then comes to seem as if she’s still a part of the Victorian age, or at least the Victorian novel. This fits the “in-between-ness” of the time period—at one point, Katharine is running around the streets of London desperately searching for her special-someone until Mary reminds her she could use the telephone instead.
In Woolf’s first novel, [b:The Voyage Out|148905|The Voyage Out|Virginia Woolf|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1328874751l/148905._SY75_.jpg|1412170], there were too many characters. The number of characters in this, her second novel, seems just right; my main issue is with the numerous descriptions of emotions and feelings. Though Woolf’s prose is lovely and flowing, near the end its content turns tedious and repetitive, and thus exasperating. Are three separate outings by the two couples needed before bringing Katharine’s ineffectual father into the mix? However, unlike in Woolf’s first novel, the amount of themes has been streamlined, but still includes the tantalizing In such a room, one could work—one could have a life of one’s own.
Katharine, who seems to be sleepwalking through her life, loves…Mathematics. Katharine, an upper-class woman living with her parents, has to hide her love. The above “entanglements” are only the start. Love, or its facsimile, is dissected and lost; dissected and gained; or regained.
Katharine and Mary are opposites, “night and day” (though I don’t think that’s the reason for the title): the light of the late afternoon glowed green behind the straight trees, and became a symbol of her [Katharine].; …Mary Datchet, a sturdy russet figure, with a dash of scarlet. (Both quotes from Chapter XV.) The younger Cassandra, who comes into the picture later to both complicate and simplify matters, is the weakest link, as far as characterization goes. Her dialogue in one particular chapter is both too forced and too obvious as concerning her name—though unlike the mythological Cassandra, her reassurances are believed. She’s first portrayed as an Edwardian girl who can follow her fancy wherever her various interests take her, but then comes to seem as if she’s still a part of the Victorian age, or at least the Victorian novel. This fits the “in-between-ness” of the time period—at one point, Katharine is running around the streets of London desperately searching for her special-someone until Mary reminds her she could use the telephone instead.
In Woolf’s first novel, [b:The Voyage Out|148905|The Voyage Out|Virginia Woolf|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1328874751l/148905._SY75_.jpg|1412170], there were too many characters. The number of characters in this, her second novel, seems just right; my main issue is with the numerous descriptions of emotions and feelings. Though Woolf’s prose is lovely and flowing, near the end its content turns tedious and repetitive, and thus exasperating. Are three separate outings by the two couples needed before bringing Katharine’s ineffectual father into the mix? However, unlike in Woolf’s first novel, the amount of themes has been streamlined, but still includes the tantalizing In such a room, one could work—one could have a life of one’s own.