Quotes About Bloomsbury

The 'swapping' is interesting. This practice one had thought confined to certain earnest Americans in the smaller, more tedious cities, to those wives and husbands who had read sex manuals and radically wanted more of life even if it had to be, like pizza, brought in from around the corner--all of this was accomplished by Bloomsbury in the lightest, most spontaneous and good-natured manner.

The Sierra is no better than Bloomsbury when once the novelty has worn off. Besides, these mountains make you dream of women—of women with magnificent hair.

VIRGINIA WOOLF LOVED SOHO. IN THE EARLY 1920S, HER FAVORITE URBAN itinerary brought her to this old, foreign quarter of central London, located to the west of Bloomsbury. Her "usual round," as she put it, involved a journey from Gordon Square, where her sister Vanessa still lived, to the bookish fringes of Soho.

Linney stood in a deserted marble hall of Montagu House, Bloomsbury, in which the British Museum was kept, staring at the Rosetta Stone.

It remains a mystery to me why some of that [pulp] fiction should be judged inferior to the rafts and rafts of bad social [literary] fiction which continues to be treated by literary editors as if it were somehow superior, or at least worthier of our attention. The careerist literary imperialism of the Bloomsbury years did a lot to produce fiction's present unseemly polarities.

My mother was a Bloomsbury figure: a great friend of TS Eliot, Duncan Grant, Vanessa Bell. My grandmother, Mary Hutchinson, gave her life to works of art, being an admirer of Matisse and Giaometti, whom I collected as a young man because of her.

Just remember, New York isn't an offshoot of Bloomsbury. Forget refinement, understatement and irony. However much it's against your better nature, you'll have to learn to sell your wares like an East End barrow boy.

They shared much with Bloomsbury, including love of beauty, companionship, and conversation, but they differed from their older London counterpart in their religious ardor, their social conservatism, and their embrace of fantasy, myth, and (mostly) conventional literary techniques instead of those dazzling experiments with time, character, narrative, and language that mark the modernist aesthetic.

As Baldwin writes: 'the bombing raids' indiscriminate destruction, blighting Bloomsbury as thoroughly as Brixton, prepared the ground psychologically for a wider sharing of risks.