In the following essay, Tremper investigates the influence of William Wordsworth's Guide to the Lakes on Woolf's “The Journal of Mistress Joan Martyn.”

In the following essay, Westman maintains that “Friendships Gallery” best represents Woolf's development of a “new ‘art’ of biography that could negotiate the tension between fact and fiction” and identifies the story as the roots of her novel Orlando.

In the following essay, Schröder explores elements of anti-Semitism in Woolf's short story “The Duchess and the Jeweller” and Leonard Woolf's “Three Jews.”

In the following essay, Levy argues that “The Watering Place,” “The Ladies Lavatory,” and “The Cook” reveal Woolf's exploration of the “fricative interrelationships between class, lesbian desire, and the occupation of public and private space.”

In the following essay, Rosenfeld juxtaposes the style and themes of the two pieces collected in Two Stories: “The Mark on the Wall,” and Leonard Woolf's “Three Jews.”

In the following essay, Blackmer analyzes the lesbian-themed short stories of Woolf and Gertrude Stein to gain insight into their “distinctive approaches to creating lesbian modernist literature.”

In the following essay, Fromm responds to critics who see Virginia Woolf's writing as characteristically "sexless. "

In the following essay, Lackey perceives “A Simple Melody” to be a transitional work in Woolf's short fiction oeuvre and examines her portrayal of male atheism in the story.

In the following essay, Clements regards “Slater's Pins Have No Points” as an “emblematic representation” of difficulties faced by lesbian writers and focuses “on the destructive and ultimately self-effacing practice of misrecognition.”

In the following essay, Besnault-Levita analyzes Woolf's use of the pronoun “it” in her short fiction and explores “the implicit theories of meaning and interpretation behind the implicit as they are put to the test by Woolf's fictional prose.”

In the following essay, Séllei finds thematic and stylistic similarities in “The Mark on the Wall,” “Kew Gardens,” and “An Unwritten Novel.”

In the following excerpt, Henry investigates the influence of Bertrand Russell's theories of material phenomena on her “Solid Objects.”

In the following essay, de Gay traces the revision of “The Searchlight” into “A Scene from the Past,” and contends that the final version deserves more critical attention than it has been given.

In the following essay, Woolf reflects on the ways in which being ill altered her perspective on life as well as her approach to reading works of literature.

In the following essay, Oxindine links the homoerotic and epiphanic moments in “Slater's Pins Have No Points.”

In the following essay, Cyr explores the meaning of the mark in “The Mark on the Wall” and debates the sense of closure in the story.

In the following essay, Newman assesses Woolf's success as a storyteller, concluding that her stories “fail to satisfy the reader's desire for certainty.”

In the following essay, Benzel speculates about the origin, creation, and revision of “Kew Gardens.”

In the following excerpt, Kurtz considers the symbolism of windows and mirrors in Woolf's later short fiction.

In the following essay, Narey views “The Mark on the Wall” as an “artistic manifesto” of time and perspective influenced by the theories of Albert Einstein.

In the following essay, Greene assesses the influence of Thomas Browne on Woolf's fiction, particularly “The Mark on the Wall.”