By K. Simpson
This publication brings a brand new size to the severe debate concerning the complicated courting of Woolf to and commodity culture through a spotlight at the present financial system at paintings in Woolf's writing, exploring the political subversiveness of the present and its value in her modernist aesthetics.
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Extra info for Gifts, Markets and Economies of Desire in Virginia Woolf
Sample text
The impossibility of commodity culture being able to deliver all it promises causes the bubble of illusion, the fantasy of perfection, to burst but, simultaneously, keeps the cycle of desires in motion, shoring up the imperative to buy more. Tratner argues that Woolf’s response to the repressions inherent in hegemonic capitalism was to embrace ‘alternative traditions of oppressed 24 Gifts, Markets and Economies of Desire groups: Jews, women, homosexuals, the working class, all the members of Woolf’s “outsiders’ society”’ (1995, 14).
In other words, she must guard herself from the suspicion of being a street walker with something (her body) to sell. Not only does this draw attention to the fact that in a capitalist economy nothing is The Business of Writing 23 beyond the realm of commodification and that trade is ubiquitous, ‘ingenious and indefatigable beyond the bounds of imagination’ (as Woolf asserts in ‘The Docks of London’, CD 111), but that, as a consequence, women continuously run the risk of the easy and dangerous slippage from consumer to consumed that participation in the commercial world entails (as is evident in the boot shop, discussed below).
They embody, she suggests, the ‘capitalist power brokers’ (2000, 24) whose influence and economic sway Woolf’s writing resists in its refusal to delimit, define and conclude. Woolf’s modernist aesthetics may often be inspired by the fluidity of the commercial city, and her modernist creativity may resonate with the flux and excess of commodity culture, but her writing refuses to be a commodity for easy consumption. In contrast to the fixing and finishing of the Bond Street tailors, her writer-narrator’s eye in ‘Street Haunting’ is described as ‘sportive and generous: it creates, it adorns, it enhances’ (CD 75).
