a film directed by Stephen Daldry, based on the novel by Michael Cunningham, with a screenplay by David Hare
At the beginning of the novel in question, it is a fine June day in a great city, and a fifty-two-year-old woman named Clarissa goes shopping for flowers. She is giving a party that evening, and as she walks to the flower shop, a host of thoughts tumble through her mind. Not all of them are about her party. (Her party!) She worries, for instance, that her beautiful teenaged daughter is in thrall to a humorless middle-aged woman who is, somehow, her, Clarissa’s, mortal enemy. (The woman’s fierce ideological views make Clarissa feel slightly shabby in comparison; and indeed Clarissa supposes that she is, when all is said and done, quite “ordinary.”) She is embarrassed to run into someone whom she hasn’t invited; she has reveries about a long-ago summer in a house in the country when she and some friends indulged in illicit love affairs. (As she thinks these thoughts she is glimpsed by a neighbor who sternly, but not unkindly, judges her looks: she has aged.) She thinks, often, about death. As she stands in the shop buying the flowers, there is commotion outside—a loud noise—and when Clarissa and the florist go to the window to see what it might be, they get a glimpse of a famous head emerging from a vehicle, someone everyone knows from the papers, from pictures.
The famous head, glimpsed from afar by curious, even prurient crowds, has been placed there by the author of this novel for the purpose of contrast. This head reminds us of the great world out there, and the values by which it measures things: fame, importance, power, rank, distinction—and hence stands in stark contrast to Clarissa’s head, filled as it is with a quotidian, haphazard jumble of thoughts that are of no particular importance to anyone except Clarissa herself. Clarissa’s life is meant, indeed, to be one of those existences, neither brilliant nor tragic, that moved Virginia Woolf, in A Room of One’s Own, to ponder what the proper subject and style of an authentic women’s literature might possibly be. The values of novels, she argued, reflect the values of life, which novels must mirror; and it was, furthermore, “obvious” that
the values of women differ very often from the values which have been made by the other sex; naturally, this is so. Yet it is the masculine values that prevail. Speaking crudely, football and sport are “important”; the worship of fashion, the buying of clothes “trivial.” And these values are inevitably transferred from life to fiction. This is an important book, the critic assumes, because it deals with war. This is an insignificant book because it deals with the feelings of women in a drawing-room. A scene in a battlefield is more important than a scene in a shop—everywhere and much more subtly the difference of value persists.
Part of the proper work of women’s writing, Woolf suggested, was to recuperate for literature “these …