A Wave in the Mind: Virginia Woolf on Creativity and Consciousness
By Maria Popova
“A crisp sentence, an arresting metaphor, a witty aside, an elegant turn of phrase,” Harvard psycholinguist Steven Pinker wrote in his wonderful modern guide to style, “are among life’s greatest pleasures.” A century and a half earlier, Schopenhauer proclaimed that “style is the physiognomy of the mind.” Undoubtedly one of humanity’s most beautiful minds and greatest masters of elegant, pleasurable language is Virginia Woolf (January 25, 1882–March 28, 1941) — a mastery that unfolded with equal enchantment in her public writings as well as her private, as both sprang from the same source of passion and perspicacity. But nowhere was Woolf’s intensity of heart, mind, and style more palpable than in the writing she did for and to her longtime lover and lifelong friend, Vita Sackville-West — from her novel Orlando, based on Sackville-West and celebrated as “the longest and most charming love letter in literature,” to the actual missives between the two women, which remain among the most bewitching queer love letters ever written.
In March of 1926, a year before her famous love letter to Vita, Virginia wrote to her lover about the very thing that brought them together, that invisible, immutable force which animated Woolf more than any other — her love of language. (Celebrated writers have a way of fleshing out their professional convictions about the craft in their most intimate correspondence — Nietzsche set down his ten rules for writers in a letter to his lover.)
The beautiful phrase at the heart of Woolf’s meditation, found in The Letters of Virginia Woolf: Volume Three (public library), is also what inspired the title of Ursula K. Le Guin’s spectacular collection of essays — Le Guin being, of course, the closest thing we have to a Woolf of our epoch.
Style is a very simple matter: it is all rhythm. Once you get that, you can’t use the wrong words. But on the other hand here am I sitting after half the morning, crammed with ideas, and visions, and so on, and can’t dislodge them, for lack of the right rhythm. Now this is very profound, what rhythm is, and goes far deeper than words. A sight, an emotion, creates this wave in the mind, long before it makes words to fit it; and in writing (such is my present belief) one has to recapture this, and set this working (which has nothing apparently to do with words) and then, as it breaks and tumbles in the mind, it makes words to fit it. But no doubt I shall think differently next year.
Complement with Woolf on how to read a book, the creative benefits of keeping a diary, and the only surviving recording of her voice, then revisit Anaïs Nin on why emotional intensity is essential to creativity.
Published October 23, 2014