Virginia was jealous of Adrian for being their mother’s favourite.
At age nine, she was the genius behind a family newspaper, the , that often teased Vanessa and Adrian.
That indeterminacy, at odds with the certainties of the Victorian era, is echoed in descriptions that distort perception: while the narrative often describes people, buildings, and natural objects as featureless forms, Rachel, in dreams and then delirium, journeys into surrealistic worlds.
Virginia, at 13, ceased writing amusing accounts of family news.
Almost a year passed before she wrote a cheerful letter to her brother Thoby.
Viewing Italian art that summer, she committed herself to creating in language “some kind of whole made of shivering fragments,” to capturing “the flight of the mind.” Virginia Stephen determined in 1908 to “re-form” the novel by creating a holistic form embracing aspects of life that were “fugitive” from the Victorian novel.
While writing anonymous reviews for the Roger Fry, a new friend of the Bells, launched the exhibit “Manet and the Post-Impressionists,” which introduced radical European art to the London bourgeoisie.