![]() ![]() The novel does contain many elements which we find in her more out-and-out modernist work – use of free indirect style, experimenting with narrative perspective, and interest in dream-states and problems of vision – and it shows Woolf already attempting to write something different from other writers, especially her Edwardian forebears, the trinity of Bennett, Galsworthy, and Wells whom she famously rubbished in her 1919 essay ‘Modern Fiction’. However, just because The Voyage Out is not typically modernist, that does not mean that it is not a modern novel. The trademark Woolfian style – the somewhat misnamed stream of consciousness, above all else – which she perfected to a fine pitch in later works such as To the Lighthouse and The Waves, is largely absent here. ![]() As you’d expect from a first novel, The Voyage Out, in terms of its form, style, and structure, is markedly less modernist than Woolf’s later works: it is generally accepted that her third novel Jacob’s Room (1922) represented the turning point in her novel-writing career. ![]()
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