Ann R. C. Martin is Assistant Professor at the University of Saskatchewan. Kathryn Holland is Professor in the English Department at MacEwan University.

• Introduction to Interdisciplinary/Multidisciplinary Woolf - Ann Martin and Kathryn HollandAcknowledgmentsList of AbbreviationsPART ONE: History, Materiality, Multiplicity1. Multidisciplinary Woolf / Multiple Woolfs? - Maggie Humm2. Woolf, History, Us - Melba Cuddy-Keane3. “Full of Experiments and Reforms”: Virginia Woolf, John Maynard Keynes, and the Impossibility of Economic Modeling - Alice Keane4. Desiring Statues and Ambiguous Sexualities in Jacob’s Room - Vara Neverow5. Challenging the Family Script: Woolf, the Stephen Family, and Victorian Evangelical Theology - Jane de Gay6. History as Scaffolding: Woolf’s Use of The Times in The Years - Eleanor McNees7. Vincent van Gogh, Virginia Woolf, and Old Shoes: A Cross-Cultural Iconography of Historical Trauma from the Great War to the Iraq War - Marlene A. Briggs8. Stopped at the Border: Virginia Woolf and the Criminalization of Dissent in Democratic Societies - J. Ashley Foster9. “Q. And babies? A. And babies”: On Pacifism, Visual Trauma, and the Body Heap - Conor Tomas Reed10. Photography, History, and Memoir of the Spanish Civil War: Interdisciplinary Views - Lolly J. OckerstromPART TWO: Patterns, Practices, Principles11. “Waving to Virginia” - Brenda R. Silver12. Woolf, Defoe, Derrida: Interdisciplinary dogs—or the canine aesthetics and (gender) politics of creativity - Jane Goldman13. “The law is on the side of the normal”: Virginia Woolf as Crip Theorist - Madelyn Detloff14. A Healing Centre of One’s Own: Woolf’s Legacy and Public Responses to Child Abuse - Marie Lovrod and Karen Wood15. Sunflower Suture: Disseminating the Garden in The Years - Elisa Kay Sparks16. “One Must Be Scientific”: Natural History and Ecology in Mrs. Dalloway - Sarah Dunlap17. Clarissa’s Glacial Skepticism: John Tyndall and “Deep Time” in Mrs. Dalloway - Catherine W. Hollis18. Apollonian Illusion and Dionysian Truth in Mrs. Dalloway - Michael J. HorackiPART THREE: Art, Influence, Embodiment19. “Time has whizzed back an inch or two on its reel”: Relating Virginia Woolf and Emily Carr through Vintage Postcards, Lily Broscoe, Mrs. McNab, and the Cinematic Time of To the Lighthouse - Leslie Kathleen Hankins20. Speaking Citizen to Citizen in a Time of War: Miss La Trobe’s Use of Parabasis in Her Historical Pageant - Kathleen Wall21. Work as Salvation: Eureka’s Angel in the House, A Director’s Experience - Charlie Peters22. Drawing as Thinking: A Visual Response to To the Lighthouse - Sarah Blake23. Performing Feminism, Transmitting Affect: Isadora Duncan, Virginia Woolf, and the Politics of Movement - Kimberly Engdahl Coates24. Virginia Woolf and Clarice Lispector: Thinking Back Through Brazilian Mothers - Maria Aparecide de Oliviera25. Mystical Gibberish or Renegade Discourse?: Poetic Language According to Orlando - Christopher Brown26. Selves and Others as Narrative Participants in Woolf’s Novels - Kyle RobertsonPART FOUR: Publishing, Politics, Publics27. “The most unaccountable of machinery” : The Orlando Project produces a textbase of one's own - Susan Brown, Patricia Clements, and Isobel Grundy28. The Hotel at the End of the Universe - Steven D. Putzel29. Globalization, Inter Connectivity, and Anti-Imperialism: Leonard Woolf, the Hogarth Press, and Kenya - Jeanne Dubino30. Chinese Eyes and Muddled Armenians: The Hogarth Press and British Racial Discourse - Adam Barrows31. “No One Wants Biography”: The Hogarth Press Classifies Orlando - Claire Battershill32. There Goes the Bride: Virginia Woolf, Julia Strachey, and the Hogarth Press - Diane F. Gillespie33. Redefining Woolf for the 1990s: Producing and Promoting the “Definitive Collected Edition” - Elizabeth Willson Gordon34. The Believers: Writers Publishing for Readers, Or Preliminary Musings on the Hogarth Press and McSweeney's - Aurelea Mahood35. The Woolfs in Print and Online: A University Press in Transition - Wayne ChapmanNotes on ContributorsConference Program