This is the first volume of an annual series dedicated to studies of Virginia Woolf, whose relevance to literary, feminist and cultural studies is stressed here.

This third volume of Woolf Studies Annual offers a rich collection of new work on Virginia Woolf, up-to-date resources for scholars, and several reviews of recent and not-so-recent books. Contributors include Susan Dick's transcription of and introduction to 'The Cook', a fictionalized portrait of Sophie Farrell, the Stephen family cook. David Bradshaw's research in the archives of For Intellectual Liberty (FIL) and other artists' organizations for civil liberties in the 1930s reveals that Woolf was perhaps the most politically radical of all her peers. Molly Hoff continues her exploration of the classical matrix of Mrs. Dalloway, Harriet Blodgett argues for a more formalist approach to food as a symbol in Woolf's novels, and Jean Long examines Woolf's relations to Charlotte Bront%. Diana Swanson describes the 'Antigone complex' in The Years, and Georgia Johnston reassesses issues of class inBetween the Acts. James Haule, a co-compiler of the Complete Concordance to the Novels of Virginia Woolf, offers his suggestions on how such a tool might be used, and the 'Guide to Collections' provides up-to-date information on holdings and access requirements for libraries with significant Bloomsbury manuscripts in the U.K., the U.S., and Canada. Vara Neverow and Merry Pawlowski's 'Preliminary Bibliographic Guide to the Footnotes of Three Guineas' is a valuable new resource for researchers. There are also reviews of new books by Claire Kahane, Bonnie Kime Scott, Laura Doyle, and others. Woolf Studies Annual is an essential asset for anyone working on Woolf.

The violation of boundaries between the arts is often cited as a characteristic of modernism. Although Virginia Woolf's interest in painting is a well-established example, The Multiple Muses of Virginia Woolf offers new insight into the importance of Woolf's relationship with painters, their theories, and their works. The collection also reveals for the first time the great impact that the arts - photography, cinema, dance, and music - had on Woolf's writing. In these eight essays Gillespie has brought together some of the most exciting new scholarship in this area to show how similarities and differences among the arts helped Woolf define her own verbal experiments. Receiving formal inspiration, she nevertheless evolved ways to prevent form and, at the other end of the continuum, sentiment, from obliterating general emotion and, to some extent, social commentary. In all these other arts, Woolf found ways to challenge the largely masculine traditions of literature. She also discovered more indirect ways of creating characters in her fiction, particularly in depicting the complexities and ambiguities of ordinary people. As much as the volatility in the art world of her day excited her, however, and as much as the limitations of language sometimes frustrated her, Woolf consistently asserted the primacy and inclusive nature of her literary art. This collection of essays, which provides unique insight into the Bloomsbury Group, will be of interest to all readers of Virginia Woolf's fiction and to students of modernism as well.