As Angelica Garnett remarks, for the Bloomsberries
, "machinery appeared to take control of them rather than the other way around" (101).
Lawrence and Ludwig Wittgenstein pilloried the self-regarding embryonic Bloomsberries
for their lack of reverence.
Busy with intrigue, he nonetheless recorded the post-Armageddon scene for the benefit of fellow Bloomsberries
. This is what he wrote to his former lover, the painter Duncan Grant:
Because of their lower middle-class status, neither Katherine Mansfield nor her husband, John Middleton Murry, had sufficient "pedigree" to become fully integrated members of the "Bloomsberries
" (Dunbar xiv).
, by the way, actually founded what they called a Memoir Club, and read off current installments of their memoirs to one another after dinner, the only limitation being "absolute honesty."5 Alas, the least active Berry and the one we would most like to hear more from, E.
Those men and women who can openly acknowledge sexuality (like the free and frank Bloomsberries
), Luftig's model suggests, are more likely to work together productively in an asexual relationship.
and Mary Watts's house and studios in Surrey, Charleston in Sussex to celebrate the Bloomsberries
, and even the home of Alfred Munnings in Essex to visit.
The editors wisely refrain from serving up set definitions of "queer" or of "Bloomsbury" in advance of the two clusters of essays they have collected in Queer Bloomsbury, although they do name around a dozen of the personally, erotically and artistically entangled personnel of "a core set of Bloomsberries
": Thoby Stephen, Adrian Stephen, Virginia Woolf, Vanessa Bell, Duncan Grant, Roger Fry, Leonard Woolf, Strachey, Desmond MacCarthy, Clive Bell, Maynard Keynes, E.
Fugitive snatches, long and short, in books by and about the 'Bloomsberries
' disliked being thought of as a formal group but were as one in their belief in the importance of the arts and the creative impulse.
The energetic and agitated discussion over the Woolf listserv during the summer of 2015 about BBC Two's three-part miniseries, Life in Squares, in which many list-members lamented the program's focus on the gossip and sex lives of the Bloomsberries
while also to some degree enjoying it as a "guilty pleasure" revealed the tensions that inevitably crop up when historical situations are fictionalized for a mass audience.
Lloyd explains that for most of Woolf's Bloomsbury contemporaries, music was secondary to the visual arts, but Woolf was the exception to this rule: "The sensitivity to the radical changes in the plastic arts that the group embraced, promoted, and delighted in, together with that sharp awareness of the changes in social mores that Virginia Woolf playfully dates to around December 1910, seems to have found an equivalent in music only in the case of a few of the Bloomsberries
, most notably Virginia Woolf herself" (40).