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Orlando: A Biography Paperback – Illustrated, October 24, 1973

by Virginia Woolf (Author)
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“Come, come! I’m sick to death of this particular self. I want another.”

As his tale begins, Orlando is a passionate sixteen-year-old nobleman whose days are spent in rowdy revelry, filled with the colorful delights of Queen Elizabeth I’s court. By the close, three centuries have passed, and he will have transformed into a thirty-six-year-old woman in the year 1928. Orlando’s journey is also an internal one—he is an impulsive poet who learns patience in matter of the heart, and a woman who knows what it is to be a man.

Virginia Woolf’s most unusual creation, Orlando is a fantastical biography as well as a funny, exuberant romp through history that examines the true nature of sexuality. 
 
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Previous page
  1. Print length
    352 pages
  2. Language
    English
  3. Publisher
    Mariner Books
  4. Publication date
    October 24, 1973
  5. Reading age
    14 years and up
  6. Dimensions
    5.5 x 1 x 8 inches
  7. ISBN-10
    015670160X
  8. ISBN-13
    978-0156701600
  9. See all details
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Mrs Dalloway comp cover To the Lighthouse comp cover A Room of One's Own comp cover The Waves comp cover Moments of Being Between the Acts
Mrs. Dalloway To the Lighthouse A Room of One's Own The Waves Moments of Being Between the Acts
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Editorial Reviews

Amazon.com Review

In 1928, way before everyone else was talking about gender-bending and way, way before the terrific movie with Tilda Swinton, Virginia Woolf wrote her comic masterpiece, a fantastic, fanciful love letter disguised as a biography, to Vita Sackville-West. Orlando enters the book as an Elizabethan nobleman and leaves the book three centuries and one change of gender later as a liberated woman of the 1920s. Along the way this most rambunctious of Woolf's characters engages in sword fights, trades barbs with 18th century wits, has a baby, and drives a car. This is a deliriously written, breathless-making book and a classic both of lesbian literature and the Western canon.

Review

"As a work of political satire and feminist fantasy, Orlando laid the groundwork for today’s cultural landscape, in which the boundaries of both gender and literary genre are more porous than ever . . . If published today, Orlando might have been misshelved not as biography but as fantasy or science fiction — genres in which women writers in recent years have increasingly found the space to challenge the straight-white-male strictures of both realist fiction and reality itself. Orlando’s blend of social critique and bold fantasy echoes in the postwar fiction of Ursula Le Guin and Angela Carter, and more recently in the fairy-tale retellings of Helen Oyeyemi and Daniel Mallory Ortberg — as well as in novels like Melissa Broder’s The Pisces." —Vulture, "Orlando is the Virginia Woolf Novel We Need Right Now" —

Product details

  • Publisher ‏ : ‎ Mariner Books; First Edition (October 24, 1973)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 352 pages
  • ISBN-10 ‏ : ‎ 015670160X
  • ISBN-13 ‏ : ‎ 978-0156701600
  • Reading age ‏ : ‎ 14 years and up
  • Item Weight ‏ : ‎ 13.6 ounces
  • Dimensions ‏ : ‎ 5.5 x 1 x 8 inches
  • Customer Reviews:

About the author

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Virginia Woolf

Virginia Woolf

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Virginia Woolf is now recognized as a major twentieth-century author, a great novelist and essayist and a key figure in literary history as a feminist and a modernist. Born in 1882, she was the daughter of the editor and critic Leslie Stephen, and suffered a traumatic adolescence after the deaths of her mother, in 1895, and her step-sister Stella, in 1897, leaving her subject to breakdowns for the rest of her life. Her father died in 1904 and two years later her favourite brother Thoby died suddenly of typhoid.

With her sister, the painter Vanessa Bell, she was drawn into the company of writers and artists such as Lytton Strachey and Roger Fry, later known as the Bloomsbury Group. Among them she met Leonard Woolf, whom she married in 1912, and together they founded the Hogarth Press in 1917, which was to publish the work of T. S. Eliot, E. M. Forster and Katherine Mansfield as well as the earliest translations of Freud. Woolf lived an energetic life among friends and family, reviewing and writing, and dividing her time between London and the Sussex Downs. In 1941, fearing another attack of mental illness, she drowned herself.

Her first novel, The Voyage Out, appeared in 1915, and she then worked through the transitional Night and Day (1919) to the highly experimental and impressionistic Jacob's Room (1922). From then on her fiction became a series of brilliant and extraordinarily varied experiments, each one searching for a fresh way of presenting the relationship between individual lives and the forces of society and history. She was particularly concerned with women's experience, not only in her novels but also in her essays and her two books of feminist polemic, A Room of One's Own (1929) and Three Guineas (1938).

Her major novels include Mrs Dalloway (1925), the historical fantasy Orlando (1928), written for Vita Sackville-West, the extraordinarily poetic vision of The Waves (1931), the family saga of The Years (1937), and Between the Acts (1941). All these are published by Penguin, as are her Diaries, Volumes I-V, and selections from her essays and short stories.

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Top reviews from the United States

Fyrecurl
5.0 out of 5 stars A Nineteenth Century Transsexual Adventure
Reviewed in the United States on February 19, 2013
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The most brilliant portrayal of a transsexual experience in modern history. Even when Magnus Hirshfield was publishing his treatise on the transsexual phenomenah, Woolf relates an account of the intracies of gender identity undiscovered by social scientists and biologists. Published in 1928, Orlando has been billed as one of Woolf's best imaginative works however, such criticism was never seen in the light of reality but a surreal depiction of the writer's portrayal of a young man who wakes up one day as a woman, as if in the ordinary course of his life. As Woolf suggests of her character's reaction to the change "Orlando herself showed no surprise at it.(Woolf, 139. Modern transsexuals have explained only recently in their writings, their internal thinking stays the same, only the external body appears different to others. ALthough Woolf's work set the precedent for post modernist literature, infusing elements of fiction into biography, she weaves the internal stuggle of her former lover, Vita Sachville-West's life, together with her own perceptions of gender and sexuality, with an historical account of a young transsexual aristocrat's adventures over the span of centuries. Unlike a biography of her time, the action is secondary to the internal story. This is more of an account of how her lover (and as suggested by this author--Woolf herself), struggles with her own gender identity; a thinking so similar to transsexualism and conflict with a Eurocentric binary gender system. Here, the biographer (narrator) describes: the reaction to Orlando's change of sex, as it may appear in a scientific journal today;"[b]ut in every other respect, Orlando remained preceisely as he had been. The change of sex, though it altered their future, did nothing whatever to alter their identity. (Woolf, 138). Woolf captures the failure of the general public to grasp the concept of gender reassignment when she has the narrator express dismay in the lack of Orlando's reaction where "Orlando was a man till the age of thirty (Similar to our understanding of modern transsexuals who start their transition at middle age) when he became a woman and has remained ever since." (Woolf, 139)'. Woolfe's use of metaphor and foreshadowing is uncanny. The pyrotechnic displays prior to the deep sleep of Orlando depicts change. She puts Orlando on a ship called the 'Enamoured Lady,' and she is suddenly the object of the Captain's and other males' attention and realizes that the sexual fantacies of men creates a dillemma for her as a woman, where she must sheild her own desires as a woman. Woolfe precisely proclaims that '(Orlando) remembered how, as a young man, she had insisted that women must be obedient, chaste, scented, and exquisitely apparelled... (and) "Now I shall have to pay in my own person for those desires ... for women are not (judging by my own short experience of the sex) obedient, chaste, scented, and exquisitely apparelled by nature." Woolfe does not stop at her proclivity to undress Orlando's gender identity but lays bare the confusion of sexual preference. Although a woman herself, Orlando proclaims that "it was still a woman she loved; and if the consciousness of being of the same sex had any effect at all, it was to quicken and deepen those feeling which she had had as a man." (Woolf, 161). Where she gives in to sensual thoughts of a man, the Captain on whose arm she trembles and remembers that she had once been a Duke and Ambassador, "that she, who had been lapped like a lily in folds of paduasoy, had hacked heads off, and lain with loose women amoung treasure sacks in holds of pirate ships..." Woolfe reveals a metaphoric character, the Archduchess Harriet Griselda of Finster-Aarhorn and Scan-op-Boom in the Roumanian territory, seen in chapter three as a woman, and in a later chapter is shown to be a man, the Archduke, who suddently professes his love for her. Woolfe's ability to produce a character like the Arduke Harry who today would fall somewhere on the transgendered scale, is amazing, for a woman in her time. Yet through all its carefully crafted language and delightful parody, the gender message she professes is much the same today as it may have been then, that "Clothes ... change our view of the world and the world's view of us...." Orlando challenges the Eurocentric binary gender construct of the world she lived in. Here, the writer's own indictment of the unrealistic bounds placed on women is evident and transposed by her narrator and Orlando's own expository reflections, "In every human bing a vacillation from one sex to the other takes place, and often it is only that clothes that keep the male or female likeness, while underneath the sex is the very opposite of what it is above." (Woolfe, 189). Here, Woolfe appears to challenge more than the unfairness and imperfections of gender traditions on women. She uses comparaisons of the formalities of being a nieteenth century man and woman to make her point. Additionally, the most introspective journey in Orlando, is of a person who is not questioning her own gender identity, but defining it. Woolfe appears to depict, not confusion, but knowledge by the transsexual main character of her own identity, and chosing to adapt to it by changing the way the world looks at her, by changing sex. It is the world that suffers the confusion. Woolfe makes generalities about other persons hiding their sex in the clothing of the other gender, suggesting there are numerous persons in her era that suffer from some sort of gender dysphoria. After reading Orlando, and comparing it with the writings of transsexual, transgendered and social scientists,Woolfe describes so clearly the struggle a transgendered person experiences, that critics should look more closely at this writing. Woolfe's narrator states: "Of complications and confusions which thus result every one has had experience;" and as though afraid to delve deeper, she leaves this general question to "note only the odd effect it had in the particualr case of Orlando herself." As Woolfe so eloquently portrays the posttranssexual eptiome, "having now worn skirts for a considerable time, a certain change was visible in Orlando, which is to be found even in her face..." and where the narrator wonders, had both the man and woman of Orlando's time.worn the same clothes (in other words, different sexes but same gender) it is possible their outlook may have been the same too." (Woolfe, 188). Yet the most profound statement made in the text reveals Woolfe's secret exposition: "The difference between the sexes is, happily, one of great profundity. Clothes are but a symbol of soemthing hid deep beneath. It was a change in Orlando herself that dicated her choise of a woman's dress and of a woman's sex. And perhaps in this she was only exprssing rather than mor openly than usual---openness indeed was the soul of her nature---(Woolf, 189). Thus, Woolfe explains that Orlando chose to change his sex because he was in fact a woman, a woman's soul in a man's body. This book is highly recommended to all who are ever wonder what it is like for a transsexual to alter his sex, and begin living as the gender opposite of his or her sex. And for those who never wondered, it is a great read, full of insightful commentary on the possibility of a gender continuum and expanding the boundaries of a binary gender system of a phallocentric society.
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J. Manchester
4.0 out of 5 stars Ahead of her time.
Reviewed in the United States on October 12, 2015
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Wow - I really disliked the protagonist until he became a woman. He was just too privileged and shallow and annoying for my taste.

This is an odd, interesting story. It was fascinating when Orlando starts to see all the ways it is different to be a man and a woman in his (her) culture. How, really, the primary purpose of women, is to live for men. There are some interesting takes, too, on transgender. (And not just with the main character.)

I thought the fantasy of the story was interesting, especially for the time it was written. Woolf is an intriguing writer. Though I did think the story a bit slow at times.
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peacewoman
5.0 out of 5 stars Phenomenal Read!
Reviewed in the United States on October 28, 2023
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Humorous and deep; plenty to reflect on and admire. Book in perfect condition.
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Sebastian Zavala
5.0 out of 5 stars One for the ages
Reviewed in the United States on May 5, 2019
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Being English my second language, I had a little difficulty reading Virginia Woolf's 'Orlando'. Nevertheless, having seen both the movie and the Peruvian stage play, I didn't have any trouble understanding the plot. I think the problem was in the details --but it wasn't serious. In any case, I do consider this novel --or pseudo biography-- to be a masterpiece, a book that, despite being more than a hundred years old, has a lot to say about gender roles and class differences that should resonate with contemporary readers. Addictive, intriguing and undeniably weird, 'Orlando' is one for the ages. Truly memorable.
10 people found this helpful
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ejw2010
3.0 out of 5 stars Very mixed feelings...
Reviewed in the United States on January 9, 2015
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It is difficult for me to define my opinion of this book. I try to ignore the idol worship that happens with writers that have been declared "great" for several decades - they're fashionable, and it's fashionable to like them, but I try to form my own opinion. This is one of the few books that's actually been very difficult. There's a lot to really like about it, but there's a lot that just isn't my cup of tea.

I like that the author quite obviously adores the main character, somehow that makes it very personal and lovely to read, but at the same time her portrayal of that character seems quite flat - nothing truly bad or negative happens or is described - yet somehow Orlando seems to grow as a character without much in the way of struggles. I like the way the author plays with time and gender and social norms quite a bit. The florid, romantic, stream-of-consciousness writing style did get horribly old in places, but just when I was ready to put the book down, she'd make fun of herself for writing that way. So much so, the author was almost her own character in the book, which I quite liked. But at the same time, a lot of the book I just didn't get anything from, because of the style maybe (I read and understood the words but they held no meaning on any level for me). I went back and reread a couple sections to make sure I wasn't just sleepy or distracted, and sometimes that was the case, but usually there just wasn't anything in that section for me. Maybe those were the more personal portions of the love-letter that, since I wasn't Woolf or her GF, I couldn't understand.

I'm glad I read it, I've already recommended it to others (with the caveats above), but I might have to read more Woolf to sort out better how I feel about this book.
10 people found this helpful
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charles
5.0 out of 5 stars Timely classic touching on elements of sex and gender
Reviewed in the United States on August 9, 2022
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A classic work of literature exploring themes of gender and sex that seems especially relevant in our current times
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Brennan R.
4.0 out of 5 stars Slow paced, confusing storyline, interesting to a unique fanbase.
Reviewed in the United States on December 9, 2022
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I could see how some would really enjoy this book, especially as a classical example of British Literature by Virginia Wolfe, an iconic British writer. That being said, I did not find it interesting and thought it progressed very slowly with an unclear plot and character progression. Stopped reading about halfway through. I'll still give it 4 stars, however, because it is definitely enjoyable by some.
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emmanuel varsos
5.0 out of 5 stars excellent
Reviewed in Canada on March 7, 2022
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MH
5.0 out of 5 stars Livre
Reviewed in France on April 14, 2024
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Otto
5.0 out of 5 stars Bel romanzo!
Reviewed in Italy on November 14, 2021
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Il romanzo è arrivato in buone condizioni. Il libro racconta di un uomo che si ritrova all'improvviso ad essere trasformato in donna in diverse epoche storiche . Esso è dedicato alla poetessa Vita Sackville-West, con la quale l'autrice ebbe una relazione. Un romanzo sicuramente interessante considerato il fatto che risale al 1928. Consigliato a tutti gli amanti dei classici!
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Otto
5.0 out of 5 stars Bel romanzo!
Reviewed in Italy on November 14, 2021
Il romanzo è arrivato in buone condizioni. Il libro racconta di un uomo che si ritrova all'improvviso ad essere trasformato in donna in diverse epoche storiche . Esso è dedicato alla poetessa Vita Sackville-West, con la quale l'autrice ebbe una relazione. Un romanzo sicuramente interessante considerato il fatto che risale al 1928. Consigliato a tutti gli amanti dei classici!
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Robert
3.0 out of 5 stars It's fine
Reviewed in Mexico on August 16, 2020
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It took me far too long to finish it (around a year and a half, something that rarely happens)
It's not a bad book and I love the idea behind it but unfortunately it's not my kind of book
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Harshit
5.0 out of 5 stars Brilliant
Reviewed in India on August 10, 2021
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Needless to say, the text is amazing. The edition is very comfortable to hold, sturdy, and the page quality is pretty good and annotation friendly.
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Harshit
5.0 out of 5 stars Brilliant
Reviewed in India on August 10, 2021
Needless to say, the text is amazing. The edition is very comfortable to hold, sturdy, and the page quality is pretty good and annotation friendly.
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