Virginia Woolf, the English novelist, critic, and essayist, was born on January 25, 1882, to Leslie Stephen, a literary critic, and Julia Duckworth Stephen. Woolf grew up in an upper-middle-class, socially active, literary family in Victorian London. She had three full siblings, two half-brothers, and two half-sisters. She was educated at home, becoming a voracious reader of the books in her father’s extensive library. Tragedy first afflicted the family when Woolf’s mother died in 1895, then hit again two years later, when her half-sister, Stella, the caregiver in the Stephen family, died. Woolf experienced her first bout of mental illness after her mother’s death, and she suffered from mania and severe depression for the rest of her life.

Patriarchal, repressive Victorian society did not encourage women to attend universities or to participate in intellectual debate. Nonetheless, Woolf began publishing her first essays and reviews after 1904, the year her father died and she and her siblings moved to the Bloomsbury area of London. Young students and artists, drawn to the vitality and intellectual curiosity of the Stephen clan, congregated on Thursday evenings to share their views about the world. The Bloomsbury group, as Woolf and her friends came to be called, disregarded the constricting taboos of the Victorian era, and such topics as religion, sex, and art fueled the talk at their weekly salons. They even discussed homosexuality, a subject that shocked many of the group’s contemporaries. For Woolf, the group served as the undergraduate education that society had denied her.

The Voyage Out, Woolf’s first novel, was published in 1915, three years after her marriage to Leonard Woolf, a member of the Bloomsbury group. Their partnership furthered the group’s intellectual ideals. With Leonard, Woolf founded Hogarth Press, which published Sigmund Freud, Katherine Mansfield, T. S. Eliot, and other notable authors. She determinedly pursued her own writing as well: During the next few years, Woolf kept a diary and wrote several novels, a collection of short stories, and numerous essays. She struggled, as she wrote, to both deal with her bouts of bipolarity and to find her true voice as a writer. Before World War I, Woolf viewed the realistic Victorian novel, with its neat and linear plots, as an inadequate form of expression. Her opinion intensified after the war, and in the 1920s she began searching for the form that would reflect the violent contrasts and disjointed impressions of the world around her.

In Mrs. Dalloway, published in 1925, Woolf discovered a new literary form capable of expressing the new realities of postwar England. The novel depicts the subjective experiences and memories of its central characters over a single day in post–World War I London. Divided into parts, rather than chapters, the novel's structure highlights the finely interwoven texture of the characters' thoughts. Critics tend to agree that Woolf found her writer’s voice with this novel. At forty-three, she knew her experimental style was unlikely to be a popular success but no longer felt compelled to seek critical praise. The novel did, however, gain a measure of commercial and critical success. This book, which focuses on commonplace tasks, such as shopping, throwing a party, and eating dinner, showed that no act was too small or too ordinary for a writer’s attention. Ultimately, Mrs. Dalloway transformed the novel as an art form.

Woolf develops the book’s protagonist, Clarissa Dalloway, and myriad other characters by chronicling their interior thoughts with little pause or explanation, a style referred to as stream of consciousness. Several central characters and more than one hundred minor characters appear in the text, and their thoughts spin out like spider webs. Sometimes the threads of thought cross—and people succeed in communicating. More often, however, the threads do not cross, leaving the characters isolated and alone. Woolf believed that behind the “cotton wool” of life, as she terms it in her autobiographical collection of essays Moments of Being (1941), and under the downpour of impressions saturating a mind during each moment, a pattern exists.

Characters in Mrs. Dalloway occasionally perceive life’s pattern through a sudden shock, or what Woolf called a “moment of being.” Suddenly the cotton wool parts, and a person sees reality, and his or her place in it, clearly. “In the vast catastrophe of the European war,” wrote Woolf, “our emotions had to be broken up for us, and put at an angle from us, before we could allow ourselves to feel them in poetry or fiction.” These words appear in her essay collection, The Common Reader, which was published just one month before Mrs. Dalloway. Her novel attempts to uncover fragmented emotions, such as desperation or love, in order to find, through “moments of being,” a way to endure.

While writing Mrs. Dalloway, Woolf reread the Greek classics along with two new modernist writers, Marcel Proust and James Joyce. Woolf shared these writers' interest in time and psychology, and she incorporated these issues into her novel. She wanted to show characters in flux, rather than static, characters who think and emote as they move through space, who react to their surroundings in ways that mirrored actual human experience. Rapid political and social change marked the period between the two world wars: the British Empire, for which so many people had sacrificed their lives to protect and preserve, was in decline. Countries like India were beginning to question Britain’s colonial rule. At home, the Labour Party, with its plans for economic reform, was beginning to challenge the Conservative Party, with its emphasis on imperial business interests. Women, who had flooded the workforce to replace the men who had gone to war, were demanding equal rights. Men, who had seen unspeakable atrocities in the first modern war, were questioning the usefulness of class-based sociopolitical institutions. Woolf lent her support to the feminist movement in her nonfiction book A Room of One’s Own (1929), as well as in numerous essays, and she was briefly involved in the women’s suffrage movement. Although Mrs. Dalloway portrays the shifting political atmosphere through the characters Peter Walsh, Richard Dalloway, and Hugh Whitbread, it focuses more deeply on the charged social mood through the characters Septimus Warren Smith and Clarissa Dalloway. Woolf delves into the consciousness of Clarissa, a woman who exists largely in the domestic sphere, to ensure that readers take her character seriously, rather than simply dismiss her as a vain and uneducated upper-class wife. In spite of her heroic and imperfect effort in life, Clarissa, like every human being and even the old social order itself, must face death.
Woolf’s struggles with mental illness gave her an opportunity to witness firsthand how insensitive medical professionals could be, and she critiques their tactlessness in Mrs. Dalloway. One of Woolf’s doctors suggested that plenty of rest and rich food would lead to a full recovery, a cure prescribed in the novel, and another removed several of her teeth. In the early twentieth century, mental health problems were too often considered imaginary, an embarrassment, or the product of moral weakness. During one bout of illness, Woolf heard birds sing like Greek choruses and King Edward use foul language among some azaleas. In 1941, as England entered a second world war, and at the onset of another breakdown she feared would be permanent, Woolf placed a large stone in her pocket to weigh herself down and drowned herself in the River Ouse