Translating Virginia Woolf’s To the Lighthouse into Surrealist Art

Virginia Woolf often crosses the boundaries between literature and painting in her writing, masterfully combining these two realms. However, her novels are only ever read within a post-Impressionist framework. In this essay, I aim to challenge this well-established notion by translating To the Lighthouse into the terms of surrealist art. Firstly, I compare automatic writing used by surrealists and Woolf’s stream-of-consciousness technique and free indirect discourse, also reflecting on their significance in Lily Briscoe’s painting. Then, I explore the concept of the surreal house and space in both surrealism and To the Lighthouse. Lastly, I develop the notion of Mrs Ramsay as a ghost and her influence on Lily’s final piece of art. To justify my translation, I return to Freudian psychoanalysis, which was fundamental for surrealists and equally significant for Woolf, although in a less immediate way. It is essential to note that existing scholarship does not associate Woolf with surrealism at all, and, accordingly, I am not going to argue that Woolf considered herself a surrealist, nor that To the Lighthouse is representative of the movement. Instead, I plan to challenge the form of Woolf’s novel, redirecting our transfixed gaze towards new possible dimensions of this well-known, extensively interpreted text, and assist in merging the realms of literature and painting.