A Room of One's Own

a woman must have money and a room of her own if she is to write fiction;

the body seemed contained in a miraculous glass cabinet through which no sound could penetrate, and the mind, freed from any contact with facts (unless one trespassed on the turf again), was at liberty to settle down upon whatever meditation was in harmony with the moment.

All I could do was to offer you an opinion upon one minor point—a woman must have money and a room of her own if she is to write fiction; and that, as you will see, leaves the great problem of the true nature of woman and the true nature of fiction unsolved.

One cannot think well, love well, sleep well, if one has not dined well

Lock up your libraries if you like; but there is no gate, no lock, no bolt, that you can set upon the freedom of my mind.
But whatever effect discouragement and criticism had upon their writing—and I believe that they had a very great effect—that was unimportant compared with the other difficulty which faced them (I was still considering those early nineteenth-century novelists) when they came to set their thoughts on paper—that is that they had no tradition behind them, or one so short and partial that it was of little help.

That profoundly interesting subject, the value that men set upon women's chastity and its effect upon their education

The history of men's opposition to women's emancipation is more interesting perhaps than the story of that emancipation itself.

ladies are only admitted to the library if accompanied by a Fellow of the College or furnished with a letter of introduction.

The middle-class woman began to write. For if PRIDE AND PREJUDICE matters, and MIDDLEMARCH and VILLETTE and WUTHERING HEIGHTS matter, then it matters far more than I can prove in an hour's discourse that women generally, and not merely the lonely aristocrat shut up in her country house among her folios and her flatterers, took to writing. Without those forerunners, Jane Austen and the Brontës and George Eliot could no more have written than Shakespeare could have written without Marlowe, or Marlowe without Chaucer, or Chaucer without those forgotten poets who paved the ways and tamed the natural savagery of the tongue. For masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice

—a woman must have money and a room of her own if she is to write fiction