The Case Against the Trauma Plot

It was on a train journey, from Richmond to Waterloo, that Virginia Woolf encountered the weeping woman. A pinched little thing, with her silent tears, she had no way of knowing that she was about to be enlisted into an argument about the fate of fiction. Woolf summoned her in the 1924 essay "Mr. Bennett and Mrs. Brown," writing that "all novels begin with an old lady in the corner opposite"—a character who awakens the imagination. Unless the English novel recalled that fact, Woolf thought, the form would be finished. Plot and originality count for crumbs if a writer cannot bring the unhappy lady to life. And here Woolf, almost helplessly, began to spin a story herself—the cottage that the old lady kept, decorated with sea urchins, her way of picking her meals off a saucer—alighting on details of odd, dark density to convey something of this woman’s essence.