Louise de Salvo - Works

Works

  • Virginia Woolf's First Voyage: A Novel in the Making (Rowman & Littlefield Publishers Inc., 1980)
  • Nathaniel Hawthorne (Brill Academic Publishers, Incorporated, 1987)
  • Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work (Ballantine Books, 1990)
  • Territories of the Voice: Contemporary Stories by Irish Women Writers, Edited By Louise DeSalvo, Katherine Hogan, and Kathleen W. D’Arcy (Beacon Press, 1991)
  • Between Women: Biographers, Novelists, Critics, Teachers, and Artists Write About Their Work on Women, Edited by Carol Ascher, Sara Ruddick, and Louise DeSalvo (Routledge, 1993)
  • Conceived with Malice: Literature as Revenge in the Lives of Woolf, Lawrence, Barnes, Miller (Plume, 1994)
  • Breathless: An Asthma Journal (Beacon Press, 1997)
  • Vertigo: A Memoir (Penguin, 1997)
  • Adultery: An Intimate Look at Why People Cheat (Houghton Mifflin, 2000)
  • Writing as a Way of Healing: How Telling Our Stories Transforms Our Lives (Beacon Press, 2000)
  • A Green and Mortal Sound: Short Fiction by Irish Women Writers, Edited by Louise DeSalvo, Katherine Hogan, and Kathleen Walsh D’Arcy (Beacon Press, 2001)
  • The Letters of Vita Sackville-West and Virginia Woolf, Edited by Louise DeSalvo and Mitchell Leaska (Cleis Press, 2001)
  • Melymbrosia by Virginia Woolf, Edited by Louise DeSalvo (Cleis Press, 2002)
  • The Milk of Almonds: Italian American Women Writers on Food and Culture, Edited by Louise DeSalvo and Edvidge Giunta (The Feminist Press at CUNY, 2003)
  • Crazy in the Kitchen: Food, Feuds and Forgiveness in an Italian American Family (Bloomsbury, 2005)

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    “Artists, whatever their medium, make selections from the abounding materials of life, and organize these selections into works that are under the control of the artist.... In relation to the inclusiveness and literally endless intricacy of life, art is arbitrary, symbolic and abstracted. That is its value and the source of its own kind of order and coherence.”
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    “A creative writer must study carefully the works of his rivals, including the Almighty. He must possess the inborn capacity not only of recombining but of re-creating the given world. In order to do this adequately, avoiding duplication of labor, the artist should know the given world.”
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