ABSTRACT
The last chapter, ‘Bloomsberries Reimagined’ examines Peter Luke’s bioplay Bloomsbury: A Play (1976) and Gillian Freeman’s biofiction But Nobody Lives in Bloomsbury (2006). The analysis focuses on fictional representations of the fascinating, infamous social circle that formed at the beginning of the twentieth century. The unconventionality of Bloomsbury, the memorable anecdotes and the juicy scandals surrounding the members’ love and sexual lives provides excellent primary material naturally endowed with dramatic and novelistic potential. The authors examined in this chapter have explored various triangular amorous configurations – shapes which define most Bloomsbury friendships and relationships – and have depicted a stimulating social milieu and fertile artistic exchanges which contributed to Virginia’s education. More particularly, this chapter offers discussions about the fictional portrait of Woolf in her personal relationships with her friends, especially Lytton Strachey, and their joint literary legacy for today’s genre of biofiction.
