As she flits by them, never holding a full or deep conversation with anyone, she becomes aware of the fact that people can never really know each other. Time and space have removed Clarissa from the intimacy she once shared with her old friends Peter and Sally. The appearance of two friends from her past, however, shows the distance her social habits create. On one level, Clarissa’s party is an attempt to overcome isolation. There is an overriding melancholy in the minds of the characters the third-person narrator follows. Dalloway is always giving parties to cover the silence” -Virginia Woolf, Mrs. Woolf presents this woman and this event like a pebble dropped into a pool the story is a languid picture, not only of the sinking pebble but of the ripples it casts. The final effect is an intimate relationship between the reader and the people who brush past Clarissa Dalloway as she organizes and prepares for her party. However, rather than focus on the thoughts of a single character, Woolf’s novel flows across several minds as the day progresses. Dalloway is told as a stream-of-consciousness narrative (i.e interior monologue).
In the style made popular by modernist authors like James Joyce and William Faulkner in the early to mid-twentieth century, Mrs. As the day progresses, Clarissa and her expanded social circle muse about the nature of life, death, society. The story revolves around a party thrown by Clarissa and takes place over the course of a single day. As such, the plot takes a back seat to the structure in Virginia’s Woolf’s tale of the aging socialite, Clarissa Dalloway. Doubtless, it is a feat of high modernism, displaying a trademark love of interior exploration and experimental language. On another, it’s a love triangle, but long after the drama has concluded, and when all that’s left is dust. On one level, it’s a psychological portrait of London’s residents after the first World War.
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