What the General Practitioner Should Know about Patent Law and Practice Book

I’ve never dwelt over a set of 200 bound pages with as much joy and relish as I have with To the Lighthouse. I can say without reservation, that this is some of the most incredible writing I’ve ever come across and I’m absolutely baffled as to how Woolf pulled it off. So much of the prose was redolent of an abstract surrealist film, such were the clarity and preciseness of its images. At a certain point Woolf describes an idea entering a character’s mind as a drop of ink diffusing in a beaker of water. I left several exclamation points and expressions of pure joy among the marginalia of my copy. I have never experienced such a strange brew of images and ideas that whirl around mere words of a novel, all of which has incited such excitement in me, as if some beautiful and aching aspect of human experience has been solidified on paper that will never be as perfect as it is here.

This book bounces back and forth between philosophy, psychology and fictionalized story telling in such an interweaving of narrative and personal reflection that it may be difficult to discern who is thinking what and which thoughts are the result of whom. This is especially predominant in the opening section, when Woolf just shoves you into the churning waters of her prose and doesn’t throw you a life raft until 45 pages in. The is intentional however, because the book is preoccupied with consciousness at its most mercurial. If at any time, the prose is lucid and clear, it is sure to take a turn for the chaotic within a few pages. There is so much attention given to each individual’s neuroses and preoccupations that they are often magnified beyond your typical day to day worries. The sights are bright and irritating; the sounds are cacophonous; and the emotional cues between each character, the ones that are often subtle and implicit in everyday interaction, are rendered as if each character holds equal parts pure malice and enthralling love that threatens to burst open at any second. I thought about highly sensitive people; I thought of those with autism that experience overwhelming intensity from their sensual perception. I thought of all of those that are under bombardment from the outer world, tingling in its euphoric highs and devastating lows. For some, it may seem as though Woolf overly dramatizes experience, but what she really does is puts her character through life at its most intense and acute. The lives of the characters are so rich in emotion that dipping into their world, for mere pages at a time, is like taking a giant bump of the pure stuff, getting tweaked on all the unbelievable wonder that is conscious experience. I thought of Jeff Mangum’s infamous lyric, how strange it is to be anything at all.

I was fortunate enough to have already read The Waves—a book quite similar in its themes and images—in a classroom setting with a brilliant professor. It allowed me a way into Lighthouse that I might not have had otherwise. If it wasn’t for this frame of reading, I may have been a little too overwhelmed by the non-stop poetic bombardment. So, I will say that my previous experience with Woolf helped tremendously. I have no doubt that anyone who would pick up this book would be blown away by it, but without certain perquisites, it could be a book to throw across the room out of bewilderment. It can be tough. It can be verbose. But it is undoubtably one of the best books I’ve read this year.

During her time as a writer, Woolf was quite invested in the scientific theories of her day. There are, apparently, a lot of her own personal writing that spoke highly of her research into the area and all of the scientific advances being made at the turn of the century, a time heralded by the legendary Charles Darwin. Woolf’s focus wasn’t necessarily on natural selection—although its influence is present—but on the theories and writings surrounding thermodynamics. Although I’m woefully unqualified to talk about the finer points of thermodynamics, what’s important for reading Woolf, is the idea of the conservation of energy, moreover, the fact that matter is never lost. It is continually recycled and that all of our world is a constant fluctuation of heat and matter, moving in and out of different systems—including that oh so special system called human beings.

Although, ostensibly our experience of the world tells us that we are one solidified unit of matter, always held together in the perfected feeling of selfness and oneness that is our day to day life, the truth couldn’t be any further from that. Woolf seemed particularly haunted by the idea that what seemed to be a solidified conscious experience was actually a continual fluctuation of matter, on a physical level, and the consequential thoughts, worries and sensual bombardment, on the experiential level. These new ideas destabilized previous notions about our awareness of the world as the absolute avenue to truth and the reality of this world. Thus, it is in this tension that the characters of To the Lighthouse find themselves in. They are obsessed with creating still images out of the cacophony of a thermodynamic universe, trying to cling to old notions of a person still being that solidified center of the world. A character will revel in the beauty and wonderment of a single moment, only to have it slip away from them and be washed away in the tumultuous seas of conscious experience. Although our minds create perfected still images out of the constant transformation of matter around, these still images skip away into the past before they can be fully grasped, fully made whole: “With her foot on the threshold she waited a moment longer in a scene which was vanishing even as she looked, and then, as she moved and took Minta’s arm and left the room, it changed, shaped itself differently; it had become, she knew, giving one last look at it over her shoulder, already the past”

But more than any lofty philosophical or scientific conceits, this book is achingly beautiful. Never for a moment does the specifics of the scientific theory engulf the work. Instead it remains above the surface, leaving its impact upon you emotionally. The book is wrought with beautiful feeling and what could possibly make this better than the work of Joyce, for example is that it never leaves one with a cold intellectual shoulder or the folded-arm distance of an extravagant feat of technical writing skill. Woolf goes for the gut.

And even if you are completed uninterested in the finer points of Woolf’s overall conceit, you can still appreciate the beauty of the titular image—the lighthouse. I was particularly moved by all of Woolf’s images of water as a stand in for conscious experience in all its tumultuous churning; and the fact that a lighthouse is the tall solidified object which brings ships lost at sea back to solid ground; and the fact that this lighthouse is what the characters hang all their hopes and desires upon; and the fact that we, the reader, must sail through all that thick prose to get to the promised reward at the end,

The lighthouse, for there it was.