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Beyond genre – or rather inside and against genre – Woolf’s essays, short-stories, novels, and diary-writing can be read as different nuances of the same challenge: a “try” where recurrent images and phrases travel across/seep through texts along different intimations or narrative circumstances, conjuring up effects of reality , overdrawing the boundaries of narrative conventions.

Rereading Virginia Woolf and embarking on a revised account of Woolf’s experience as a writer, means facing a bewildering amount of critical commentary that copes with key issues relating to “life” as a whole, and to the towering problem of “writing life”, plunging into the complex palimpsest of a cultural debate which is at once historically located and utterly “contemporary”. “The nerves of writing” mentioned in the title mainly refer to this matrix-subject and its narrative developments. “What is life”; what goes on in its name; which are its boundaries; how to cope with the “flickers” and signs we put into this ‘portmanteau’: these are facets of Woolf’s central obsession. And such obsession works as a major narrative magnet: it nourishes a palimpsest of fiction and meta-fiction where self-scrutiny (impregnated with autobiography) relates to the recognizance of the self (as an “I”, as a woman, as an Author), to the tunnelling within in search of one’s many selves. But it also relates to a psycho-collective history retrieved along pre-individual and trans-historical traces – as Deleuze’s concept of a “deterritorialised subject” has taught us to discern.