• The Voyage Out Summary

by Virginia Woolf

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It all starts out in London in the early twentieth century, following the life of Helen Ambrose and her husband Ridley. They are preparing for a long journey ahead, to an unnamed location off the coast of South America. There they are planning to stay for the whole of winter, leaving their two young children behind. She is a little downcast as she walks around with a sense of sadness and a touch of depressing emotions. There isn’t much light at the beginning of this tale.

However, the time draws near to depart. Helen and Ridley are taking the ship named Euphrosyne , owned and sailed by Willoughby Vinrace , Helen’s brother-in-law. The plan is to drop off the Ambroses and from there Vinrace will continue on towards the Congo for exploration. Also on board is Vinrace’s daughter, Rachel. Rachel is not a very remarkable person, quite uninspiring and confined to the normalities of her day and age. She is nothing special, nothing unique, and besides her gift in piano, she shows little emotion or delight in anything. Helen considers her and thinks that Rachel has the potential to be amusing and funny if only she would let her feelings out a little more. Rachel plans on continuing on the cruise with her father to the Congo, but Helen steps in with a brighter idea. She suggests that Rachel stay with her and Ridley at the unnamed resort to tag along and hopefully break out of her confinements a little. Rachel isn’t quick to agree, but eventually, with some reluctance, she decides to take Helen up on the offer and join her aunt and uncle. Rachel’s father, Willoughby, is actually quite relieved. He believes that Helen, his dead wife’s sister, will be able to bring Rachel out of her shell and make a “real woman” out of her. In reality though, behind the pretty words and explanation, he wants Rachel to become somewhat of a “Tory hostess” to be an entertainer for when he has guests over for political discussions. Helen however, has a slightly different idea. She wants to help Rachel become her own individual thinker, a person with temperament and uniqueness. The “voyage out” is both literal and mental, with the actual ship’s voyage lasting four weeks, and with Rachel finding herself outside of what she has always known.

After some time at sea, Helen, Ridley, and Rachel arrive at the resort. They have their own villa and settle in. As time goes by, Helen and Rachel make acquaintances and then good friends with several people in the resort. There are two of utmost importance: St. John Hirst , a student from Oxford University, and his good friend and companion Terrence Hewet , an aspiring author and novelist. Hirst is full of rather sexist views and confines to the idea that women are more objects than anything else. However, after talking much with Helen, Hirst finds a surprising amount of delight and enjoyment in her. But in Rachel, he finds nothing but what he calls annoying stagnation and utter dullness. He proceeds to call her rather unpleasant and insulting names and doesn’t see her as anything but worthless in terms of intellectuality. But Hewet sees Rachel much differently. Instead of judging her solely off of intellectual thinking, he connects to her on a personal and spiritual level. He sees that no, she is not just an idol object but much more so a living, thriving, unique human being. He defends her vigorously in front of Hirst and helps Rachel see herself from an objective standpoint, showing her the value and uniqueness she possesses. Hewet and Rachel share a bond while Hirst and Helen share a bond of their own. The four become quite close and intimate with one another.

Eventually, the four of them, plus a couple staying at the villa next door, go on a little “expedition” to the nearby village. Rachel and Hewet take a stroll in the woods alone, leaving the rest of the group behind for a while. For the entirety of the novel, the two are very fond of each other, but neither is brave enough to tell the other. However, with them being completely alone with just the other for company in a wild place, they find it appropriate and even a touch thrilling to confess their feelings to each other. Hewet proposes and they are betrothed, planning to get married soon. However, when they get married and become very comfortable with each other, Rachel becomes very ill. Her condition proceeds to worsen. There is no good doctor in the area that they are in. Hewet doesn’t want to admit that Rachel is in a very bad situation, her condition becoming very dangerous. He argues with Helen, trying to convince himself that this isn’t as bad as it seems. However, Rachel soon starts to hallucinate and it becomes the last straw for Hewet. He runs to the neighboring area and retrieves a much more competent doctor. The doctor rushes to Rachel and is distraught when he discovers the severity of her condition. With anguish, he informs the group that there is nothing he can do for her. Hewet stays by her bedside as she peacefully dies in her sleep.

Though starting off with Helen, the story really has its focus and attention on Rachel. Rachel, being the main character and revolving topic of this novel, goes through an internal voyage of self-discovery. There is not much action within its pages, but relies heavily on deep conversations and well thought out responses. There is much conflict, tension, as well as resolution within the pages of this tale.

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The Voyage Out Questions and Answers

The Question and Answer section for The Voyage Out is a great resource to ask questions, find answers, and discuss the novel.

Study Guide for The Voyage Out

The Voyage Out study guide contains a biography of Virginia Woolf, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

  • About The Voyage Out
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Wikipedia Entries for The Voyage Out

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  • Development and first draft
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  • Woolf's review copies for USA publication

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The Voyage (1974)

The charming Adriana gets sick after her husband's death. Her brother-in-law takes her on a journey to meet a doctor, while love overwhelms them. The charming Adriana gets sick after her husband's death. Her brother-in-law takes her on a journey to meet a doctor, while love overwhelms them. The charming Adriana gets sick after her husband's death. Her brother-in-law takes her on a journey to meet a doctor, while love overwhelms them.

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Virginia Woolf, 1902. Photo: George Charles Beresford. Public domain, via Wikimedia Commons.

When Virginia Woolf’s The Voyage Out begins, Mr. and Mrs. Ambrose are making their way from the Strand to the Thames Embankment, where a rowboat will take them to a steamer that will take them across the Atlantic to South America. Helen Ambrose—fortyish, beautiful, hard to please—is quietly weeping. “Mournfully” she regards the old man who rows the boat and the anchored ship he rows them to, for they are “putting water between her and her children.” They are joined on this journey aboard the Euphrosyne —the first voyage out—by Mr. Pepper, a prickly scholar who went to Cambridge with Ridley Ambrose, and twenty-four-year-old Rachel Vinrace, the Ambroses’ niece, whose mother is dead. She’s been raised (to unsatisfactory fashion, in Helen’s eyes) by her father, Willoughby Vinrace, upon whose ship they travel, and her other aunts. Among this group on the ship, Helen fears she’ll be “considerably bored.” (The specter of boredom is important in Woolf’s work; Orlando strikes me as a novel about life’s infinite richness, and how life is still somehow a bore.)

The ship drops anchor again in Lisbon, where they collect two additional passengers for part of the journey, none other than Richard and Clarissa Dalloway, characters Woolf would go on to write several stories and another novel about. The Dalloways’ snobbishness puts Helen off, but they connect on the subject of children. “Isn’t it detestable, leaving them?” Clarissa asks. “It was as though a blue shadow had fallen across a pool,” Woolf writes. “Their eyes became deeper.” Their talk makes moody Rachel feel excluded, “outside their world and motherless.” Helen is consumed with thoughts of her children now, but soon she will seem to forget them almost entirely. It is just one example of the book’s most prevalent theme: the limiting nature of perspective. The people in England and the people on ships are unreal to each other. “But while all this went on by land, very few people thought about the sea. They took it for granted that the sea was calm … For all they imagined, the ships when they vanished on the sky-line dissolved, like snow in water,” Woolf writes. “The people in ships, however, took an equally singular view of England. Not only did it appear to them to be an island, and a very small island, but it was a shrinking island in which people were imprisoned.” Much as it’s nearly impossible to imagine being hot when one is freezing cold, or happy when one is miserable, the passengers on the Euphrosyne can hardly imagine what life is like in London, or that it goes on at all.

Helen and Rachel initially regard each other with mutual underestimation. Scant formal education has allowed Rachel to flourish in music, as she simply pursued her own interests. But she knows almost nothing about the world—her lack of schooling leaves her with “abundant time for thinking,” but thinking is not equivalent to experience—which baffles and frustrates Helen. Meanwhile Rachel’s ageism is such that she imagines the middle-aged are ready to die: “ ‘My aunts said the piano would come through the floor, but at their age one wouldn’t mind being killed in the night?’ she enquired.”

Everything changes when Mr. Dalloway kisses Rachel. This comes as a shock (“Life seemed to hold infinite possibilities she had never guessed at”), a shock so great she’s not sure if she liked it or not. There’s “something wonderful” about it—suddenly she sees herself “as a real everlasting thing, different from anything else”—yet she’s so disturbed she gets up in the night to lock her door; “She could not sleep again.” The following day, the Dalloways disembark, and Helen and Rachel discuss them. Rachel had been mesmerized by their social position, their taste; Helen says Richard was “pompous and sentimental.” Rachel tells her about the kiss, which seems to her inexplicable and terrifying. Helen considers:

From the little she knew of Rachel’s upbringing she supposed that she had been kept entirely ignorant as to the relations of men with women. With a shyness which she felt with women and not with men she did not like to explain simply what these are. Therefore she took the other course and belittled the whole affair. “Oh, well,” she said, “he was a silly creature, and if I were you, I’d think no more about it.” “No,” said Rachel, sitting bolt upright, “I shan’t do that. I shall think about it all day and all night.”

At this point, Rachel becomes Helen’s project, a substitute child. She decides it’s her duty to teach Rachel “how to be a reasonable person,” to achieve some awareness of herself and her place in the world, and proposes to Willoughby that Rachel stay with her and her husband when they reach South America, rather than traveling into the Amazon with him. This takes some persuasion, but “Helen prevailed, although when she had won her case she was beset by doubts, and more than once regretted the impulse which had entangled her with the fortunes of another human being.” This is not the first hint that things will go poorly when they reach their destination—but “the moment for presentiments” has passed, or there was never any moment at which fate was not unfolding, fate both random and inexorable.

In Santa Marina, a fictional South American port, Helen and Rachel take up a habit they call “seeing life,” “strolling through the town after dark” to look at strangers. On one of these evenings, the women push open the gate of a large hotel and go up to the terrace, with its “row of long windows open almost to the ground”: “They were all of them uncurtained, and all brilliantly lighted, so that they could see everything inside.” From this viewpoint the hotel people look unreal to them, as if lit up onstage, as if they could not see their audience through the fourth wall. But they can be and are seen, when Terence Hewet turns “his full face towards the window,” where his friend St. John Hirst is sitting, “near to them unobserved all the time.” Discovered, the women flee.

Woolf’s next move is to take us deeper inside the hotel, where Helen and Rachel could not go—all the way into the minds of the guests. It’s one of several key scenes in the novel with a sudden perspective shift, from outside to inside, observer to observed or vice versa. Inside the rooms, the guests are of course real people, from their own perspective, that is—real by virtue of having interior lives. Another concern of the novel is the question of reality versus illusion, the “two different layers” of existence: the “real” world of thought and feeling under the surface world, the theater of pretense. (If The Voyage Out is less experimental in form than the later novels for which Woolf is best known, its characters are all the more moving for the ways they try to break convention from within the conventions of Edwardian fiction—reminiscent of Forster.) Here we meet the rest of the book’s important characters, who end up forming what you might call the women’s karass —Kurt Vonnegut’s term in Cat’s Cradle for a team that forms, beyond rational understanding, to “do God’s will”—more lives whose fortunes become entangled with theirs. Most significant among them is Hewet, an aspiring novelist who falls in love with Rachel.

It’s Hewet’s suggestion, prompted by a comment of Hirst’s (“Did you notice how the top of the mountain turned yellow to-night?”), to haul this karass up the mountain on donkeys for a picnic. This trip up the mountain is the second of three nested voyages in the novel. Like the kiss on the ship, it opens up the sense of the possible. It’s an idea, a whim really, that comes together easily—a decision acted upon, or at least a decision that feels like an action. It’s also an excuse to spend time with the women they encountered at the hotel window. Hirst, a promising, arrogant young scholar who insults everybody, is fascinated by the older, unavailable Mrs. Ambrose, whom he thinks the most beautiful person he’s ever seen. And Hewet is drawn to Rachel, for mysterious reasons; she’s not a beauty or a charming conversationalist; people think of her as “vague.” She doesn’t understand them and they don’t understand her either. But some force pulls him to her.

At the summit, there’s another reversal of perspective. Arthur and Susan, two other guests on the expedition, sneak off alone and become engaged. First, we experience the moment as they do, as bliss: “ ‘Well,’ sighed Arthur, sinking back on the ground, ‘that’s the most wonderful thing that has ever happened to me’ … ‘It’s the most perfect thing in the world,’ Susan stated, very gently and with great conviction.” Hewet and Rachel, also walking alone, come across the couple in the trees, and their view of the scene is quite different:

The woman, who now appeared to be Susan Warrington, lay back upon the ground, with her eyes shut and an absorbed look upon her face, as though she were not altogether conscious. Nor could you tell from her expression whether she was happy, or had suffered something. When Arthur again turned to her, butting her as a lamb butts a ewe, Hewet and Rachel retreated without a word. Hewet felt uncomfortably shy. “I don’t like that,” said Rachel after a moment.

From her angle this moment of radical change in Susan’s life looks like violence. Seeing and being are not the same. (“One doesn’t want to be things,” Hewet says, explaining his chosen vocation; “one wants merely to be allowed to see them.”) Finding their own little clearing, Rachel and Hewet talk, the impression of the lovers still lingering. Rachel attempts to tell Hewet about her life back at home, in Richmond, “overcome by the difficulty of describing people.” “It’s impossible to believe that it’s all going on still!” she exclaims. In some sense “it all” isn’t; what Woolf shows us is all that goes on. She is the “undoubtedly mad” god, to borrow Hirst’s words, in charge of their fate. But even in the world of the novel, Richmond doesn’t quite exist—not in Santa Marina. Do things continue out of sight, so far away, and run on the same clocks? It’s looking, or being looked at, they believe, that makes things real. But looking has limited power.

There is one more voyage. A smaller group—each voyage further separates this cluster from the rest of the world—embarks on a risky expedition up the river, deeper into the jungle. (The wealthy eccentric Mrs. Flushing says to Helen, “If you want comforts, don’t come. But I may tell you, if you don’t come you’ll regret it all your life.”) On this voyage, Hewet and Rachel again break away and become engaged. They unknowingly mirror the earlier scene on the mountain, now as actors, not as audience: “This is happiness,” she says, though doing what before she had only watched now fills her with a “sense of unreality”: “the whole world was unreal.” In one of the novel’s strangest passages, Helen appears to find them walking and then tackles Rachel to the ground, where they roll in the long grasses: “A hand dropped abrupt as iron on Rachel’s shoulder; it might have been a bolt from heaven … Helen was upon her.” It’s an animalistic gesture both affectionate and protective. For Helen has another premonition of disaster: “She became acutely conscious of the little limbs, the thin veins, the delicate flesh of men and women, which breaks so easily … Thus thinking, she kept her eyes anxiously fixed upon the lovers, as if by doing so she could protect them from their fate.” There is the question, now, as to which voyage out will not correspond with a voyage in, which bracket will not be closed.

Helen cannot protect them. They all return from the riverboat, seemingly safe; then disaster arrives in the form of a fever that traps Rachel in bed, separating her from Hewet: “her heat and discomfort had put a gulf between her world and the ordinary world which she could not bridge”; “her bed had become very important.” She is now “alone with her body.” Her bed is her ship, and such is her delirium—an exaggerated form of her usual confusion—that the others are barely visible. As Woolf writes in her 1926 essay “On Being Ill,” “the whole landscape of life lies remote and fair, like the shore seen from a ship far out at sea.” Hewet cannot reach her either, and the abyss between their “real” selves grows, so that being in the room with her, in physical proximity, is torture.

We don’t get the sense that Hewet and Rachel had each found their one true predestined love. Instead there is a sense of contingency, of chaos prevailing. Earlier, reading in the equatorial heat, she’d felt “awe that things should exist at all.” And why these things and not others? And how long can they exist? It’s this underlying meaninglessness that makes Rachel’s life so tragic. Because her knowledge is limited, her desires are small. “It isn’t as if we were expecting a great deal,” Rachel says at one point to Terence, imagining their life ahead, together, back in England, “only to walk about and look at things.” I wrote “No!” in the margin. They want so little, and won’t be allowed to have it.

Elisa Gabbert is the author of five collections of poetry, essays, and criticism, most recently The Unreality of Memory and Other Essays (Farrar, Straus and Giroux) and The Word Pretty (Black Ocean). She writes a regular poetry column for the New York Times , and her work has appeared in Harper’s , The New York Review of Books , A Public Space , The Nation , and many other venues.

Introduction by Elisa Gabbert to a new edition of the book The Voyage Out , by Virginia Woolf. Introduction copyright © 2021 by Elisa Gabbert. Published by Modern Library, an imprint of Random House, a division of Penguin Random House LLC. All rights reserved.

The Voyage

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Cast & crew, vittorio de sica, sophia loren, richard burton, renato pinciroli, olga romanelli, sergio bruni, technical specs.

A man falls in love with his brother's widow.

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Barbara Leonard

Ettore geri, daniele pitani.

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Diego fabbri, massimo franciosa, ennio guarnieri, luisa montagnana, luigi pirandello, luigi seaccianoce.

The Voyage

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Interesting Literature

Mrs Dalloway’s First Outing: The Voyage Out

In this week’s Dispatches from The Secret Library , Dr Oliver Tearle considers Virginia Woolf’s first foray into the novel

A sure-fire way to set the ‘klaxons’ off on the popular BBC panel show QI – where panellists have to avoid giving the obvious-but-wrong answer to interesting questions – is to ask, ‘Which Virginia Woolf novel first featured Mrs Dalloway?’ Of course, the question already feels like a trap, and Alan Davies would be right to be wary. For Mrs Dalloway (1925), perhaps Virginia Woolf’s best-known novel, came ten years after Woolf’s first novel, The Voyage Out (1915). And it is in The Voyage Out that we first find Clarissa Dalloway, albeit in a slightly different form from her later, more introspective party-throwing incarnation.

As you’d expect from a first novel, The Voyage Out , in terms of its form, style, and structure, is markedly less modernist than Woolf’s later works: it is generally accepted that her third novel Jacob’s Room (1922) represented the turning point in her novel-writing career. The trademark Woolfian style – the somewhat misnamed stream of consciousness, above all else – which she perfected to a fine pitch in later works such as To the Lighthouse and The Waves , is largely absent here. However, just because The Voyage Out is not typically modernist, that does not mean that it is not a modern novel. The novel does contain many elements which we find in her more out-and-out modernist work – use of free indirect style, experimenting with narrative perspective, and interest in dream-states and problems of vision – and it shows Woolf already attempting to write something different from other writers, especially her Edwardian forebears, the trinity of Bennett, Galsworthy, and Wells whom she famously rubbished in her 1919 essay ‘Modern Fiction’.

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‘I want to write a novel about Silence,’ he said; ‘the things people don’t say. But the difficulty is immense.’ He sighed. ‘However, you don’t care,’ he continued. He looked at her almost severely. ‘Nobody cares. All you read a novel for is to see what sort of person the writer is, and, if you know him, which of his friends he’s put in. As for the novel itself, the whole conception, the way one’s seen the thing, felt about it, made it stand in relation to other things, not one in a million cares for that. And yet I sometimes wonder whether there’s anything else in the whole world worth doing. These other people,’ he indicated the hotel, ‘are always wanting something they can’t get. But there’s an extraordinary satisfaction in writing, even in the attempt to write. What you said just now is true: one doesn’t want to be things; one wants merely to be allowed to see them.’

Woolf had set out to write something different from her contemporaries, and so, for all its formal conventionality, The Voyage Out might be seen as (to borrow Christine Froula’s phrase) ‘a Woolf in sheep’s clothing’, as something other than what it purports to be. It may seem less radically different and experimental than her later novels, but there are still key ways in which it departs from conventional narrative: its emphasis on the everyday, on meaningless conversations, on the difference between what people think and what they say.

It is worth considering what Woolf’s attitude to fiction was, the better to place The Voyage Out within its context. Woolf’s friend Lytton Strachey greeted the novel as ‘very, very unvictorian!’ but Woolf was reacting against a ‘foe’ closer to home: the Edwardians. The Voyage Out was published in 1915, which immediately places it after the Edwardian era, which was dominated, for Woolf, by novelists like H. G. Wells, John Galsworthy, and Arnold Bennett (who is the only novelist I know to have a famous omelette named after him). The Voyage Out had been gestating for a number of years before its publication, however: it started life in a slightly earlier proto-form as the earlier work Melymbrosia , completed in 1912 but begun when the fiction market was dominated by those Edwardians whom Woolf found so unsatisfying as writers. In her essay ‘ Modern Fiction ’ (1919), Woolf put forward her views on these Edwardian writers along with some ideas about how fiction can move forward. By then, she had begun to see more clearly how her own fiction might move in new, more daringly experimental directions. The Voyage Out may be a tentative step in the right direction, but it was a step. And every journey, or voyage out, must begin with the first step.

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4 thoughts on “Mrs Dalloway’s First Outing: The Voyage Out”

Fascinating stuff. I’m in the midst of reading “To The Lighthouse” for the first time, so it’s interesting to see the stepping stones that lead her to it.

Thanks! And To the Lighthouse is one of my favourites :)

Her use of language is breathtaking, as is her grasp of human psychology.

Nice. Per the modernist style, which you aptly refer to as the “somewhat misnamed stream of consciousness,” I’ve often directed people to Woolf’s “To the Lighthouse.” If you’ll permit an allusion to Goldilocks, in Faulkner it’s too heavy, in Joyce it’s too confusing, but in Woolf it sparkles and flows just right :) My latest blog on Woolf is here: https://shakemyheadhollow.wordpress.com/2020/02/24/gender-in-virginia-woolfs-to-the-lighthouse/

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2021, Sci-fi/Mystery & thriller, 1h 48m

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Critics Consensus

It has a game cast and a premise ripe with potential, but Voyagers drifts in familiar orbit rather than fully exploring its intriguing themes. Read critic reviews

Audience Says

It has a decent cast and some interesting twists on its Lord of the Flies -inspired story, but Voyagers is slow to get going and sputters out in the end. Read audience reviews

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With the future of the human race in danger, a group of young men and women, bred for enhanced intelligence and to suppress emotional impulses, embark on an expedition to colonize a distant planet. But when they uncover disturbing secrets about the mission, they defy their training and begin to explore their most primitive natures. As life on the ship descends into chaos, they're consumed by fear, lust, and the hunger for power.

Rating: PG-13 (Bloody Images|A Sexual Assault|Brief Strong Language|Some Strong Sexuality|Violence)

Genre: Sci-fi, Mystery & thriller, Adventure

Original Language: English

Director: Neil Burger

Producer: Basil Iwanyk , Neil Burger , Brendon Boyea

Writer: Neil Burger

Release Date (Theaters): Apr 9, 2021  wide

Release Date (Streaming): Apr 28, 2021

Runtime: 1h 48m

Distributor: Lionsgate Films

Production Co: Stillking Films, Icon Films, AGC Studios, Freecs Films, Thunder Road Pictures, Fibonacci Films, Ingenious Media

Sound Mix: Dolby Atmos

Aspect Ratio: Scope (2.35:1)

Cast & Crew

Tye Sheridan

Christopher

Lily-Rose Depp

Fionn Whitehead

Colin Farrell

Chanté Adams

Isaac Hempstead-Wright

Viveik Kalra

Archie Madekwe

Quintessa Swindell

Archie Renaux

Neil Burger

Screenwriter

Basil Iwanyk

Brendon Boyea

Jonathan Fuhrman

Executive Producer

Stuart Ford

Greg Shapiro

Miguel Palos

Andrea Scarso

Jamie Jessop

Victoria Hill

G. Mac Brown

Enrique Chediak

Cinematographer

Naomi Geraghty

Film Editing

Trevor Gureckis

Original Music

Scott Chambliss

Production Design

Luca Bucura

Art Director

Grigore Puscariu

News & Interviews for Voyagers

Weekend Box Office Results: Godzilla vs. Kong Roars Toward $100 Million Milestone

Critic Reviews for Voyagers

Audience reviews for voyagers.

Voyagers feels so astonishingly like a Young Adult novel and yet it is an original screenplay from director Neil Burger (Limitless, Divergent), though it borrows heavily from Lord of the Flies at that. Set in the distant future, we're aboard a colony ship with teenagers meant to be the future of Earth, or at least their grandchildren will be when they land on a new planet. They're kept on a controlled regiment of activity, nutrition, and mood-altering medication to keep their hormones in check until it's optimum breeding time (in vitro operations). After an accident, the teenagers are all alone on a ship with no adults, and they fear an alien might have snuck on board. This leads to different factions being created, one that says to follow the rules established by their adult authority figures, and the other that wants to stop taking their meds, stop rationing their supplies, and live as wild as they desire. This leads to extended bouts of PG-13 horniess; the movie practically feels like it's trying to dry hump you for stretches of time. Everything is very YA, from the character dynamics, to the major conflict without adults, to dealing with their hormones and the thrill of freedom. I found an unexpected parallel with this movie to the January 6 insurrection. The villain in this movie, played snidely by Fionn Whitehead (Dunkirk), is a darkly charismatic leader who appeals to the most selfish, self-destructive instincts of his peers, and even after definitive proof is given about his moral culpability, he's able to still gaslight his followers to accept his reality distortions and stirs them into an ignorant, violent mob. I found this character's eventual death to be extremely satisfying as a climax. Regardless, Voyagers isn't anything special. It's a lot of running down corridors, smokey side eyes and lip biting, and paranoid shouting about who is or isn't the alien. As a user so succinctly put it on Letterboxd, it's "Among Us but horny." Nate's Grade: C

the voyage out movie

The Lord of the Flies story (which is to say that children, even educated children, may tend towards brutal tribalism without adult supervision)...in a spaceship. The framing device, test tube babies out to colonize a new world, is different somewhat from the original but essentially the story's the same one. Stick with the book, or even one of the two films made from it, of which this one comes in a distant third.

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The Voyage Out

By Morley Callaghan , first published in The New Yorker .

A young man, enthusiastic about his new love interest, soon realizes he has an issue with staring at the women around him and driving them away.

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At a movie theater one night, a young man named Jeff finds himself sitting next to a young woman. He finds himself staring at her and hopes that she acknowledges him. At the end of the movie, he follows her out to the entrance and strikes a small conversation with her. The girl, named Jessie, works at a millinery store and lives with her parents. A month later, Jeff and Jessie have gone on several dates. Jeff stands in her apartment, ready to leave, and hopes that he can stay over with her that night and make love to her. She agrees, but as they are sneaking back upstairs, they hear Jessie's father cough and she shoos Jeff back outside. Jessie says he may be able to stay over the following night and leaves him outside. Jeff sudden feels full of pride and excitement that he now has something to look forward to and contemplates whether or not to go to the bar and gloat about his achievement. He decides against it. The following day, Jeff goes to a restaurant and gets a cup of coffee. Two girls walk in along with some men from the nearby bakery. One of these men, Mike, orders food and sits besides Jeff. Mike asks Jeff if he likes the two girls that walked in, more specifically the blonde girl in the green hat. Mike explains the blonde girl has been looking at Jeff and that he should go make advances on her. Jeff refuses, but finds himself staring at both of the girls and shifting around on his chair. He finds that the blonde girl reminds him a lot of Jessie, who has not invited him back over yet. Jeff thinks that perhaps Mike would have warned Jeff that Jessie would only last a month if Mike had known her. Yet, Jeff still feels childish thinking about his attraction to Jessie. The two girls, uncomfortable by Jeff's staring, get up and leave. Jeff finds their reaction peculiar, but simply pays his check and leaves. Jeff returns home to his apartment, which he shares with his brother, Bill. As he settles back at home, someone knocks on the door. Jeff opens the door to Bill's girlfriend, Eva, who is crying. Eva asks Jeff is Bill is home and Jeff explains that his brother will be home soon. Eva sits on the couch to wait for her boyfriend and Jeff stares at her and her legs. Jeff believes that Eva found his gaze attractive, but Eva stands up, clearly unsettled by Jeff's staring and exits the door. Jeff goes to the window and watches as Eva leaves, but then runs into her boyfriend, Bill. They begin talking in hushed voices until Eva walks away from Bill. Bill goes into the apartment and Jeff asks about how the interaction went. Bill criticizes Jeff for staring at him, asking if he looks strange and Jeff apologizes. Bill explains that Eva doesn't want to be with him anymore, but Bill is determined to keep their relationship. Jeff explains that he too has a girl of his own and that he wouldn't want to get into the situation that Bill is in. Bill ends the conversation and goes to sleep. Jeff sits and becomes afraid that his relationship with Jessie will end up like Bill and Eva's relationship. Yet, Jeff walks to the window and stares at Jessie's apartment from his window and hopes that his relationship will work out.

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The Voyage Out

62 pages • 2 hours read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

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Chapters 6-11

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Chapters 17-21

Chapters 22-27

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Summary and Study Guide

Introduction

The Voyage Out is Virginia Woolf’s first published novel. Published in 1915, it introduces the topics of feminism, love, meaning, and autonomy that Woolf would continue to explore in her later, more famous works. The novel explores the joys and pitfalls of youth and the generational differences between English people in the Edwardian era and those in the Victorian era. It is also a satirical look at how superiority complexes of the British during the height of the British Empire prevented particularly privileged people from appreciating and understanding the world around them.

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The Voyage Out is about love, exploration, adventure, homesickness, life goals, and the formation of personhood. Told in the third-person limited point of view , the novel highlights the experiences and thoughts of a host of characters who come together in unique circumstances.

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The Euphrosyne is a ship headed from England to South America. Owned by a man named Willoughby, the Euphrosyne is boarded by a host of characters for the voyage out to South America. Willoughby is joined by his 24-year-old daughter, Rachel; a shy pianist, Ridley Ambrose; his brother; and Helen Ambrose , Ridley’s wife. Also aboard are Mr. Pepper, a classicist, and the ship’s steward, Mr. Grice. Social interactions between this small group of people are initially somewhat awkward but mostly idyllic with the freedom of the vast ocean ahead of them. Willoughby lands the ship in Lisbon so he can attend to some work. In Lisbon, he meets Richard Dalloway and his wife, Clarissa. Richard is an important politician in Parliament. He and Clarissa have been travelling around Europe and now find themselves stuck in Portugal. They board the Euphrosyne , eager for another adventure.

The Dalloways occupy a distinctly different tier of the British social hierarchy from the other passengers. They are conservative and patriotic and fulfill traditional gender roles for one another, while the other passengers are academics who appreciate art and liberalism. Rachel is captivated by the Dalloways, but her relationship with them becomes complicated when Richard kisses her in a fit of passion.

The Dalloways disembark from the ship. When they’ve left, Rachel confides in Helen about the kiss. Helen can see that Rachel has never been taught anything about sexuality or romance. She’s concerned that Rachel is too old not to know such basic elements of the human experience. Helen decides to take Rachel under her wing. While Willoughby continues his trip down the Amazon, Helen brings Rachel with her to Santa Marina , an island in South America, where Helen’s brother owns a villa. Ridley, Helen, Rachel, and William Pepper all disembark the ship at Santa Marina. Mr. Pepper gets a room in a hotel while Ridley, Helen, and Rachel stay in Helen’s brother’s villa. Months go by, and Helen helps open Rachel’s world up with literature .

Three months into their stay, they meet a group of English tourists staying in the hotel in town. They invite Helen and Rachel on a trek up a mountain for a countryside picnic. Two of the English tourists, Arthur Venning and Susan Warrington, profess their love for one another and plan an engagement. Susan is thrilled because she’s in love with Arthur and has long dreamed of being married. Rachel and a young man named Terence Hewet see Arthur and Susan embrace, and Rachel, still childishly naïve, grows embarrassed.

Susan and Arthur get engaged, so the English at the hotel host a party in their honor. Rachel is insulted by Hirst, who declares that women don’t have the intellectual capacity for good conversation. Hewet encourages her to give Hirst another chance. After the dance, Hirst and Hewet can’t stop thinking about Rachel and Helen. Hewet visits Rachel to take her for a walk, where he realizes that he’s attracted to her. Hirst visits Helen, whom he believes is the only woman who can have a conversation with him. Rachel starts reading serious literature to keep up with Hirst and Hewet and to expand her worldview.

Hewet and Rachel grow closer, and they fall in love without confiding their feelings in one another. Meanwhile, Hirst becomes closer friends with Helen. Mrs. Thornbury, one of the English tourists at the hotel, arranges an excursion into the countryside to visit a native village. Helen and Rachel join Mr. and Mrs. Thornbury and Hirst on a week-long steamboat ride down the river into the wilderness. Rachel and Hewet finally tell one another about their feelings, and they get engaged. When they return to town, Rachel falls ill. After a difficult two weeks of suffering from a delirious fever, Rachel dies.

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Tom's Guide

5 best movies to watch this weekend on Prime Video, Paramount Plus and more

E ven if you're planning on catching the Super Bowl 2024 live stream this Sunday, the question of what to watch besides the big game still remains. With so many great movies coming and going on  Netflix ,  Paramount Plus , and more of the  best streaming services , narrowing down which ones are worth your time can be quite the challenge. 

Easily leading this weekend's lineup is "American Fiction," which is up for five Oscar nominations , including the coveted Best Picture category, on paid video-on-demand (PVOD) streaming services. This comedy-drama is about what happens when a disillusioned author (Jeffrey Wright) who is told his work isn't "black enough" decides to throw up his hands and write a book filled with all the rote tropes expected of Black literature — and stumbles into stardom because of it. 

Meanwhile, over on Hulu, the Sundance 2024 coming-of-age hit "Suncoast" is now streaming, while Paramount Plus with Showtime saw the arrival of a modern take on Hollywood's classic monster movie formula in "The Last Voyage of the Demeter." If you're in the mood for more scares, Jordan Peele's seminal directorial debut "Get Out" also landed on Prime Video. 

Here are our top picks for what to watch on streaming this weekend. 

'American Fiction' (PVOD)

"American Fiction" is a biting social commentary and comedy that shines a spotlight on the hypocrisy of modern culture when it comes to Black art. Jeffrey Wright stars as struggling and disillusioned author Thelonious "Monk" Ellison whose novels fail to earn commercial success despite being praised by critics. After his latest manuscript is rejected for not being "black enough," he pens an intentionally hackneyed book that panders to cliches expected of black literature. 

To his chagrin, the white liberal elite hails it as a work of genius, and the novel becomes an overnight hit. That leaves Monk wrestling with a moral dilemma as the book's sales help him afford much-needed care for his Alzheimer’s-stricken mother. It makes for a deep and heartfelt story about loss and feeling stuck in your work that nonetheless shines in its comedic moments and satire. 

Buy or rent on  Amazon  now

'Suncoast' (Hulu)

This Sundance 2024 darling is already landing on streaming services this week. "Suncoast" is a semi-biographical coming-of-age drama from writer/director Laura Chinn (Florida Girls) that follows teenager Doris (Nico Parker) who lives with her headstrong mother Kristine (Laura Linney) and comatose, terminally ill brother Max (Cree Kawa).  

When Max's situation becomes a waiting game, Kristine makes the difficult decision to move him into a hospice facility — the very same one as Terri Schiavo, a cause célèbre whose family's battle over whether she should be taken off life support marked a landmark right-to-die court case in the early aughts. As she navigates the protests and the shadow of her brother's illness hanging over her head, Doris strikes up an unlikely friendship with a pro-life activist (Woody Harrelson). 

Watch it now on  Hulu

'The End We Start From' (PVOD)

Based on the 2017 novel of the same title, "The End We Start From" stars Jodie Comer ("Killing Eve") as a mother who, just days after giving birth, is forced to flee her home in search of safety as floodwaters close over London. As she navigates the flooded city to reunite with her family, she grapples with the challenges of motherhood, survival, and confronting her past trauma.

Comer is joined by Joel Fry as her character's romantic interest along with Katherine Waterston and Benedict Cumberbatch in supporting roles. However, it's Comer's portrayal of a terrified but steadfast new mother that has captivated critics and earned this cli-fi thriller widespread acclaim.

'The Last Voyage of the Demeter' (Paramount Plus with Showtime)

A modern-day take on Bram Stoker’s "Dracula," "The Last Voyage of the Demeter" lands on Paramount Plus with Showtime this weekend. Director André Øvredal builds a feature-length story around one of the most haunting and cryptic chapters of the classic horror novel, The Captain's Log, about a doomed merchant vessel. 

Corey Hawkins ("BlacKkKlansman," "The Color Purple") stars as a doctor who is granted passage aboard the Demeter after he saves the captain's (Liam Cunningham) grandson from being crushed during a cargo loading mishap. Once they've set sail, the crew uncovers a stowaway named Anna (Aisling Franciosi) barely alive and packed in dirt within a crate. When she comes to, she warns them of a monster from Transylvania named Dracula that has snuck onboard and starts hunting the crew one by one. 

Stream on  Paramount Plus with Showtime  starting Feb. 9

'Get Out' (Prime Video)

Jordan Peele changed the horror landscape forever with his 2017 debut film " Get Out ." It's a film that combines the slow-build psychological suspense of landmark horror flicks like "The Shining" and Rosemary’s Baby" with biting social commentary on racism, neoliberalism and problematic tropes of Black characters in horror movies. 

Chris Washington stars as Daniel Kaluuya, a young Black photographer who is invited by his white girlfriend Rose (Allison Williams) to visit her family's estate. However, what starts as a seemingly harmless weekend getaway quickly transforms into a nightmare as Chris discovers disturbing secrets about Rose's family and their attitudes towards race. Without giving away too much, "Get Out" is a gripping and thought-provoking film that anyone, whether your a horror fan or not, should definitely add to their to-watch list. 

Watch it now on Prime Video

More from Tom's Guide

  • 5 movies like 'Argylle' but better
  • Super Bowl commercials 2024: The 33+ best Big Game ads so far
  • Netflix just got the perfect show for Valentine's Day — and it's 94% on Rotten Tomatoes

 5 best movies to watch this weekend on Prime Video, Paramount Plus and more

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COMMENTS

  1. The Voyage Out

    The Voyage Out is the first novel by Virginia Woolf, published in 1915 by Duckworth. Development and first draft. Woolf began work on The Voyage Out by 1910 (perhaps as early as 1907) and had finished an early draft by 1912.

  2. The Voyage Out Summary

    The "voyage out" is both literal and mental, with the actual ship's voyage lasting four weeks, and with Rachel finding herself outside of what she has always known. After some time at sea, Helen, Ridley, and Rachel arrive at the resort. They have their own villa and settle in. As time goes by, Helen and Rachel make acquaintances and then ...

  3. Voyagers (2021)

    Voyagers: Directed by Neil Burger. With Tye Sheridan, Lily-Rose Depp, Fionn Whitehead, Chanté Adams. A crew of astronauts on a multi-generational mission descend into paranoia and madness, not knowing what is real or not.

  4. A Voyage Out (TV Movie 1969)

    A Voyage Out: Directed by Oscar Whitbread. With Pat Bishop, Ray Hartley, Alistair Duncan, Margo Lee.

  5. The Voyage (1974)

    The Voyage: Directed by Vittorio De Sica. With Sophia Loren, Richard Burton, Ian Bannen, Barbara Pilavin. The charming Adriana gets sick after her husband's death. Her brother-in-law takes her on a journey to meet a doctor, while love overwhelms them.

  6. Voyagers (film)

    Voyagers is a 2021 science fiction film written, co-produced and directed by Neil Burger. It stars Tye Sheridan, Lily-Rose Depp, Fionn Whitehead, Colin Farrell, Chanté Adams, Isaac Hempstead Wright, Viveik Kalra, Archie Renaux, Archie Madekwe, and Quintessa Swindell, and follows a group of teenage astronauts sent on a multi-generational mission in the year 2063 to colonize a habitable ...

  7. The Voyage

    When her husband, Antonio Braggi (Ian Bannen), is killed in a car accident, the beautiful Adriana (Sophia Loren) undergoes a period of mourning. But things get complicated when Antonio's brother ...

  8. The Voyage Out

    Other articles where The Voyage Out is discussed: Virginia Woolf: Early fiction: …she completely recast Melymbrosia as The Voyage Out in 1913. She based many of her novel's characters on real-life prototypes: Lytton Strachey, Leslie Stephen, her half brother George Duckworth, Clive and Vanessa Bell, and herself. Rachel Vinrace, the novel's central character, is a sheltered young woman ...

  9. The Voyage Out (Classic, 20th-Century, Penguin)

    Enjoy fast, free delivery, exclusive deals, and award-winning movies & TV shows with Prime Try Prime and start saving today with fast, free delivery Kindle $0.00 . Available instantly . Audiobook $0.00 with membership trial . Hardcover $20.00 ... "The Voyage Out" is a wittily tragic tale of a voyage, as mythically told in its way as Melville's ...

  10. The Voyage (1974 film)

    Set in Sicily in the years leading up to World War I, Adriana De Mauro loves Cesar Braggi, but Cesar, honoring his father's dying wish, allows his brother Antonio to marry her. As fate wills, Antonio dies in an automobile accident. Adriana's mourning for Antonio ends when Cesar steps in to rekindle her lust of life.

  11. Star Trek IV: The Voyage Home

    Star Trek IV: The Voyage Home is a 1986 American science fiction film, the fourth installment in the Star Trek film franchise based on the television series Star Trek.The second film directed by Leonard Nimoy, it completes the story arc begun in Star Trek II: The Wrath of Khan (1982), and continued in Star Trek III: The Search for Spock (1984). Intent on returning home to Earth to face trial ...

  12. Seeing and Being Are Not the Same

    When Virginia Woolf's The Voyage Out begins, Mr. and Mrs. Ambrose are making their way from the Strand to the Thames Embankment, where a rowboat will take them to a steamer that will take them across the Atlantic to South America. Helen Ambrose—fortyish, beautiful, hard to please—is quietly weeping. "Mournfully" she regards the old man who rows the boat and the anchored ship he rows ...

  13. The Voyage Out Summary

    Summary. The sad overtones of this novel's beginning concern Helen Ambrose's departure from London, where she is leaving her two young children because she and her husband, Ridley Ambrose, are ...

  14. The Voyage (1974)

    Some movies make a bigger impact in show business news than as finished products. Director Vittorio De Sica's last feature film The Voyage (Il viaggio) generated months of excited press releases as prospective cast members were announced and then changed. The leading roles eventually taken by Richard Burton and Sophia Loren were initially reported as going to Marcello Mastroianni and Maria ...

  15. The Voyage Out by Virginia Woolf (1920)

    The Voyage Out by Virginia Woolf was the first novel by this iconic English author, published in Britain in 1915 and in the U.S. in 1920. Written at a point when Woolf was suffering from an acute period of mental illness during which there was a suicide attempt, the novel proceeded painfully slowly. Nevertheless, it showed all the promise of ...

  16. Mrs Dalloway's First Outing: The Voyage Out

    For Mrs Dalloway (1925), perhaps Virginia Woolf's best-known novel, came ten years after Woolf's first novel, The Voyage Out (1915). And it is in The Voyage Out that we first find Clarissa Dalloway, albeit in a slightly different form from her later, more introspective party-throwing incarnation. As you'd expect from a first novel, The ...

  17. Voyagers

    Movie Info. With the future of the human race in danger, a group of young men and women, bred for enhanced intelligence and to suppress emotional impulses, embark on an expedition to colonize a ...

  18. The Voyage Out by Morley Callaghan on Writing Atlas

    At a movie theater one night, a young man named Jeff finds himself sitting next to a young woman. He finds himself staring at her and hopes that she acknowledges him. At the end of the movie, he follows her out to the entrance and strikes a small conversation with her. The girl, named Jessie, works at a millinery store and lives with her parents.

  19. The Voyage Out by Virginia Woolf

    Virginia Woolf. 3.75. 11,112 ratings948 reviews. Woolf's first novel is a haunting book, full of light and shadow. It takes Mr. and Mrs. Ambrose and their niece, Rachel, on a sea voyage from London to a resort on the South American coast. "It is a strange, tragic, inspired book whose scene is a South America not found on any map and reached ...

  20. The Voyage Out Summary and Study Guide

    The Euphrosyne is a ship headed from England to South America. Owned by a man named Willoughby, the Euphrosyne is boarded by a host of characters for the voyage out to South America.Willoughby is joined by his 24-year-old daughter, Rachel; a shy pianist, Ridley Ambrose; his brother; and Helen Ambrose, Ridley's wife.Also aboard are Mr. Pepper, a classicist, and the ship's steward, Mr. Grice.

  21. 14 Space Movies That Are Absolutely Out of This World

    Rebel Moon — Part One: A Child of Fire. Fans of space operas or Zack Snyder films (or both), strap in for an intergalactic double feature. Rebel Moon — Part One: A Child of Fire, streaming on Netflix now, is the maiden voyage in this universe — following Sofia Boutella as Kora, a former soldier for the Imperium, the ruthless military ...

  22. The Voyage 1991, directed by Fernando E Solanas

    This is a voyage round my fatherland: part magic-realist travelogue, part politico-satirical parable. It follows the journey taken by 17-year-old Martin - by bicycle! - from his snow-frozen school ...

  23. The Voyage Out

    The Voyage Out. Virginia Woolf. 978--14-018563-8. $18.00 US. Paperback. Penguin Classics. Aug 04, 1992. Subscribe. A young woman learns about life, and love found and lost, in this thought-provoking debut novel by one of the twentieth-century's most brilliant and prolific writers.

  24. 5 best movies to watch this weekend on Prime Video, Paramount ...

    E ven if you're planning on catching the Super Bowl 2024 live stream this Sunday, the question of what to watch besides the big game still remains. With so many great movies coming and going on ...

  25. Voyage (2013 film)

    Voyage (Chinese: 遊) is a 2013 film by the acclaimed Hong Kong film-maker Scud, the production-crediting name of Danny Cheng Wan-Cheung.It is described as "a tragic story about love, fate and the struggle of losing loved ones", and received its world premiere on 20 October 2013 at the Chicago International Film Festival. It was filmed in Hong Kong, Mongolia, Malaysia, Australia, Germany and ...

  26. Shannon Allen on Instagram: "In the grand tapestry of 2024, a year that

    38 likes, 1 comments - nextworldleader on February 27, 2024: "In the grand tapestry of 2024, a year that's already shaping up to be nothing short of cinemati..."