¶ … Hours In her novel "Mrs. Dalloway," Virginia Woolf demonstrated a distinctly modern style as she revealed the dynamics of perception rather than simply writing another "conventional" story, like many other writers of her time. Michael Cunningham, in a tribute to Wolff, took her story and modified her modern style with his own unique writing in "The Hours."

Cunningham played with Woolf's writing styles in his novel, intensifying her clever style. For example, Woolf had an unusual method of making her characters experience backward launches of memories, which were usually sparked by some type of image. In addition, she would jumble time and place to show her readers the reality of human consciousness and experience. Cunningham mimicked her style in "The Hours" yet added to the excitement with his postmodern styles. Therefore, while Woolf's plot was simple, Cunningham's was decidedly complex.

In his introductory statement, Cunningham discusses Woolf, hinting that she killed herself because she believed she had failed as an artist, as she felt she could not create a work that was real and alive. He brings out this suggestion in his novel, through Richard, a gifted poet who is dying of AIDS. Richard, too, was haunted by the belief that he was a failure. In one scene, Richard tells Clarissa, "I thought I was a genius. I actually used that word, privately, to myself" (Cunningham, 1998, p. 65). In addition,...

She is not a writer at all, really; she is merely a gifted eccentric" (p. 4). In this light, it seems that Cunningham doubted Woolf's ability to effectively use modernism to show her readers reality. Perhaps this is why he brought it upon himself to update the novel.
Each of the three main female characters in "the Hours" shows a visible conscious of her inner self, slightly separate from the "self" seen by the world. Clarissa's "determined, abiding fascination is what she thinks of as her soul" (p. 12); Virginia "can feel it inside her, an all but indescribable second self, or rather a parallel, purer self. If she were religious, she would call it the soul... It is an inner faculty that recognizes the animating mysteries of the world because it is made of the same substance" (pp. 34-35). Similarly, Woolf's "Clarissa felt that pieces of herself existed wherever she had ever been (Woolf, 1996, p. 3)." However, while Woolf only hinted to this inner self, Cunningham made it the essence of each of his characters.

In Woolf's novel, she uses a sense of psychological time rather than historical time to clue her readers in on the relationship between Clarissa and Peter. "For they might be parted for hundreds of years, she and Peter: she never wrote a letter and his were dry sticks; but suddenly it would come over her, if he were…