This chapter focuses on both the publication and reception histories of the private writings of Virginia Woolf, Leonard Woolf, Lytton Strachey, Vanessa Bell, and E. M. Forster, among others, and explores the appeal of such works for scholars and Bloomsbury enthusiasts. Scholars have regularly mined these private writings for biographical information and for insights into their authors’ creative processes, while readers also experience the vicarious sense of being inside Bloomsbury lives, loves, and homes. This chapter provides a decade-by-decade survey of Bloomsbury life writing, highlighting the major publications and situating them within the larger context of the revival of interest in the Bloomsbury group from the 1950s onward.

The chapter is concerned with ego documents, that is sources like autobiographies, diaries and letters, as a data source for historians of the English language. First, the term ego documents is defined and its merits for historical sociolinguistic research are outlined. Thereafter, literacy and education opportunities, and the availability of and approaches to ego documents, are traced from the later Middle Ages to the Modern English period, followed by an illustration of language use across social layers, and a comparison to another contemporary text type. A particular focus is put on ego documents as a source of vernacular speech, for example as data for varieties of English for which there is no other contemporary documentation. The examples given illustrate the sometimes more speech-like and informal nature of ego documents and highlight the value of the text category for historical linguistics.

Since the 1960s, Sean O’Casey’s own life has repeatedly been a source of fascination for dramatists, and there have been a number of dramatic reconstructions of his life, often based on his own autobiographical writings. The best-known of these dramatisations was the 1965 MGM film, Young Cassidy, directed by John Ford and Jack Cardiff. This chapter examines this Hollywood version of O’Casey’s life and discusses a number of alternative biographical dramatisations. These dramatisations include the popular ABC television series Young Indiana Jones in 1992; Hal Prince’s 1992 play about O’Casey’s life, Grandchild of Kings; and Colm Tóibín’s 2004 play Beauty in a Broken Place (2004).

O’Casey had originally thought about writing a book about his life experiences as early as August 1926. In 1938 he completed the first volume, but the project continued to balloon, such that O’Casey eventually composed his autobiographies over the course of two decades, publishing six volumes between 1939 and 1954. This chapter puts the autobiographies in the perspective of working-class self-representation in Ireland during the twentieth century, interrogates the sense of self that can be found in the books, examines the response to the autobiographies in Ireland and beyond, and assesses the worth of O’Casey’s autobiographical writings.