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I found pensione, great for my over night stay in city before going to airport the following morning....price was pleasantly affordable, rooms very neat n clean, and quite spacious. I would definately stay there again and recommend this hotel....staff very friendly, greet you with a smile and are happy to help with anything you need. It proved to me that being a cheaper price than others doesn't mean lower or below standards, in fact it was actually as good as some higher priced hotels I have stayed in"
great as ever, good location i have stayed here for my business trip a few times."
Lobby was getting renovated, so not much to look at. Rooms were quiet, smallish but well priced. They accommodated 2 single beds as requested, so were good to deal with. Would definitely stay there again."
Checking in was very slow,the room was lovely the Views Lovely and the service at Breakfast was fantastic"
The reception staff were lovely. The room was clean and comfortable and good, but we could hear flushing toilet (s) from (an)other room(s). It was quite disturbing. The brackets are because either one room had unwell occupants or we could hear many rooms. This was a shame because everything else was good. The location was great. The staff were exceptional, it was just this one factor. Everything else was good so I think though I would definitely give it another chance to see if we were just unlucky."
Stayed here with a few friends for 3 nights as attending a conference. Room very clean and pleasant and more than adequate for our needs. Hotel reception helpful and welcoming. There is a lovely cafe attached which is accessed both through the hotel foyer as well as from the street. Breakfast here is lovely with a wonderful selection. The location is perfect, within walking distance from St Kilda beach and the swimming pool. Trams stops are located along the street outside the hotel - convenient way to nip into the city itself. Great restaurants nearby to cater for different budgets and tastes. Would recommend this hotel and definitely consider staying here again."
Ticks all the boxes. Would definitely seek out this chain."
Very last minute accommodation required and Rydges were able to help us out with a competitive price, awesome room view and location and very friendly staff. Would have loved to use the spa but it smelt pretty bad. Thank You regardless."
The hotel is within walking distance from town. There are lots of restaurants around the hotel."
We had a very comfortable stay at Mantra Parramatta. We had booked the Executive Spa room with an extra bed. The room was clean, well furnished and very spacious. The bathroom was excellent - big, clean with a lovely floor. On arrival we were offered a bottle of wine and a bag with bath salts etc. We declined the wine as we didnt drink. There was a small kitchenette and tea/coffee making facilities in the room. There are plenty of options for food nearby. Within a five minute walk is the Westfield Shopping Centre and plenty of restaurants around the area. The hotel also has a reasonable priced restaurant. We only had the breakfast buffet which was okay. I found the service at the reception a bit inefficient. It would take a few minutes before the phone was answered when we called from the room. When we checked out the girl at the reception gave us wrong figures twice before arriving at the correct outstanding figure. The Hotel also offers the facility to hold your luggage if you have a late flight."
Katrina listened and offered a fabulous service with a smile Choices beyond choices of the breakfast buffet perfect atmosphere Thank you Katrina for placing us in a great room with views of Sydney. I loved my stay."
It was a smart, clean and spacious hotel. Parrametta has lots of good restaurants nearby. Parking wasn't the cheapest but over all good."
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Published by Hogarth Press in 1928, Orlando is at once an oddity, an indulgence, but also a slice of genius. The novel – because despite masquerading as a biography, it is a work of narrative... More > fiction – tells the unlikely, impossible story of Orlando through his years as a male member of the Elizabethan Court, an affair with a Russian Princess, a subdued period of contemplation during the reign of James 1, his time as an ambassador in Constantinople and the sudden transformation into a woman. Not content with such a plot twist Woolf allows her character to live on through the eighteenth and nineteenth centuries, using the journey to trace the female place in society while allowing Orlando the freedom to seduce, be seduced and to love in equal measure. After 80,000 words, Woolf leaves her heroine in the England of 1928 having completed a poem, The Oak Tree, that had been started some four centuries earlier.< Less
To the Lighthouse
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To the Lighthouse was published in 1927 by Hogarth Press two years after Mrs Dalloway and a year before Orlando. The plot – not the most important aspect at all – concerns a... More > family's decision to visit a lighthouse on two separate occasions, the first, unsuccessfully, when the children are young and the second, successfully, when the children are ten years older but the mother has died. The essential parts of the plot, the death of the mother and the demise of a son, are merely referred to (the first in brackets!), but are central to the tone and feel of the second part in which the initially maligned father proves his worth in the eyes of his children.< Less
Between the Acts
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Published posthumously by Hogarth Press shortly after Wooolf's suicide, Between The Acts was her last novel and, strangely perhaps, closest to the first. It takes place over a day before,... More > during and after the staging of an amateur pageant in an English village just before the onset of the Second World War. Unlike her major fictional works, Between The Acts is dialogue driven, rather than introspective, and there is also an omniscient sense to it, as though Woolf is directing the characters much as they would later be directed in the pageant. The play itself takes place in three scenes disconnected by years of history leading from a Shakespearian romance, onto a Restoration comedy and finally a triumphant Victorian parade in a notional Hyde Park.< Less
The Voyage Out
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Published in 1915, but written and revised in stages from 1912, The Voyage Out was Woolf's first novel. The plot follows Rachel Vinrace on her voyage aboard her father's ship to South... More > America. During the voyage, Rachel meets a number of well-constructed characters that include Clarissa Dalloway (later given her own novel), and others that have been shown to be based on Llyton Strachey and Vanessa Bell. Outwardly, this arrangement allows Woolf to run through a satire of Edwardian life, but deeper down the novel shows evidence of autobiographical elements. The father's ship, for example, might represent Woolf's perception of a life as set out by her own father, dead perhaps six or seven years prior to her writing the novel. Also the plot features a recollection of a mother's death which the principal character is unable to bring herself to remember and certain dream sequences have been highlighted for their insight into Woolf's own mental predisposition.< Less
The Years
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Published in 1937 by Hogarth Press, The Years was the last novel released during Woolf's lifetime. It was also the longest in development, having gone through a steady flow of refinements since... More > it was first conceived as a novel-essay in 1931. Much like the previous novel, The Waves, this is as much or more about structure than it is about plot, following the progress or otherwise of the Pargiter family from 1880 up to 'the present'. Again like The Waves, the stages of narrative presented as brief snapshots are interspersed with poetic vistas of British weather. That the dates coincide with Woolf's life are not coincidence, writing to Hugh Walpole in 1932 she declared that, " … only autobiography is literature – novels are what we peel off …" This can be taken in two ways: that a writer is obliged to get through the novels before coming to the more worthy autobiography; or that what's presented as a novel is no more than the thin outer skin covering up the autobiography underneath.< Less
Mrs Dalloway
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Considered by many critics to be Woolf's masterpiece, Mrs Dalloway was published by Hogarth Press in 1925. The plot follows a single day in the lead up to a party being hosted by Clarissa... More > Dalloway, interspersed with flashbacks and switches in point of view to other principal characters so as to provide a background of their lives and comment on the social structure of the 1920s. In addition to Mrs Dalloway, the other focus is Septimus Warren Smith, a veteran of the war who suffers from 'shell shock'. Though the two never meet, the hinge of the day's activities is Smith's suicide and the subsequent impact it has on Mrs Dalloway's thoughts – she thinks him quite admirable.< Less
Three Guineas
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Originally published in 1938 by Hogarth, Three Guineas is a work of non-fiction composed of replies to three imaginary letters, the first asking Woolf how to prevent war, the second asking her how... More > women could enter the professions, and the third how women can become educated. While the latter themes are familiar enough to Woolf, the first is less so and is necessarily difficult for Woolf to advocate. As a feminist, she was against fascism because it advocated a society in which women play no part in public life, yet as a pacifist – she'd seen the effects of the First World War – she was opposed to waging war to fight it. Given when it was published and further the manner of its writing – it was intended to act as a counterpoint to the fictional elements of The Years – Three Guineas was a book Woolf could easily have left in manuscript form. That she didn't provides modern day readers with a record of her beliefs and how they might have developed in subsequent years.< Less
The Waves
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The Waves, published by Hogarth Press in 1931, might be said to be plotless in essence whilst also serving as a counterpoint to her earlier novel Jacob's Room. The structure, because... More > that's a more helpful notion, is built around the soliloquys of six characters while a seventh, much like Jacob but this time kept silent, hovers in the background. Interspersed between these six voices are attendant naturalistic descriptions of waves breaking on a shore at different points of the day from dawn to dusk; another instance of Woolf's childhood memories surfacing. Through the different characters, and using the seventh, Perceval, as a collective, but flawed, icon, Woolf examines notions of the self and the collective through differing viewpoint. Some see Woolf's peers in a selection of the characters including Llyton Strachey, E. M. Forster and T. S. Eliot, but such identifications are less important than what she has to say using these points of view as distinct mouthpieces.< Less
The Common Reader
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With the first volume published in 1925 and the second in 1932, The Common Reader brings together a collection of Woolf's critical essays and articles, in total forty entries covering historical and... More > contemporary authors and themes. By no means is this a complete collection of her critical work – she was reviewing in established magazines well before she'd published any of her own work – but it is representative of her views at the height of her abilities. It's also a reflection of Woolf's working life. By all accounts, she wrote for publication only at certain times of the day – usually in the morning – but she also put a considerable amount of time aside to read, typically amassing a pile of intended volumes or immersing herself in a single author for a few days at a time. Unfortunately, the use of the word 'common' in the title served to open her up for subsequent criticism because by and large these are subjects not especially appealing to the common man or woman.< Less
Monday or Tuesday
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Published by Hogarth in 1921, Monday or Tuesday is a collection of eight short stories. The set includes the title piece, Monday or Tuesday, which, along with Blue and Green, and, to a lesser extent,... More > A Haunted House, suggest themselves as literary pastiches, closer to impressionism than conventional, plot-driven episodes. Even the longer stories, such as A Society and An Unwritten Novel are insular, relying on stream of consciousness methods to create an approach to expressing a character's feeling towards the exterior world. Where ordinarily, a short story collection will provide a suitable introduction to a novelist, this set serves to push the reader straight into the depths of Woolf's mind set and in doing so gives a strong impression of the modernist bent as it existed in the early twenties. By the time of publication, Woolf would most likely have read Joyce's Ulysses in manuscript form and she would also have been in close contact with T.S. Eliot.< Less
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