Weaknesses and Strenghts in "The Hours" Woolf Pastiche

As I was reading the Cunninghan pastiche of Woolf, I noted several aspects that I considered consistent with Woolf, as well as a few inconsistencies.

Cunningham presents much of the mechanical aspects of Woolf's writing, some of which are more effective than others.  He has sidenotes in parentheses and the repitition of some ideas (e.g. Richard disagrees with the main character, saying "Beauty is a whore, I like money better." (pg. 11).  Later, the narration says: "Beauty is a whore, she sometimes says.  I like money better." (pg. 13)).  Cunningham also has lists with commas and semi-colons, though somehow is not as effective with these as Woolf is.

Cunningham's inclusions of subjectivity and impressions are not quite as pervasive as Woolf's.  Though generally he has achieved the untethered free indirect discourse of the 3rd person narration, Clarissa's conversation with Walter is not nearly as thought-filled as Woolf would have made it.  On pages 16-17, Walter and Clarissa exchange twelve lines of verbal discourse with no subjective.  An additional observation about this scene is that Walter and Clarissa's conversations seem planned: they always answer one another's questions clearly and seemingly understand one another quite well.  This contrasts with Clarissa's conversations in Mrs. Dalloway.  Based on the dialogue alone in Mrs. Dalloway, even without the subjective annotations, it is often unclear whether or not the characters truly understand one another.  The lack of annotation on pages 16-17 is similar to the lack of annotation in the Prologue when Leonard is reading V.'s suicide note.  It is completely out of Woolf's style to have none of Leonard's thoughts portrayed as he is reading this note.

In the Mrs. Dalloway chapter, Cunningham does not try to give the impressions of intersubjectivity or simultaneity, since he stays with Clarissa almost the entire time.  He does, however, follow both V. and Leonard in the Prologue.

Cunningham, in following with Woolf's style, does anchor the prologue with fisherman in a red jacket.  Vanessa sees him as part of her "last moment of true perception" (pg. 5).  The man is later the only thing that Leonard finds at the riverbank when he goes to find V.  For the prologue, multiple people's perceptions of the fisherman in the red jacket mirrors multiple character's perceptions of the chiming of big ben in Mrs. Dalloway.

A final observation is that Cunningham uses a slightly different vocabulary than Woolf.  The most blatant difference is on page 15 where Clarissa is having deep philosophical thoughts about why people want to go on living, "even if we're...shitting in the sheets."  Woolf would probably choose "defecating."  One possibility for Cunningham's word choice is that he is a man writing in the Post-Modern Age, not a woman writing in the Modern Age.  Another possibility is that Cunningham is depicting a woman who is not upper-class, whereas Woolf was depicting someone who makes up part of the highest classes of English society at that time.  We see evidence of the fact that Cunningham's Clarissa may not be upper-class later on page 15 when she first encounters Walter, and he greets her quite informally, with a nickname: "Hey, Clare."