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Orlando: A Graphic Novel Adaptation of Virginia Woolf’s Queer Classic
The graphic novel adaptation of Virginia Woolf's feminist classic, which tells the story of a passionate young nobleman traveling through time in the body of a woman.
Long considered Woolf's most accessible novel, Orlando lives through three extraordinary centuries as a woman, bounding from imperial Turkey to Tsarist Russia to Elizabethan England. It is an examination of gender, the passage of time and about love in an age of ambiguity and capriciousness.
Since its 1928 publication, Orlando has seen dozens of adaptation on the stage and screen. Susanne Kuhlendahl's graphic novel uses the original text as she tells Orlando's story in a fluid style as energetic and playful as the original.
With a foreword by Virginia Woolf scholar Anna Snaith, King's College London
Long considered Woolf's most accessible novel, Orlando lives through three extraordinary centuries as a woman, bounding from imperial Turkey to Tsarist Russia to Elizabethan England. It is an examination of gender, the passage of time and about love in an age of ambiguity and capriciousness.
Since its 1928 publication, Orlando has seen dozens of adaptation on the stage and screen. Susanne Kuhlendahl's graphic novel uses the original text as she tells Orlando's story in a fluid style as energetic and playful as the original.
With a foreword by Virginia Woolf scholar Anna Snaith, King's College London
224 pages, Hardcover
Published March 3, 2026
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Displaying 1 - 11 of 11 reviews
August 6, 2025
I wanted to like this far more than I actually did. Susanne Kuhlendahl's illustrations are fresh and vivid, and I loved her ability to create a sense of movement on the page. She's also clearly a Woolf fan. But I felt that Woolf's rather formal text, her intricate narrative, and Kuhlendahl's more immediate images were working against each other. I'm also not sure that the inset scenes of Woolf writing or reflecting on her novel enhanced Kuhlendahl's retelling. However, it did make me think it was time to reread Woolf's novel, a marvellous celebration of gender fluidity and a tender homage to her lover Vita Sackville-West.
Thanks to Edelweiss and publisher Helvetiq for an ARC
Rating: 2.5
Thanks to Edelweiss and publisher Helvetiq for an ARC
Rating: 2.5
May 18, 2026
Having recently read Virginia Woolf's novel of the same, I was curious to see how a graphic artist might tackle that complex tale. Woolf's prose is beautifully visual, so there certainly seems to be a lot to work with.
And Susanne Kuhlendahl turns out to be the perfect artist for the job: Orlando is largely a tale of human mutability, and Kuhlendahl readily adapts her visual treatment throughout the course of the story, using a mix of color pencil, ink pen, graphite, and watercolor as appropriate for the many twists and turns of Woolf's narrative. Some pages are brightly colored, others are simple black-and-white, and Kuhlendahl freely mixes things up as needed, particularly to reflect the protagonist's changing moods.
I also appreciate that Kuhlendahl regularly depicts Virginia Woolf herself, presenting her in the role of a commentator. This works very well since Orlando is a biography where the biographer regularly abandons pure objectivity in favor of personal observation and opinion. So having the author appear right in the middle of the action accurately captures the tone of the original novel.
All-in-all, Susanne Kuhlendahl's graphic novel version of Orlando is simply excellent, and credit is due to the Swiss publisher Helvetiq for translating this one into English (from the original German). Kuhlendahl has done additional graphic novels based on the work of Thomas Mann and Wolfgang Borchert, and so far those ones are only available in German. Here's hoping we'll see English translations sometime very soon!
And Susanne Kuhlendahl turns out to be the perfect artist for the job: Orlando is largely a tale of human mutability, and Kuhlendahl readily adapts her visual treatment throughout the course of the story, using a mix of color pencil, ink pen, graphite, and watercolor as appropriate for the many twists and turns of Woolf's narrative. Some pages are brightly colored, others are simple black-and-white, and Kuhlendahl freely mixes things up as needed, particularly to reflect the protagonist's changing moods.
I also appreciate that Kuhlendahl regularly depicts Virginia Woolf herself, presenting her in the role of a commentator. This works very well since Orlando is a biography where the biographer regularly abandons pure objectivity in favor of personal observation and opinion. So having the author appear right in the middle of the action accurately captures the tone of the original novel.
All-in-all, Susanne Kuhlendahl's graphic novel version of Orlando is simply excellent, and credit is due to the Swiss publisher Helvetiq for translating this one into English (from the original German). Kuhlendahl has done additional graphic novels based on the work of Thomas Mann and Wolfgang Borchert, and so far those ones are only available in German. Here's hoping we'll see English translations sometime very soon!
May 19, 2026
This worked for me a lot better than the original novel did, one of the key reasons being it masterfully deciphered the difference between the biographer voice (Woolf) present in the novel and the fictional main character voice (Orlando) in a way that I was not able to see when reading the novel the first time. The art style and colors used in this version were so vivid and changed based on the emotion the story wanted to elicit from you, using thick or soft lines/colors interchangeably to tell its own story. It plucked the very best lines from this novel and wrapped them in beautiful art, leaving the rest to the imagination where it could only improve. I must admit I’ve recently read a Le Guin piece where she talks about the matter of truth, and how fiction lies to you in order to reveal an inexplicable truth that otherwise you would not be ready to receive - so that’s put me in more of a better mood to accept a story like this. Overall, Orlando is still unfortunately not a favorite for me, but this graphic novel made me appreciate it a bit more.
August 16, 2025
I am a fan of retellings and homages to classic texts; I love it when a recent piece of literature is in conversation with an earlier, classic text. It is no surprise, then, that I was immediately drawn to this book.
First of all, it is a graphic adaptation, so let’s address the visual part: the illustrations are beautiful, sharp and complementary to the prose. An adaptation like this is a valiant effort, as there's always a risk of diluting the essence of the original text. But Kühnelandl’s remarkable illustrations manage to capture the layered nature of Woolf's original text. The use of colours in the palette was clever — particularly when we saw the plot reach an inflexion point.
As for the text, it felt very non-uniform in its tonal quality: it was very loyal to the source at some points, but simplified to bare bones at others. Perhaps not the smoothest transitions (it oscillates widely between loaded phrases and breezy ones), but overall a decent read and made me want to go back to the original Orlando.
I received an ARC from Edelweiss and publisher Helvetiq. Full review will be out on the release date.
First of all, it is a graphic adaptation, so let’s address the visual part: the illustrations are beautiful, sharp and complementary to the prose. An adaptation like this is a valiant effort, as there's always a risk of diluting the essence of the original text. But Kühnelandl’s remarkable illustrations manage to capture the layered nature of Woolf's original text. The use of colours in the palette was clever — particularly when we saw the plot reach an inflexion point.
As for the text, it felt very non-uniform in its tonal quality: it was very loyal to the source at some points, but simplified to bare bones at others. Perhaps not the smoothest transitions (it oscillates widely between loaded phrases and breezy ones), but overall a decent read and made me want to go back to the original Orlando.
I received an ARC from Edelweiss and publisher Helvetiq. Full review will be out on the release date.
March 12, 2026
Woolf's centennial queer classic is now in vivid watercolor! Orlando's passion for love and writing carries him from the 1500s over three centuries and across gender lines. On the other side, Orlando is fundamentally unchanged, furious about sexism, and unflinching in her pursuit of adventure. This nonbinary time-traveling Elizabethan noble can't be tamed! Woolf's vivid imagery is well-suited to a graphic novel adaptation. Watercolor personifications of truth, candor, and honesty brawling against modesty, purity, and chastity while the author writes really stuck in the mind.
I especially love the way Woolf writes about writing. Favorite quote: "Once the disease of reading has lain upon the system, it weakens it so that it falls an easy prey to the other scourge which dwells in the inkpot and festers in the quill. The wretch took to writing."
I especially love the way Woolf writes about writing. Favorite quote: "Once the disease of reading has lain upon the system, it weakens it so that it falls an easy prey to the other scourge which dwells in the inkpot and festers in the quill. The wretch took to writing."
September 13, 2025
Orlando is a graphic adaptation by Susanne Kuhlendahl of Virginia Woolf's classic and, to the extent any adaptation can work this one succeeds.
I hate to qualify my positive view but I feel like I need to, and I think I should explain what I mean. Any novel, but especially one that has so many themes all entwined, is difficult to adapt. A graphic adaptation, like a film adaptation, has to choose not only what nuanced details to leave out but which theme(s) to emphasize. Even short novels require hard decisions to be made, and they will rarely please everybody. Even a novel as short as Being There by Jerzy Kosinski required omissions that bothered some viewers. So to be overly critical because every nuance of a novel isn't included in a medium in which it would create an unwieldy result is unfair. What is fair, however, is pointing out which themes might have been given short shrift and which are emphasized. So while I qualified my praise it is a blanket qualification for any adaptation.
From the full title, Orlando: A Graphic Novel Adaptation of Virginia Woolf's Queer Classic, the reader can safely assume which of the main themes will definitely be emphasized. I thought Kuhlendahl did a fine job with that thread through the book, with both the style of the drawing and the use of color. What I also liked was that the ideas surrounding time, memory, and temporality were not erased. A reader who has studied or taught the Woolf novel would find where these ideas pop up, not to mention they really can't be completely overlooked in a "biography" that covers several centuries and a change from male to female.
I will touch on one theme that I think worked very well, that of authorship and writing. In Elizabethan times there simply were no avenues for women to write and be recognized for it, especially in the area of drama. Orlando, being a man, could share his writing. Having the sex change occur and having her be able to share her writing as a woman, which she wouldn't have been able to do if she had been a woman during the early periods, illustrates that obstacle that has always been in place. But to highlight this we see Virginia Woolf periodically telling us the story, which during those early periods illustrates the absence of woman writers of the period.
I would recommend this to readers who have enjoyed Woolf's novel or even Potter's film, just remember that there may be some scenes you particularly loved that may not be here. If you've never read the original but expect to at some point, I would suggest reading it first. Having the novel in mind while reading this adaptation will make everything a little more complete. That said, if you really don't foresee reading Woolf, then go ahead and read this, it is an enjoyable work.
Reviewed from a copy made available by the publisher via Edelweiss.
I hate to qualify my positive view but I feel like I need to, and I think I should explain what I mean. Any novel, but especially one that has so many themes all entwined, is difficult to adapt. A graphic adaptation, like a film adaptation, has to choose not only what nuanced details to leave out but which theme(s) to emphasize. Even short novels require hard decisions to be made, and they will rarely please everybody. Even a novel as short as Being There by Jerzy Kosinski required omissions that bothered some viewers. So to be overly critical because every nuance of a novel isn't included in a medium in which it would create an unwieldy result is unfair. What is fair, however, is pointing out which themes might have been given short shrift and which are emphasized. So while I qualified my praise it is a blanket qualification for any adaptation.
From the full title, Orlando: A Graphic Novel Adaptation of Virginia Woolf's Queer Classic, the reader can safely assume which of the main themes will definitely be emphasized. I thought Kuhlendahl did a fine job with that thread through the book, with both the style of the drawing and the use of color. What I also liked was that the ideas surrounding time, memory, and temporality were not erased. A reader who has studied or taught the Woolf novel would find where these ideas pop up, not to mention they really can't be completely overlooked in a "biography" that covers several centuries and a change from male to female.
I will touch on one theme that I think worked very well, that of authorship and writing. In Elizabethan times there simply were no avenues for women to write and be recognized for it, especially in the area of drama. Orlando, being a man, could share his writing. Having the sex change occur and having her be able to share her writing as a woman, which she wouldn't have been able to do if she had been a woman during the early periods, illustrates that obstacle that has always been in place. But to highlight this we see Virginia Woolf periodically telling us the story, which during those early periods illustrates the absence of woman writers of the period.
I would recommend this to readers who have enjoyed Woolf's novel or even Potter's film, just remember that there may be some scenes you particularly loved that may not be here. If you've never read the original but expect to at some point, I would suggest reading it first. Having the novel in mind while reading this adaptation will make everything a little more complete. That said, if you really don't foresee reading Woolf, then go ahead and read this, it is an enjoyable work.
Reviewed from a copy made available by the publisher via Edelweiss.
Review of advance copy
I never read the original, but I've heard it's a little dense. Kuhlendahl's light-handed water color and pencil illustrations add movement, context, wit, and bodies. When Orlando—an Elizabethan nobleman and frustrated writer—awakens one day as a woman, s/he takes it in stride and observes the different ways she is received by the world. Woolf seems interested in commenting on gender roles, but despite Orlando's very literal transition, this ultimately lands as a bisexual, genderfluid/nonbinary novel for me, as opposed to a "trans" novel, as Orlando seems less interested in their body parts as in hopping from costume to costume and seducing multiple genders.
June 18, 2026
Orlando: A Graphic Novel Adaptation of Virginia Woolf’s Queer Classic by Susanne Kuhlendahl (ad Virginia Woolf)
Reading history:
Normally I keep this in my private notes section, but I'm moving it. Yay!
Reading history was not added on Goodreads, but was instead kept on a small piece of paper with the book.
Restarted June 4th, 2026.
Finished June 17th, 2026.
June 4th, 2026: read intro + chapter 1, pp. 1-25, in physical copy.
June 16th, 2026 read chapter 1, pp. 26-60, + chapter 2, pp. 61-94, in physical copy.
June 17th, 2026: read chapters 3-6 (pp. 95-207) in physical copy.
Reading history:
Normally I keep this in my private notes section, but I'm moving it. Yay!
Reading history was not added on Goodreads, but was instead kept on a small piece of paper with the book.
Restarted June 4th, 2026.
Finished June 17th, 2026.
June 4th, 2026: read intro + chapter 1, pp. 1-25, in physical copy.
June 16th, 2026 read chapter 1, pp. 26-60, + chapter 2, pp. 61-94, in physical copy.
June 17th, 2026: read chapters 3-6 (pp. 95-207) in physical copy.
Review of advance copy received from Edelweiss+
Thank you to Helvetiq and Edelweiss for an eARC. This graphic novel is an entrancing read and an excellent introduction to Woolf's writing and themes. The whimsical, expressive artwork celebrates Woolf's language and Orlando's experiences.
May 12, 2026
I really liked the illustration style and its watercolor-y vibes, but the text felt a little bit disjointed. I'm excited to actually read Orlando though sometime! The design for masc Orlando was PEAK gender envy for me.
June 22, 2026
The art is BEAUTIFUL! I liked it and thought it was a clever way to really evoke emotions and tonal changes to use color and costume in such ways.
Displaying 1 - 11 of 11 reviews