Virginia Woolf`s first novel, The Voyage Out (1915), is a kind of bildungsroman which depicts Rachel Vinrace`s voyage into her soul; it is simultaneously the writer`s launching into her professional career. Two excursions in the novel, one to the mountaintop, and the other along up the Amazon river, signify the exploration into the dark valleys, virgin forests and deep rivers of the human soul. Even though Woolf still borrows in this novel the narrative form of travelogues and the Victorian novel of manners culminating in a marriage, she is not interested in the plot development; rather her emphasis is on her heroine`s mental agony and her groping in the dark to experience the happy moment of communion. Love or true communion is, the author implies, only possible momentarily, like a thunderbolt in the dark whitely flashing out a moment and blinding our eyes by its brilliance. The happy and short moments of being that break out the barriers of solipsism are some epiphanic moments which impose on the shoulders of the writer the burden of finding out the language and grammar of the yet undiscovered country of human experience, especially of women`s experience. Hence one of the major concerns of the author in the novel is the problem of composing a true feminine experience in the still prevalent and powerful patriarchal language. Woolf`s frequent revisions of the novel reflect her frustration at expressing women`s repressed and silenced inner voice in a male language. Woolf experienced several mental breakdowns whenever she tried to rewrite her heroine`s comatose semi-consciousness of the typhoid fever. Rachel`s death before the ``happy`` marriage of communion implies the half failure of the author in inventing a language of feminine experiences or ``silences``. The three questions of communion, community, and communication in the novel converge into the problem of the marriage of true minds and of finding out a woman`s language to express it. The Voyage Out is Virginia Woolf`s trial to burst out the traditional courtship and marriage novels, though she still borrows the ornamental garment of the traditional narrative form. Out of Rachel`s wreckage of the inner voyage, however, Woolf surfaces up with some buoying fragments of a language that will make her in her later major novels capable of expressing “the semi-transparent envelope” of women`s experience. Her first novel is a successful failure to interweave the moments of communion, community and communication in terms of her heroine`s searching for the true identity and pathetic death.