This article seeks to read A Room of One`s Own, Virginia Woolf`s foundational 1929 essay, as resisting a surge in political ideologies with the spread of Italian fascism, German Nazism, and British imperialism during the interwar period. In the 1920s-30s, Woolf detected that the fascists, the Nazis, and the British soldiers refashioned themselves as artists by inventing visual spectacles to propagate political ideologies: they aestheticized their bodies by means of clothes and marches in attempting to create the public spectacles and to indoctrinate masses. Considering Woolf`s anxiety of fascism`s aestheticization of human bodies, the present study argues that A Room of One`s Own generates the effects of eroding the fascist rhetoric leaning on an aesthetic appeal that facilitates the production of political propaganda. In A Room of One`s Own, Woolf proposes two strategies to undermine the regime of fascism: the restoration of an affective body, the body characterized by its visceral force, and the development of an androgynous mind distinguished from the mind of fascists whose primary desire lies in self-assertion. By analyzing how the body and the mind must be an urgent need for political resistance to fascism, this article presents A Room of One`s Own as creating a discursive space escaping the discourse of fascism.