In “Taking her Fences, the Equestrian Woolf” Beth R. Daugherty weaves the narrative of the surprisingly numerous references to horses in Woolf’s oeuvre. No less surprising is the interest for horses in Woolf feminist scholarship. From Jane Marcus’s “‘No more horses’ Virginia Woolf on Art and Propaganda” to Jemima Hubberstey’s “Virginia Woolf, Feminism, and Horses”, scholars have highlighted how Woolf’s multifaceted use of horses variously turns them into the alter ego of the writer (Marcus), “symbol[s] of power” but also creatures whose submission to men aligns them with women (Hubberstey) or figures of the “Other” whose presence is “embedded within discourses that justify abuse” (Neverow). But if there are indeed many horses in Woolf’s works and Woolf studies, one specific horse appears to be missing: the Trojan horse. In this paper I offer to read Woolf’s feminist poetics through Monique Wittig’s conceptualization of literature as Trojan horse, that is as “a war machine with a delayed effect” that Wittig distinguishes from the straightforwardness of committed literature and identifies in the “detour”, stating that “the detour is what literature is all about.” I contend that the metaphor of the Trojan horse illuminates both Woolf’s feminism and Woolf’s texts, and enables us to think the im/possibility of feminist writing.