Much has been said on the sense of Virginia Woolf's works, but little on the nonsense. Literary nonsense is a genre most often associated with Lewis Carroll and Edward Lear, but it also has a home in Woolf's use of conversation in Freshwater and Between the Acts. In the act of reading these works, impressions of nonsense arise and show a tension between sets of order and disorder which is reflected in the behavior of rules governing conversation. Using Stanley Fish's affective stylistics, H.P. Grice's pragmatics, and Elizabeth Sewell's definition of literary nonsense, nonsense appears in these two works as a game played out between order and disorder through conversations between characters and the conversation between reader and text. This order and disorder corresponds to moments in which conversational implicature works as intended on the one hand, and those moments when it breaks down on the other. Using progressive decertainizing from Fish's affective stylistics, a close reading of both texts shows how impressions of nonsense arise in the space between conversational implicature breaking down and being restored. The tension in this space can then be favorably compared to the tension in Elizabeth Sewell's definition of nonsense as a game. Wim Tigges' genre taxonomy of whole and partial nonsense provides context to how these works can be classified after a close reading has been performed, and provides a foundation for what it means to call something a work of literary nonsense. A classification of either whole or partial nonsense is reached for both works according to Tigges' taxonomy, along with a discussion afterward about the implications of what this means in the context of the current scholarship.