I'm Afraid: Virginia Woolf's short fiction eludes me, and here's why

I have to say I'm completely puzzled by Virginia Woolf's short fiction - read the title story in her posthumous collection, Haunted House (I think the story originally appeared in an earlier collection from about 1920) and frankly could barely understand it. It's only about 3 pps long and though it seems to begin in a conventional manner  - someone hears ghostly sounds in their dwelling place, a house I guess - but then this very short narrative almost capriciously changes point of view - sometimes we're seeing things as the ghostly couple who seem to be returning to a house that they once enjoyed living in - sometimes we're with a "she" - present dweller of the house? Tense shifts almost randomly - but I'm sure it's not random, there's a principle at work, but the principle eludes me. I found a little enlightenment in Leonard Woolf's intro to this collection, in which he notes that his late wife would sometimes take breaks from novels and make a few jottings and then stash that away as a short story, which she would extricate later - and sometimes work over - when she had the opportunity to publish stories in magazines of collections. So her stories aren't really something she would set out to write because the short-fiction form was the best way for her to present particular material. I sense that the stories were compressed novels, notes for a later fiction (one story is cleverly called An Unwritten Novel) - and we do see the Woolf mentality at work in these pieces, as we see in her best fiction - a complete world made from various perspectives and angles, much in the same style as Cubist painting, which was in vogue in or close to her lifetime. As noted in earlier post on Kew Gardens, it may be that the stories can be appreciated only by those who know her longer fiction - we can look at the stories and understand how they're a seed that could germinate into a full-scale novel, if time would allow.