Jane's Sunglasses

The final episode of Lost is, of course, being commented on and reviewed everywhere. On Salon they even manage to slip a Brontë reference:

If I want to contemplate the nature of good and evil, I'll turn to Nietzsche or Hannah Arendt (or, for that matter, Joss Whedon), and if I want ruminations on love, give me Emily Brontë or John Updike (or "Big Love"). From "Lost" I wanted less profundity and more fun. (Laura Miller)

TheatrePort reviews the Houston performances of the revamped Gordon & Caird's Jane Eyre musical:

I did not see the first production but I can tell you, without hesitation, that you are in for quite a treat with this new production of Jane Eyre.
First of all, Paul Gordon's music and lyrics are absolutely beautiful, with haunting and soaring melodies that perfectly capture the feel and flavor of the epic adventures of Jane Eyre, Charlotte Brontë's Victorian heroine.
Secondly, John Caird's book follows Brontë's novel faithfully, even employing Eyre as the narrator of her fascinating journey as in the novel. (...)
Thirdly, Kristina Sullivan's tour de force performance in the title role is so compelling and beguiling, that we are in the palm of her hands and, because she sings and acts the role with such passion and perfection, we willingly, completely, and wholeheartedly give ourselves over to her grace and charm.
Undoubtedly, Sullivan gives the best musical theatre performance of the year as Jane Eyre and she alone commands our highest attention.
The emotional and vocal range of this role is challenging, to say the least, and Sullivan meets and highly exceeds the demands of this role on every possible level.
Sullivan brilliantly, yet painfully, sings "Painting a Portrait," realizing that she is not as beautiful nor as privileged as Rochester's ladies in waiting.
Fourthly, Luther Chakurian's rich and powerful portrayal of Rochester, the master of Thornfield Manor who captures Jane Eyre's heart, gives equally as strong and stunning a performance as Sullivan's.
Duets such as "The Pledge," "Secret Soul," "My Hope of Heaven," "What Can I Do," and the final "Brave Enough for Love" are so beautifully realized by Chakurian and Sullivan that we know we are in the presence of greatness.
So with two superb romantic leads in a Victorian musical, what could not make a more beautiful evening of fine musical theatre?
Add to this picture a splendid supporting cast and Jane Eyre becomes a gorgeous portrait.
Mia Gerachis is wonderful as the young Jane.
Lauren Selig is charming and convincing as Helen Burns, who befriends Jane and teaches her the value of "Forgiveness," beautifully sung from her death bed.
Allison Sumrall is excellent as the stout and formidable Mrs. Fairfax, who runs Thornfield Manor with an iron fist.
Christine Zavakos is strong as the mysterious Grace Poole, who guards the secret of Thornfield Manor.
Catherine Taylor shines and soars as Blanche Ingram as she sings of "The Finer Things," one of the best-performed songs of Act II.
Taylor's and Sullivan's duet, "In the Light of the Virgin Morning," is a memorable melodic moment.
John Gremillion is charming as St. John Rivers in "The Call," where Jane realizes that she cannot go with him to India as a missionary but must return to Thornfield Manor to Rochester, who has captured her heart.
Philip Duggins lovingly directs his enchanting cast with simple staging on multiple levels, which adds interest and intrigue to Jane Eyre.
Set design by Amanda McBee is superb as she provides multiple levels and lots of stairs upon which the players can play.
Mc Bee's backdrops are beautifully and skillfully realized.
Costume design by Libby Evans is superb.
No detail is overlooked as she creates beautiful Victorian costumes, from the simple and peasant to upper-class couture and their servants' attire.
Rick Spitz masterfully conducts the Jane Eyre Orchestra, comprised of ten musicians, who brilliantly bring to life Gordon's sumptuous score. (buzzbell)

WWD announces that the new eyewear collection by designer Jason Wu contains a model named Jane after Jane Eyre. We quote from Refinery 29:

Each piece is named after a famous woman, with four larger frames named after Amelia Earhart, Joan Jett, Mia Farrow, and Jean Seberg. Plus, for all the literary types, there are five more styles named after some of literature's most famous heroines: Think Elizabeth Bennet, Jane Eyre, and Scout Finch. (Kristian Laliberte)

Regrettably, we don't have yet any picture of such model.
EDIT: Thanks to reader Emanuella Mondeli for sending us this link to see the model:

Model: Jane
Charlotte Brontë’s Jane Eyre is often considered one of the greatest feminist works of literature, and it’s not hard to see why–the book’s titular character thinks, speaks, and acts for herself when it comes to both love and life. Make like the Victorian story’s empowering heroine and don a pair of these glasses–an optical rendering of Jason’s super-popular Seberg sunnies.

Tribune Magazine reviews Lives Like Loaded Guns: Emily Dickinson and Her Family’s Feuds by Lyndall Gordon. Belinda Webb says:

Dickinson, despite her parents’ emotional paralysis, and doubtless compensating for that, channelled her own emotions into intense friendships, writing poetry and reading books, favourites of which were the Brontes: Jane Eyre, Wuthering Heights et al. Wild emotions, in these books, are given what must have seemed to her attractive expression; something with which she could identify.

Bildungsroman interviews authors Adele Griffin and Lisa Brown who both include Brontës on their top-ten:

Lisa Brown: Wuthering Heights by Emily Brontë
Adele Griffin: Jane Eyre by Charlotte Brontë ; The Wide Sargasso Sea by Jean Rhys

Aneca's World reviews Elizabeth Newark's sequel Jane Eyre's Daughter, Suite101 publishes (in Spanish) an article about Emily Brontë, devi09 posts a couple of Jane Eyre 2010 icons and Les Brontës à Paris reviews the French edition of Daphne du Maurier's The Infernal World of Branwell Brontë.

Categories: Brontëites, Jane Eyre, References, Weirdo