One madwoman in the attic

Cine-Vue gives 4 stars out of 5 to Wuthering Heights 2011 on DVD:

Arnold plays loose and fast with the original text, preferring to capture its tone and atmosphere rather than covering every minor narrative event or plot device. For those less enamoured with Brönte's [sic] text, Arnold's highly cinematic re-imagining feels fresh and vital, a lean creature highly attuned to the moor's [sic] ecosystem, red in tooth and claw. [...]
Whilst Arnold's revisionist approach to Brönte’s magnum opus may not be to everyone's taste, for those with the time and patience to invest in its trimmed cast and sublime imagery, Wuthering Heights delivers a truly unique, highly cinematic experience. (Daniel Green)

And they are also giving away three Blu-ray copies.

The Guardian publishes the obituary of Robert Fuest, another Wuthering Heights director.

In 1970, he made a commercially successful literary adaptation of Wuthering Heights, with Timothy Dalton as a pin-up Heathcliff. . . (Kim Newman)

This Riverfront Times blog reviews E L James Fifty Shades of Grey and comments on Little Miss Brontë: Jane Eyre in passing:

The plot of Fifty Shades of Grey seems to us a bit reminiscent of Jane Eyre, only with way more sex, so it's interesting to note that the number ten bestseller on the kids' list this week is a board book edition of Jane Eyre. The book is also said to be a counting primer. We can't quite imagine it: One is the number of crazy wives in Mr. Rochester's attic? (Aimee Levitt)

Salon discusses 'the new girl power' and mentions Fifty Shades of Grey too:

In each story, our hero has to choose between two cookie-cutter male leads — the wild, dark, poor childhood friend and the rich, upstanding, handsome stranger – although Katniss has to fit romantic intrigue around fighting a full-time revolutionary war. Versions of this love triangle are nothing new: it’s Rose, Jack and Cal Hockley in “Titanic.” It’s Cathy, Heathcliff and Edmund [sic] in “Wuthering Heights.” It’s Jane, Mr. Rochester and St. John Rivers in “Jane Eyre.” It’s a choice that’s only partly about the men involved, who really represent aspects of the heroine, the inner struggle between duty and desire, familiarity and adventure, between the different kinds of lives that girls want to lead. That these different lives somehow have to be embodied by different men is its own feminist bugbear, but the formula is still refreshing: However creepy and controlling Edward Cullen is as a character, he is still essentially a sex object.
Like the Brontë novels, “Twilight” and “The Hunger Games” are fairly oozing with repressed eroticism. One can no more write about extramarital sex in a book aimed at modern teenage girls than one could in a Victorian novel, but the implication drips from every page, which possibly explains the enormous volume of smutty fan-fiction on the Internet making the implicit explicit. “Fifty Shades of Grey,” meanwhile, was originally written as “Twilight” fan-fiction, and part of the reason that it is less interesting as a social phenomenon is that its apparatus of censorship does not work in the same way that it does in the teen novels, where the frantic tension of suggestion and repression drives the plot, and readers are encouraged to fill in the gaps with their own feverish imaginings — which they do, in graphic detail, on the Internet. (Laurie Penny)

Shared Experience's current production is Mary Shelley. The Good Review interviews Kristin Atherton, who plays the title role:

This is your second time playing a leading female literary figure why do you think your cast in these parts? Luck? Simple answer obviously, but it’s pretty much true. I think it’s more to do with being cast by Shared Experience in the first place – they’re very loyal to their actors, and once you’ve been immersed in a Shared Experience rehearsal process it’s such an easy thing to slip back into it, so they tend to ask you back for other projects. They’re a company with an incredible emphasis on strong women and the struggles they go through. The lives of many female authors often seem to highlight and hone in on these particular struggles – the right to compete in a man’s arena (in the case of Charlotte Brontë) or the right to live out a life with as much freedom as a man (in the case of Mary Shelley), and so Shared Experience tend to focus on telling these stories. I’m tempted to say that I also have the look and manner of someone who really doesn’t go out much and has nothing better to do then wade through a long reading list, so maybe that helps… (Kieran James)

And TheaterJones, reviewing a Dallas production of Anne of Green Gables, states the obvious:

So many classic tales are centered around orphans, like Jane Eyre and The Secret Garden. One of the reasons is that healthcare wasn't so great in the "olden days." (Cathy O'Neal)

The Montclair Times finds a new Brontëite:

In her early teens, "Jane Eyre" was the favorite story of author Maryrose Wood.
So it was no accident that in her ongoing book series, "The Incorrigible Children of Ashton Place," the heroine is "plucky" 16-year-old Miss Penelope Lumley, governess of the three spirited Incorrigible children, who are under her civilized tutelage after having been raised by wolves.
"The idea of writing a story whose hero was a young lady of no great advantages, who does end up being a governess, is kind of an homage to my favorite novel," said Wood, a New York University graduate who resides in the Riverdale section of the Bronx. . . (T.D. Shoudy)

The Atlantic quotes from 'literary greats' on how to take advice.

5. Charlotte Brontë
An essential part of advice is, in fact, knowing when to ignore it. The excellent Advice to Writers recounts the story of Charlotte Brontë, who in 1845 wrote to the British poet Robert Southey to ask whether to be a successful writer. He replied with "cool admonition":

Literature cannot be the business of a woman's life, and it ought not to be. The more she is engaged in her proper duties, the less leisure she will have for it, even as an accomplishment and recreation. To those duties you have not yet been called, and when you are, you will be less eager for celebrity.

Brontë, of course, chose to ignore his advice and, along with her sisters Emily and Anne, produced a wealth of poetry under male pseudonyms before publishing Jane Eyre the following year. (Maria Popova)

Hollywood Today begins an article on the fall fashion 2012 by quoting Emily Brontë. Sarah Walden has managed to obtain a report card from the time when the Brontës were pupils at the Pensionnat Heger. Flickr user Mírzam Ex Solsetur pays a tribute to Jane Eyre while Cinestonia posts in Spanish about the 1944 adaptation of the novel. Ivy's Closet posts about Margot Livesey's The Flight of Gemma Hardy and Bless Their Hearts Mom writes about Little Miss Brontë: Jane Eyre. Chicago Cinema Circuit reviews Andrea Arnold's Wuthering Heights. And Removing the Static and Crispin's Eclipse discuss Wide Sargasso Sea.