A backstory some Brontë-reading goth chick might invent

The Gazette (Canada) reveals that Patti Smith continues being quite a Brontëite:

Gazette: I spoke to you in 2007, and remember you saying that you wanted to travel while making your next album ...
Patti Smith: I did a lot of travelling, yeah.
Gazette: But from the liner notes you wrote, it also sounds like you went where life took you, that you didn’t really have a map in hand.
Smith: Exactly. Well, the thing is, I like my travels to be akin with my studies, and so when I started being smitten with Bulgakov and started reading a lot of Russian literature and then watching a lot of Tarkovsky, being very immersed in Russian culture, I got some jobs in Russia. The band went to Russia, we travelled around and I travelled around, and it’s the same as when I decided to write a song about St. Francis of Assisi (Constantine’s Dream): I went to Assisi, I went to all of the places that resonated in the story of St. Francis. But I’ve always done that. We have very idiosyncratic tours – I always make sure that the band does well financially, but a lot of our tours are based on things that I’m studying, and I’ll make choices as to where we go so that I can see something special. I might want to go to Stockholm because I’m studying Strindberg, or go to the English countryside where Charlotte Brontë wrote. So I do a lot of my tour planning around studying certain artists or studying the culture of certain areas. And as you see, we did a lot of travelling. (Jordan Zivitz)

And Rolling Stone chats to Shirley Manson from Garbage:

In a group composed of 75 percent Midwestern dudes, Manson – a lithe, leggy woman with a Scot's native command of obscene language – is the Garbage member least like anybody you know. Unless you were also raised by a mother who was left on the steps of an orphanage.
"It's a crazy story," Manson says in the kitchen of her home in the Los Feliz area of L.A. "My mom was conceived on the Highlands by a butler and a governess." Manson carries two cups of Nescafé instant coffee ("It's a bit of 1970s Britain you'll probably find utterly repulsive"), continuing a backstory some Brontë-reading goth chick might invent. "My mom was an orphan, and she wasn't adopted until age five. And because of this, she always felt like she was a zero. She tried hard to be a part of things, to make everyone feel good. And I grew up doing the same, 'cause I wanted to be like my mom."

The Charleston Daily Mail argues that single-sex education can work.

I showed them how other teachers have used the all-boys format to make it cool for a boy to study, so the same boy who loves "Call of Duty" will love "Jane Eyre;" and also how to use the all-girls format so the same girl who loves "Gossip Girl" will love computer programming. (Leonard Sax)

While Hilary Robinson from The Huffington Post continues laughing at the Kindle-Nook blunder:

What would the Brontë Society not to mention the individuals themselves, make of say, Heathcliff and Catherine being "found and replaced" by Boris Johnson and Ann Widdicombe?

In the meantime Here is the City lists 'some of the great things Great Britain has given the world' such as

Sir Christopher Wren, Francis Bacon, JMW Turner, David Hockney, William Hogarth, Banksy, Josiah Wedgewood. Or Jane Austen, JRR Tolkien, The Brontë Sisters, Oscar Wilde, JK Rowling, Lewis Carroll, Charles Dickens, Ian McEwan, Virginia Woolf, TS Eliot, PG Wodehouse, Agatha Christie, Robert Burns. Or, um Shakespeare.

The Brag reviews Wuthering Heights 2011:

Besides rejecting the romantic overtones and glossy production values of previous adaptations, Arnold makes the story her own: the hand-held intimacy that is a hallmark of her previous work (courtesy of cinematographer Robbie Ryan) is much in evidence, as is her realistic presentation of the working class milieu. Fans of Brontë’s text will note that much of the novel’s dialogue and many of its most vivid scenes have been stripped. The novel’s framing device (Mr Lockwood, to whom the tale is told) is gone, and the first half of the film, when Cathy and Heathcliff are children, is virtually unrecognisable save for the basic plot elements. Arnold also cuts off well before Brontë does – and before the next generation can repeat the disastrous history of the first.
In place of language, Arnold puts a lot of time into creating the damp, mist-shrouded, wind-whipped atmosphere, the muddy and dirt-streaked textures, the small poetic details in the everyday slug of lives on the land, which look to be “solitary, poor, nasty, brutish and short”. The cumulative effect is an audaciously poetic, ‘pure cinema’ take on a literary classic.

JayFlix also posts about it. Subtly Extreme writes about the novel. Eine unendliche Geschichte posts in German about Jane Eyre 2011.