Lucy Snowe and Jean Brodie in the Same Classroom

The Northampton Chronicle talks about the Looking Glass Theatre regional tour with a production of Wuthering Heights:

A literary classic will come to stages throughout the county.
The Looking Glass Theatre will put on Emily Brontë’s masterpiece Wuthering Heights, adapted for stage by Michael Napier Brown.
The moors love story centered around the passionate, but ultimately doomed, lovers Catherine Earnshaw and Heathcliff, is a tale of both passion and destruction, which has captured the imagination of readers for generations.
This dramatisation of the original novel by Emily Brontë, will cover the full 30 sweeping years of the original, through two generations of Catherines and Heathcliffs.
The show will be directed by James J. Smith, with set design from Paul Beasley. (Nicole Le Marie)

The Northern Broadsides production of Blake Morrison's We Are Three Sisters has been nominated to the Best Touring Production in the 2012 Stage Theatre Awards.

The Guardian reviews Susie Boyt's new novel The Small Hours where there is a reference to Charlotte Brontë's Villette:

Yet it does appear for a while that Harriet's school might achieve its super-objective of winning her mother's approval: "An inspired idea," she imagines her mother saying. "It's your vocation, like that woman in the book, the Brussels one."
The reference to Charlotte Brontë's Villette is telling; that being a similar story of a woman who attempts to instil meaning to her life through education but suffers an emotional collapse. Yet Harriet is a much brasher, gung-ho character than the quiet and introverted Lucy Snowe. In that regard she has more in common with another self-determined classroom icon, Miss Jean Brodie. (Alfred Hickling)

Examiner Movie Reviews doesn't like Wuthering Heights 2011:

“Wuthering Heights ” features some spectacularly picturesque settings – when you can see them. Unfortunately, writer/director Andrea Arnold not only failed to use professional actors for her cinematic adaptation of Emily Brontë's classic novel, she also failed to use proper lighting thereby damaging the one thing for which her drama deserved praise. Moreover, the movie is a strangely shallow interpretation of an ordinarily passionate source material, relaying the story itself but none of the emotion that goes with it. As a result, the audience feels alienated and, with no reason to remain awake, may become bored and drift into dreamland. (Joseph Airdo)

CBS San Francisco doesn't like it either:

Director Arnold uses jump cuts, odd angles, handheld cameras, imagining this story of the 1880′s as cruel and probably realistic. There are graphic animal killings and torment. By going for such realism, all the magic and passion is lost. (Jan Wahl)

Exactly the opposite opinion of the Diario La Estrella (Dallas):

Wuthering Heights no es una película fácil, y no le va a gustar a todos (tiene escenas que rayan en lo terrorífico), pero sí es un cinta poderosa, humana que presenta la crueldad de los hombres, el poderío del amor y finalmente la fuerza del destino.
Si no le gustan las cintas que se mueven a ritmo “poco hollywoodense” evite a toda costa Wuthering Heights, sus tiempos son perennes, sus escenas pausadas, sus emociones intensas. (Laura Hiros) (Translation)

or The Everett Herald:

This is a movie that treats love and obsession as literally life-and-death issues, and doesn't pull any punches in exploring that kind of passion. As harsh as "Wuthering Heights" is at times, I think Emily Brontë might have approved. (Robert Horton)

Or Sound on Sight:

Wuthering Heights, like the Brontë classic, radiates with pain and lost love. The presentation of the story may be unexpected and forceful, but Andrea Arnold’s emphasis on the people, the closeness of the relationship that Heathcliff and Catherine have with each other makes the story take flight in a way that it hasn’t in previous adaptations. The Victorian era had many novels telling of romances that were doomed to fail. Emily Brontë’s vision is well captured through Andrea Arnold’s visual lens. It may push some people away, despite having a big, wounded heart, but that’s as it should be. The story of Heathcliff and Catherine needs to be obsessive, disastrous, and full of anguish; this new film is bursting at the seams with all of those qualities. (Josh Spiegel)

And particularly, Seattle Gay News:

Is this new Wuthering Heights essential? Probably not, and I'm not entirely sure romantics who have read every page of the book a thousand or so times are going to be completely pleased with Arnold's unflinching, at times modernized (four-letter putdowns are a frequent occurrence), take on the material. But she gets right to the heart of Brontë's world in a way few others have, allowing for a connection to the characters that held me spellbound. While the world may not need another version of this particular tale, I certainly did - and I have feeling there will be plenty of others out there who, after they have the good fortune to view it, will feel the same way. (Sarah Michelle Fetters)

The same website interviews the director:

I do actually feel sorry for not including the second half of the book. But a lot of films only seem to deal with the first half of the book because it does sort of have a natural break after Cathy's death. Television adaptations don't tend to do that, but then they can do more - they're not limited by a theatrical running time. But I do feel the book is complete when it climaxes with Heathcliff's death. It comes full circle, which is satisfying because you do feel like he and Cathy can finally be together at that point. I felt, though, that wasn't the story we were telling. We were focused on Heathcliff, and where we close feels real. It feels like an actual end, even if the book does proceed onwards into Heathcliff's future.

Other (not good) reviews can be read on David Appleford's Film and Theatre Reviews, Should I See It and True View Reviews. Some more positive one on Jeffrey M. Anderson or Chickster.

The Millions reviews A.M. Homes’s May We Be Forgiven but has her sources a bit mixed:

As unreliable narrators go, Homes’s fraternal doppelgänger outdoes both that of Bret Easton Ellis’s American Psycho  and the unnamed insomniac putz who fights with his alter-ego in Chuck Palahniuk’s Fight Club. The difference is that there’s a certain rationality in the two wildly popular precursors, which allows the reader to sit back and watch the character’s insanity unfold. James Wood calls this kind of narration “reliably unreliable.” Referencing seminal examples of unreliable first-person narration like Charlotte Brontë’s Jane Eyre  and Nabokov’s Lolita, Wood argues that these novels teach us how to read the character’s instability because their authors alert us to it and show us how to plug the holes. (Lisa E. Sanchez)

Jane Eyre, an unreliable narrator? We rather think not, Lockwood or Nelly Dean in Wuthering Heights could certainly be called that but not Jane. As a matter of fact, James Wood in How Fiction Works uses Jane as an example of literally "highly reliable first-person narrator"!

John J. Ross talks about his book Shakespeare's Tremor and Orwell's Cough: The Medical Lives of Great Writers in Publishers Weekly. The article mixes some facts and some pseudo-facts:

1. The Brontës—The deaths of Charlotte and Emily Brontë have inspired a great deal of pernicious biographical claptrap. Charlotte died to resolve her repressed sexual desire for her father; Charlotte committed suicide by starvation in response to being intellectually smothered by the Victorian patriarchy; Emily and Charlotte had anorexia; Charlotte died in pregnancy from hysterical rejection of the fetus; Charlotte’s dullard husband was actually a fiendish serial killer who offed the whole lot. In reality, all six of the Brontë siblings died of tuberculosis, a Victorian plague that killed off 1% of the English population per year. TB is a chronic, lingering infection that spreads rapidly in confined spaces, especially among the malnourished and demoralized. It entered the Brontë household after the older girls, Maria and Elizabeth, were infected at the Clergy Daughter’s School. This was the place made infamous by Charlotte as the brutal Lowood School in Jane Eyre, where the girls were beaten, starved, and terrorized by tales of hellfire and damnation. Although the suffering, consumptive artist is a tired cliché, there may be some truth in it, as the immune system is weakened by emotional turmoil, of which the Brontës had plenty. Charlotte, Emily, and Anne had depressive episodes; brother Branwell had bipolar disorder and dipsomania; Emily, brainy and odd, probably also had Asperger syndrome and social anxiety disorder.

The most probable cause of Charlotte's death is hyperemesis gravidarum (which has nothing to do with hysterical rejection of the fetus) not TB. Furthermore Branwell's alleged bipolar disorder and Emily's Asperger's are nothing more than sheer speculation based more on Brontë lore than real facts.

Joe Queenan in the Wall Street Journal discusses his life as an impenitent reader:

A case can be made that people who read a preposterous number of books are not playing with a full deck. I prefer to think of us as dissatisfied customers. If you have read 6,000 books in your lifetime, or even 600, it's probably because at some level you find "reality" a bit of a disappointment. People in the 19th century fell in love with "Ivanhoe" and "The Count of Monte Cristo" because they loathed the age they were living through. Women in our own era read "Pride and Prejudice" and "Jane Eyre" and even "The Bridges of Madison County"—a dimwit, hayseed reworking of "Madame Bovary"—because they imagine how much happier they would be if their husbands did not spend quite so much time with their drunken, illiterate golf buddies down at Myrtle Beach. A blind bigamist nobleman with a ruined castle and an insane, incinerated first wife beats those losers any day of the week. Blind, two-timing noblemen never wear belted shorts.

IBN (India) has another mention of "the Brontë sisters of Urdu fiction", the Masroor sisters;  Mashable highlights the Jane Eyre purse created by NovelCreations which we have featured previously on this blog; artsandyouthlove reviews Wuthering Heights; RogerWhitson posts about a curious project, an analysis based on word clouds and distant reading of Charlotte Brontë's The Professor; Biblioteka w Zielonej (in Polish) posts about Agnes Grey; Books and Tea celebrates the anniversay of Jane Eyre's publication; Love Stories (in Spanish) and Le Café Littéraire de Gaëlle(in French) review Jane Eyre; The Next Read reviews the upcoming Black Spring by Alison Croggon.