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Recently I've noticed how many of our literary and cultural cliff references echo the fiscal cliff references to these jagged economic times. The parallels are sharply defined:The Craven Herald & Pioneer mentions the Emily Brontë room at the Craven Heifer:
1) Emily Brontë's character of Heathcliff is a tortured romantic soul , whose passions destroy himself and those around him. The fiscal cliff is also quite tortured and enigmatic, a shroud of economic cloudiness, cloaked in layers of abstract theory, that may also self-destruct or destroy those around it. And we sure don't have to explain the relationship between Wuthering Heights, slippery slopes, and steep cliff angles, fiscal or otherwise. (Randee Mia Berman)
A unique tribute to seven of the greatest Yorkshiremen and women has been created at an Addingham inn.gothamist interviews the actor Jim Carter, Carson in Downton Abbey:
The Craven Heifer, on Main Street, has dedicated seven of its bedrooms to famous names from the region – ranging from cricket legend Fred Trueman, who lived near Gargrave, to 19th century writer Emily Brontë.
Well its interesting. I just started watching the Forsyte Saga—and I don't know much about British television aside from watching Dr. Who when I was a kid—but is there anything that is unique that you think—besides spectacular acting, of course—why Downton has really exploded the way that it did? Well one thing is that it's original. A lot of costume drama is based on a novel, you know, a Jane Austen novel or a Dickens novel, or something like that. But this is original material. You know, no one has seen it before so nobody knows what's going to happen. If you know, you dramatize Sense and Sensibility or Jane Eyre, then people do know what's going to happen. So that's part of it. I think that it's multi-stranded, multi-character is also different. A drama is often just one story with some subsidiary stories but this is. We follow 10 or 12, 13, or 14 people. People invest in different ones. Some love Lady Mary, some love to hate O'Brian, some detest Thomas, some love Daisy the kitchen maid. So, I think that has contributed to its success. (Nell Casey)USA Today presents the US edition of Wuthering Heights. The Wild & Wanton Edition:
Catherine and Heathcliff may have been doomed sweethearts from the start, but that's no reason to keep them from consummating their desperate desire for one another. In this smoldering expanded edition of the brooding masterpiece, you'll discover the star-crossed lovers seal their fiery fate with lovemaking as wild as the moors.The Journal (Ireland) talks about Irish 'chick lit':
From the first time the rough-and-tumble Heathcliff takes the haughty young Catherine in his arms to their final lingering embrace beyond the grave, Wuthering Heights: The Wild and Wanton Edition reveals the true depth of their passion with all the sultry, sensual, satisfying sex scenes you always secretly knew you missed! (Joyce Lamb)
Female writers write a lot about home, the same way Jane Austen and Emily Brontë did all those years ago. They wrote about what they knew. They knew about social dynamics, the trouble with match-making, relationships and love. And Irish women writers are very good at doing the same. (Maeve Binchy)Bird Meets Worm interviews the illustrator and graphic designer Joan Charles who remembers:
Q: Your artwork has a mysteriously ethereal quality. Who and/or what has inspired your artwork the most?Korean Times and K.U.T. (Netherlands) list Wuthering Heights 2011 as one of the best the films of 2011 and Random Ramblings, Thoughts and Fiction reviews it; Entre Claras e Livros (in Portuguese) reviews Wuthering Heights; One Fine Day To Read (in Norwegian) posts about Jane Eyre; I Need Another Bookshelf talks about Wide Sargasso Sea; both Reading in Winter and City of Books review the new April Lindner's book, Catherine. Finally, the Brontë Sisters proposes a curious question to its readers.
A: When I was very young I was fascinated with a book my parents had: an illustrated edition of Wuthering Heights with the most amazing (and frightening) woodcuts by Fritz Eichenberg. I often liked pictures that sort of scared me, like Tenniel’s illustrations in Alice in Wonderland (I guess I was always a weird kid!).