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6 hours ago
Brontë callingThe Herald (Ireland) talks about the idea of romantic love:
Enrol on a writing course at the Arvon Foundation’s Lumb Bank (arvonfoundation.org), a stroll down a steep, single-track lane from Heptonstall in Calderdale. It’s the former home of the poet, Ted Hughes, and the very stones of this 18th-century mill owner’s house seem suffused with creativity. Feast on the view across the moors to Stoodley Pike.
Even better, walk there (nationaltrail.co.uk/PennineWay). If you prefer literary pilgrimage, wend your way through Heptonstall’s cobbled streets (heptonstall.org) to Sylvia Plath’s grave in the village churchyard.
Maureen Sleeman, Cornwall.
Emily Brontë superbly captured the experience in Wuthering Heights: 'I am Heathcliff – he's always, always in my mind – not as a pleasure, any more than I am always a pleasure to myself - but as my own being.' (Kate Burke)And The Jakarta Post puts Wuthering Heights among other 'romances' (February is a really hard month when it comes to Brontë news):
Heathcliff and Catherine, who enact the central romance of this classic work of Western literature, are arguably one of the world’s most recognized fictional couples. The tumultuous love that develops between them, which spans from childhood to adulthood, has captured the imagination of popular audiences and literary critics alike, resulting in countless artistic adaptations and scholarly papers. (Prasiddha Gustanto)A couple of articles about Pride and Prejudice mention Charlotte Brontë. In Gazzetta del Sud (Italy):
Da quel giorno le Jane volitive e determinate, illuminate da un’aura di femminilità intellettualmente e moralmente libera (nonostante i recinti invalicabili che circondavano il mondo femminile) si sono moltiplicate, a cominciare da Jane Eyre di Charlotte Brontë per finire alla Jo March di “Piccole donne” di Louisa May Alcott. Tutte eroine della quotidianità, tutte anime belle dentro un mondo reale attraversato da convenzioni e conformismi particolarmente pesanti per il sesso femminile. Ebbene, Jane Austen, Charlotte Brontë e Louisa May Alcott prendono la parola nella scrittura in nome di tutte le donne attraverso i loro personaggi che ne rivelano in gran parte la forza di carattere e il diritto di resistenza. (Patrizia Danzè) (Translation)The Times talks about the findings of the Stanford University research by Matthew Jockers which traced hidden influences behind modern novels:
Jockers said last week that computers strugle to make sense of metaphors and irony, but Godot produces 'word clouds' that are able to illustrate links between Austen and later writers such as Charles Dickens, George Eliot and the Brontës. (John Harlow)In Diario de Sevilla (Spain):
Tienen en común, él, Elizabeth y Mary, otra de las hermanas, la biblioteca. El nido de libros paterno como referente de identidad y vínculo. Algo similar le ocurrió a Jane Austen con la biblioteca de su padre; en un caso que se daría también en las hermanas Brontë, que tenían libre acceso a los volúmenes atesorados por su progenitor, terriblemente estricto en otros aspectos. (...) El levemente atormentado Fitzwilliam Darcy -poco que ver con un Edward Rochester: no hay otro como él. Ningún otro tiene a una mujer loca escondida en el ático- no exaspera por orgulloso, sino por incapaz social. (Pilar Vera) (Translation)Queen Anne & Magnolia News talks about feminism:
An equally powerful work, “Madwoman in the Attic: The Woman Writer and the 19th-Century Literary Imagination,” by Sandra Gilbert and Susan Gubar, published in 1979, offered a feminist reconsideration of the likes of Jane Austen, Mary Shelley, the Brontë sisters, Emily Dickinson and others. We had lived with these authors and their books for so long, we thought we knew them. Suddenly, we men, anyway, didn’t — though maybe we learned a little more about ourselves.Richard Wilcocks publishes a complete summary of the recent Re-Visioning the Brontës Leeds Conference on the Brontë Parsonage Blog.
One of the most electric books you could ever hold in your hands is “Lives Like Loaded Guns: Emily Dickinson and Her Family’s’ Feuds,” by Lyndall Gordon.
Gordon brings to life the poet’s strange domestic drama set in a small-town, patriarchal society, manifested by stern father and stern brother, offset by her sister-in-law, soulmate, North Star and custodian of her poetic legacy, Susan Gilbert.
Dickinson tuned in to the world outside her window: Emily Brontë was her hero. The reclusive poet kept pictures on her wall of Elizabeth Barrett Browning and George Eliot (Mary Anne Evans). These were female geniuses with whom Dickinson had a telepathic receptivity — think of all the buried lives, the lives of quiet desperation, of women who were smarter than the men around them. (Mike Dillon)