Thursday, June 27, 2013

Thursday, June 27, 2013 8:15 am by Cristina in , , , , ,    No comments
Film School Rejects makes a good point about the forthcoming comic/ screen adaptation Rochester:
Details on the project are slim, but we’re certainly interested in seeing a nineteenth century-set novel about governesses and sprawling estates and orphans and loons in the attic translated to the modern age. We are, however, less interested in seeing the book’s plot translated through the eyes of Edward Rochester, especially because Brontë’s book includes far, far more than just the Jane/Rochester love affair (seriously, it’s really only about a third of the book). (Kate Erbland)
The Mary Sue also has some qualms about it:
So. A modern-day version of Jane Eyre. I’m a bit on the fence here, if only because Brosh McKenna’s other screen credits include the poorly reviewed rom-coms 27 Dresses, Morning Glory, and I Don’t Know How She Does It. Then again: The Devil Wears Prada! I can’t imagine that anyone would think a light, romantic version of Jane Eyre would work (He locks his wife in an attic. He loses a hand.), so I’m going to gather my faith in humanity around me like a warm, comfortable, possibly delusion-inducing coat and say the darkness of the original novel will be kept.
But I guess we’ll have to wait until the graphic novel comes out to see what flavor of contemporary adaptation this movie will be. Don’t let me down, Archaia. (Rebecca Pahle)
And now for a couple of mentions of two radically different aspects of the novel. The Coventry Telegraph features the play A Trade in Lunacy:
The mad woman in the attic theme was prominent in a number of Victorian novels, most notably Charlotte Brontë’s Jane Eyre.
While Bookish has several 'Romance Authors Remember the First Sex Scenes They Read'.
3. Jane Eyre
"She was young, naïve, vulnerable, certain her world was about to end. He was older, worldly, cynical and ruthless in pursuit. Her cri de coeur imprinted itself on my gawky, 12-year-old adolescent brain in a way few have ever since: 'Do you think I can stay to become nothing to you?' she asked. 'Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong!--I have as much soul as you,--and full as much heart!'
She, of course, is Charlotte Brontë's Jane Eyre, and he is Mr. Rochester. What has always impressed me about this scene (which I have read so many times I practically know it by heart), is how fully it engulfs the reader in a swooning, desperate, unexpected passion.
The clothes remained on, but the writhing and groaning of the sheltering chestnut, soon to be split asunder by lightning, was a cleverly coded metaphor for what remained unspoken about soulmates whose love was tainted by the madwoman in the attic.
Brontë's enduring brilliance proves how a great writer can say much about love and sexual desire without showing so much as a pinky. Sometimes all you need are a wild wind and indelible, flawed, yet all-too-human characters to start the swooning, and the reader's imagination will do the rest."
--Karen Moline, author of "Lunch" (Ron Hogan)
The Independent wonders if young writer Samantha Shannon is 'the next EL James'.
Samantha Shannon received a six-figure advance for The Bone Season, the first of what is set to be a seven-part series described by its publisher as "Beauty and the Beast written with the imagination of the Brontë sisters". (Robert Dex)
We sincerely hope that the books are better than the description.

Faro de Vigo (Spain) features young poet Marcela Porto Mato.
Sus inquietudes literarias -junto a las de sus hermanas Andrea y Lara- han llevado al crítico literario Armando Requeixo a referirse cariñosamente a las hermanas Porto Mato como las Brontë gallegas, un apelativo que reconoce su decidida apuesta por las letras gallegas. (Silvia Pampín) (Translation)
USA Today's Happy Ever After lists several 'new paranormal reads', one of which is Lexicon by Max Barry where
Whip-smart orphan Emily Ruff is making a living running a three-card Monte game on the streets of San Francisco when she attracts the attention of the organization's recruiters. She is flown across the country for the school's strange and rigorous entrance exams, where, once admitted, she will be taught the fundamentals of persuasion by Brontë, Eliot, and Lowell who have adopted the names of famous poets to conceal their true identities. For in the organization, nothing is more dangerous than revealing who you are: Poets must never expose their feelings lest they be manipulated. Emily becomes the school's most talented prodigy until she makes a catastrophic mistake: She falls in love. (Joyce Lamb)
Whichever Brontë is meant would be thrilled to see herself considered a poet.

Sri Lanka's Daily News discusses the origins of feminism:
Several years later, Charlotte Brontë in her novel, ‘Shirley ‘ had the heroine longing for a trade - even if it made her coarse and masculine-instead of the vacant, weary, lonely life of a woman of her class. (Aditha Dissanayake)
The Age discusses endings:
Like life itself, great epic stories end on a beat of finality.
Odysseus returned home. Heathcliff died. Rick (Humphrey Bogart) reluctantly sent Ilsa (Ingrid Bergman) to a haven.
TV and cinema, however, usually prefer to keep their ''property'' options open, often to their detriment. (Paul Kalina)
Flavorwire shows 'The Childhood Art of Famous Authors' including a drawing by Charlotte Brontë. Mjurka posts about The Professor. To Read, Or Not To Read reviews April Lindner's Catherine.


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