Sunday, February 02, 2014

The Telegraph explores new heroines in literature and films (in particular The Hunger Games):
All have the same things in common. Where once the kind of quest a heroine might go on was of the Jane Eyre variety, about finding true love or material success, the 21st-century version is on a grander scale. (Amanda Craig)
We rather disagree with that. Jane Eyre's quest was not only to find true love or even less material success. Isn't finding your place in the world and being independent to fulfill your true potential not grander enough?

The Daily Mail echoes the Cornwall concerns about the shooting of the upcoming BBC adaptation of Daphne du Maurier's Jamaica Inn:
She disputed producers’ claims that Cornwall had become too overdeveloped to recreate Dame Daphne’s landscapes.
‘Filming Jamaica Inn in Yorkshire would be like us trying to stage Wuthering Heights. It just wouldn’t be right.’‘Launceston is an ancient Saxon hilltop town with a Norman castle so I don’t understand how that is too modern,’ she said. ‘We have narrow, cobbled streets and squares. (Simon Trump)
Maybe they don't know that the origins of the Brontë sisters are partly in Cornwall...

The Winston-Salem Journal reviews the audiobook edition of The Gods of Guilt by Michael Connelly:
It’s sort of Jane Eyre meets the mad toymaker Spalanzani from “The Tales of Hoffman,” if you were using the abbreviated Hollywood pitch format. Narrated by the curiously invisible vocal talent of Jonathan Davis, the story has Irene Sauvelle, 14, together with her brother and their widowed mother, Simone, become caretakers at Cravenmoore — really? — a derelict mansion on the coast of Normandy in 1937.
There are dark woods. There are craggy cliffs. And a young village girl torn to pieces by an inhuman, shadowy force. There are automatons lining the mansion’s corridors. Their eyes light up and follow the slightest movement. And of course, there is Lazarus Jann, the cultured but reclusive toymaker who houses his wife in the forbidden West Wing. Why is it always the West Wing which is off-limits? See “Jane Eyre,” “Rebecca,” “Beauty and the Beast,” etc. (Dale Pollock)
The Knoxville News Sentinel reviews the YA approach to transgender, Changers Book One: Drew by  T Cooper and Allison Glock-Cooper:
Her natural, conversational narration is pitch-perfect for a contemporary teenager, lightly peppered with slang and the occasional mild expletive: “What I can’t deal with, if I’m honest, is the fact that, for what seemed like a century today, I was transfixed by a guy smiling in a shop. Who am I? One of the Brontë sisters?” she asks herself. “I gotta stay the hizell away from that.” (Stephen Trageser)
Can't you imagine Emily Brontë as a lily-of-the-valley corny type?

The Daily Express looks into 'romantic' properties for sale:
The landscape that inspired the romantic favourite Wuthering Heights is on your doorstep at Highroyd above the village of Honley, West Yorkshire, where one wing of the grand stone-built Grade II mansion house is on the market. (Andrea Watson)
GhanaWeb on how literature should be taught in Africa:
Finally, our literature should represent a seamless diversity of educational platforms, themes or subject matter, cultures, literary techniques, etc. Alexander Pushkin, Lao Tsu, William Faulkner, Abdias do Nascimento, Khalil Gibran, Machado de Assis, Shakespeare, Gabriel Garcia Marquez, Paulo Freire, Ernest Hemmingway, Octavio Paz, Fyodor Dostoyevesky, Emily Brontë, James Joyce, Carlos Fuentes, William Wordsworth, Joyce Carol Oates, Norman Mailer, Noam Chomsky, and Charles Dickens, plus all canonized writers of people of African descent. But we should always remember one important thing, that the psychocultural distance of Shakespeare and other writers from contemporary exigencies of Africa’s social, spiritual, economic, and material realities, require that we pay closer attention to the likes of Kwame Nkrumah, Nelson Mandela, Ama Mazama, Ngugi wa Thiong’o, Toni Morrison, Chinua Achebe, Nuruddin Farah, Derek Walcott, Ayi Kwei Armah, Walter Rodney, Molefi Kete Asante, Ama Ata Aidoo, Wole Soyinka, and what have you! (Molefi Kete Asante)
A reader of The Japan Times comments on the newspaper's review of Minae Mizumura's A True Novel; Paris Match (in French) begins an article about Merle Oberon (you know about what) with this curious "On se souvient surtout de Merle Oberon pour le baiser passionné qu’elle échange avec Laurence Olivier dans « les Hauts de Hurlevent »"; the original novel is reviewed on Romanzi 2.0 (in Italian); Jannes in Leeds explores Brontë Country (in Dutch); taty y punto (in Spanish) reviews Jane Eyre; Indigo Montoya posts about Wide Sargasso Sea; Bristol Old Vic interviews Benji Bower, the author of the music of the upcoming Bristol Old Vic Jane Eyre two-part adaptation:
What are you inspirations and influences for the music of the show?I have loads! We’re taking influence from old English folk tunes and then mixing that with more classical influences from that time such as Edward Elgar. (But we’re careful not to use too much of that. It all gets a bit stuffy if you use it too much.)
Instead of using lots of classical music, like you might find in a TV period drama, we’re tried to create a set of music influenced by acoustic and folk music and we’ve managed to create something different. It’s been all about trying to finding the world of Jane Eyre. (...)
Is the music of Jane Eyre entirely original?Well we’re throwing a few curve balls and using popular music in some scenes. We’ve created a version of Mad About the Boy by Noel Coward and a cut down version of Crazy by Gnarls Barkley which I created with the Jazz singer Alice Russell. As a tribute to Bernard Herman, who’s another great influence of mine and who composed the original score for the film Jane Eyre, we’re stealing a bit of his music! But where we are using popular music it’s in a way that is completely relevant to the characters or to the story.
Stacey Thomas posts on Flickr this example of mixed media on pages of Jane Eyre.


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