Emma-Jane Austin and The Tunnel - Jeanette Sears: I had to find a drak scary place for my heroine to meet her Mr Rochester in my new novel 'Murder and Mr Rochester': (46 minutes ago) Emma-...
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The Brontë home is a fantastic museum full of fascinating displays and insights into the lives of the three sisters, from their early life right up to when they were shaping the future of English literature.The Boston Globe reviews Caryl Phillips's The Lost Child:
Theparsonage is pretty much completely open to visitors, with each room kept true to how it would have looked in the nineteenth century.
Step into each room, and you get a sense of the story that the Brontë home has to tell. Tales of sisterhood, a troubled brother, and a father outliving his children, to name just three.
The Parsonage also hosts rolling exhibitions, including their new showing, The Brontës, War and Waterloo, which looks at how violence and brutality comes through in the work of the sisters. It may not be the most uplifting of subject matter, but it certainly is interesting!
An once you’ve digested the lives and times of three trailblazing female writers, the village of Haworth has everything else you need for a great day out, including the scene of one of the pictures of last year’s Grand Départ of the Tour de France, as the peloton made its way up the village’s cobbled high street. Plus, there are brilliant cafes and restaurants everywhere!
Best known for meditations on the legacy of slavery and colonialism such as “Cambridge” and “A Distant Shore,” Caryl Phillips challenges our expectations by linking his latest novel to “Wuthering Heights,” a tale so intimately embedded in the Yorkshire moors it’s hard to imagine the characters having any relationship with the outside world. His riff on Emily Brontë’s masterpiece is like a jazz improvisation: Phillips plucks the themes that resonate most deeply with him and transposes them into a polyphonic narrative set mostly in mid-20th-century England.WPSU interviews the author himself:
His imagined prehistory of Heathcliff frames the modern story. A formerly enslaved woman from the Congo has fetched up in 18th-century Liverpool; destitute and dying, stigmatized as “Crazy Woman,” she remembers the liaison with a married white man that produced the 7-year-old boy who anxiously stands over her. Written in the elegant, faintly antiquated prose familiar to readers of Phillips’s historical fiction, this prologue takes as a given the speculation of “Wuthering Heights” scholars that Heathcliff is Mr. Earnshaw’s illegitimate son and refashions the black-haired gypsy boy described by Brontë into an interracial by-product of Liverpool’s bustling slave trade.
It’s a jolt when Phillips jumps ahead to the year 1957 in Oxford, where Ronald Johnson is disowning his 20-year-old daughter Monica for her relationship with Julius Wilson, a graduate student from the West Indies. Serious, rather stodgy Julius is no Heathcliff, nor does the couple’s rocky marriage bear any resemblance to the apocalyptic romance depicted by Brontë. Only after Monica leaves him and takes their two sons to Leeds do we begin to discern connections, not yet with “Wuthering Heights,” but with the drama of female desperation and madness sketched in the opening chapter. (Read more) (Wendy Smith)
[Scott] SIMON: And what made you decide to weave scenes from "Wuthering Heights" or transpose "Wuthering Heights" into Monica Johnson's more contemporary story?
PHILLIPS: Well, the Brontë factor, I should say, came into view because I grew up in a city that is 10-15 miles away from where the Brontës were. You know, there's always been a mystery about the relationship of this fictional character Heathcliff to the family that eventually took him in. So the question of parentage, the question of belonging, is very central to "Wuthering Heights." And some of those echoes in that novel obviously began to resonate with me when I was thinking about the more contemporary story.
SIMON: And how did you come up Monica Johnson?
PHILLIPS: Well, I began to think about a young woman who perhaps felt somewhat disaffected with her belonging where she was. And, in many ways, her story echoed that of Emily Brontë, who was a young woman who felt very at odds with her upbringing and her background. So I was, in a sense, looking for a more contemporary version of an Emily Brontë figure.
Such rectitudinous generalizations hardly warrant a response, but those familiar with Brooks’ work understand what the provenance of the aforementioned morality is likely to be, and that does deserve rebuttal. He hints at it, reminding us of times of “moral revival” when “behavior was tightened and norms reasserted.” He has in mind, he says, “England in the 1830s and . . . the U.S. amid economic stress in the 1930s.” He suggests we engage in an “organic communal effort, with voices from everywhere saying gently: This we praise. This we don’t.” (...)#WomeninFiction on Mashable:
But what of “England in the 1830s”? The badass sensualist poet Lord Byron and his fellow atheist versifier Percy Bysshe Shelley had just tragically departed this world for the Eternal Void. The novelists Charlotte, Emily and Anne Brontë were coming of age, and would produce such wonders as “Jane Eyre,” “Wuthering Heights” and “The Tenant of Wildfell Hall.” Samuel Butler, author of “The Way of All Flesh” (a moving, must-read semi-autobiographical account of a journey from religious belief to atheism), was born.
Superheroes, wizards, teachers, troublemakers and ordinary girls — book lovers honored them all on Saturday in a spontaneous celebration via the hashtag #WomenInFiction.Some of examples of Jane Eyre tweets here.
The hashtag appeared to originate Saturday afternoon when Preeti Chhibber, a marketing manager for HarperCollins Children's Books, began tweeting about strong women writers and beloved women characters. (Kate Sommers-Dawers)
Le poesie d'amore di Emily Brontë sono romantiche e struggenti, la scrittrice e poetessa inglese famosa per il suo unico romanzo “Cime tempestose” è una delle donne più amate e apprezzate della letteratura britannica. La produzione di Emily Bronte consiste in un romanzo e duecento poesie scritte in anonimi quadernetti. Emily rimasta orfana di madre da bambina ad appena due anni e, poco dopo, perse anche tre sorelle a causa della tisi, queste perdite hanno influenzato la sua vita donandole un carattere schivo e sensibile ed una predisposizione a mettere in versi quello che i suoi occhi ed il suo cuore riuscivano a cogliere. (Serena Vasta) (Translation)bitlanders reviews Jane Eyre.