Thursday, July 16, 2015

Thursday, July 16, 2015 12:05 pm by M. in , , ,    No comments
Kate Beaufoy's presents her novel Another Heartbeat in the House, a literary fiction about W.M. Thackeray in The Irish Times:
Miss Drury was in Thackeray’s employ for less than a year. She left towards the end of 1847, by which time the Victorian reading public had become hooked on the monthly magazine instalments of Vanity Fair. In October that year, Charlotte Brontë’s Jane Eyre appeared under a pseudonym. Inevitably a rumour circulated that not only had Isabella provided the template for Rochester’s mad wife, but that the novel had been penned by Thackeray’s governess. No surprise then that Miss Drury had sought to distance herself from any whiff of scandal.
However, Miss Brontë’s Bertha Rochester – bloated, beastlike, purple of countenance and savage of temperament, was the antithesis of Isabella. Isabella was a “little red-poll’d ghost”, whose head had flown away from her “like a balloon”. 
io9 interviews Mia Wasikowska about her role in Crimson Peak:
This movie’s being compared a lot to Jane Eyre. You actually did a Jane Eyre movie, a few years ago. Do you feel like your character goes through a similar transformation and emotional awakening in this film?
Maybe. They seem quite different to me, but there’s definitely a similarity—maybe even just in that time and setting, I guess. But yeah, I love both of them. They seem different to me, but also the productions felt so different. But yeah, it’s definitely a journey of self-discovery and finding out who you are. Thinking you know who you are, and then meeting a bunch of things that test that. And then having to make choices about your life at the end. (Charlie Jane Anders)
A honeymoon in Venice in the New York Times:
As we twirled over the scaffolding the buskers use during the day, I felt happy and hopeful and thought of a favorite line from “Jane Eyre”: “our honeymoon will shine our life long: its beams will only fade over your grave or mine.” (Porter Fox)
San Francisco Weekly begins a review of Poldark like this:
In order to make it into the echelon of PBS' Masterpiece, one must have a few things going for oneself. (And yes, I am going to refer to televisions shows as "one," because it sounds more posh.) Firstly, one must preferably be based on British literature. (Austen or Brontë works nicely.) (Katy St. Clair)
The Huffington Post on women role models:
That this bias persists in writing, an arena in which Charlotte Brontë wrote more than 150 years ago, "To you I am neither Man nor Woman - I come before you as Author only", is extraordinary. It is also evidence to a businesswoman like me that an intervention is clearly called for and that simply assuming that it will all come right without direct action is clearly not working. (Syl Saller)
Il Fatto Quotidiano (Italy) lists Charlotte Brontë in a rather familiar list:
Alcuni tipi di lavori, come ad esempio scrivere libri, un’attività che richiede tempo per sé e isolamento, mal si conciliano con la maternità: “non si può ignorare che tutte le grandi scrittrici come Jane Austen, le sorelle Brontë, George Eliot, Viriginia Woolf, non hanno avuto figli. (Stefania Prandi) (Translation)
Berliner Morgenpost (Germany) reviews the film Far From the Madding Crowd 2015:
Wenn es etwas gibt, um das man Briten beneiden muss, dann ist das die Hervorbringung eines Genres, das wir Austen-Film nennen wollen. Obwohl das verkürzt ist. Denn der Austen-Film, also die alljährlich weitergedrehte Folge von Variationen des oben zusammengefassten dramaturgischen Konzepts, muss nicht zwangsläufig auf einem Roman der Jane Austen, er kann auch auf einem Roman der Brontës basieren, von Dickens oder von Thomas Hardy. (Elmar Krekeler) (Translation)
Rosie's Chronicles reviews Wuthering Heights 1939.


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