More ghosts, blood and misanthropes

The Irish Independent reviews Alison Case's Nelly Dean:

It's a risky business, attempting to reinvent one of the most famous and beloved books in the canon of English literature. But Alison Case's debut novel Nelly Dean has done just that. In this audacious retelling of Emily Brontë's Wuthering Heights, Case propels us headlong into the gripping tale of familial turmoil and thwarted passion, by re-imagining Nelly Dean's life, filling in the gaps in the original story with plausible and heart-rending detail. (...)
Alison Case, a professor of Victorian literature, has created a world so real, so grounded in visceral detail, that no prior knowledge of the Brontë classic is required. However I suspect her debut Nelly Dean will entice many (including this reviewer) to reread the original, with fresh and knowing eyes. (Justine Carbery)

Sexism and abuse on female technology writers are discussed in The Independent which makes a few historical remarks:

Female writers disguising their gender is not new. “We had a vague impression that authoresses are likely to be looked on with prejudice,” wrote Charlotte Brontë in 1846 to explain why she and her sisters (aka Currer, Acton and Ellis Bell) had used male noms de plume. (...)
Like Brontë, George Eliot and Harper Lee before them, 20% are disguising the fact they are female by writing anonymously or using a non-gender-specific name. (Catherine Adams)

Slant Magazine reviews Patti Smith's M Train:

But, of course, time and time again, whether revisiting her bungalow following Superstorm Sandy, or reminiscing about time spent with her kids, Smith reminds us that these moments of transport need not be ways of escape. These may be “portals,” but they are of the world, not out of it. Thus, her visceral connections with her scribbled-on books with frayed pages, stained with coffee and olive oil become tendrils that connect her to writers past and present. And this is what motivates the various trips—pilgrimages, even—chronicled in M Train: to Frida Kahlo's Casa Azul, Genet's grave in Tangiers, Plath's grave in “Brontë country,” and Mishima's in Japan.

The Northeast Today interviews the Indian writer Utkarsh Patel:

Q. Could you suggest any “great” books for readers?
A. Some must-read classical authors are Charles Dickens, Charlotte Brontë, Emile (sic) Brontë and Alexander Dumas, to begin with. If these are not your genres, then you can read some good modern writers like Vikram Seth, Jhumpa Lahiri, Salman Rushdie, Rohinton Mistry etc.

The Conversation reviews A Little Life by Hanya Yanagihara:

“The Child is father of the Man,” as Wordsworth’s famous axiom goes. The Bildungsroman, narratives that trace the relationship between child and adulthood, certainly has a long-standing, if never subtle, presence in the history of the novel in English. It can be traced back through Jane Eyre to the origins of the novel with Daniel Defoe’s Moll Flanders (1722). (Stacy Gillis)

Página 12 (Argentina) reviews the film Crimson Peak by Guillermo Del Toro:

[E]n ella veremos destellos de sus lecturas favoritas: Shirley Jackson y su The Haunting of Hill House, que fue un par de veces al cine, una vez convertida en una obra maestra de Robert Wise, la otra olvidable; Jane Eyre de Charlotte Brönte (sic), Cumbres borrascosas, de su hermana Emily, La caída de la casa Usher de Poe y también algo de Henry James, aunque no tanto de Otra vuelta de tuerca como muchos esperarán, dice, sino del cuento de fantasmas “El amigo de mi amigo”. (Mariano Kairuz) (Translation)

More Crimson Peak mentions:

Crimson Peak is Wuthering Heights, only populated by more ghosts, blood and misanthropes. (Chris Lackner in Postmedia News)

 His Crimson Peak, which rolls out around the world this month, borrows strongly from Del Toro’s love of Edgar Allen Poe stories, especially The Fall of the House of Usher, and the 1939 film version of Wuthering Heights, with their complex reflections on human psychology. (The Rakyat Post)

Le Point (France) interviews Emmanuel Pierrat, expert on edition rights:

Les tentatives pour reculer au maximum l'entrée des œuvres dans le domaine public sont-elles courantes ?
Lorsqu'un éditeur a le monopole sur une œuvre, il a tout intérêt à sortir une variante ou une nouvelle traduction pour retarder le plus possible la concurrence. C'est ce qu'ont fait des éditeurs pour garder la mainmise sur Proust ou pour les versions en français moderne de Rabelais ou de Montaigne, par exemple. Pour les œuvres étrangères, il suffit parfois d'imposer un titre génial pour gagner une sorte de monopole. Je pense notamment aux Hauts de Hurlevent. Ce titre français, créé par Hazan en 1950, s'est bien vite imposé, balayant sur son passage toute tentative de reformulation par d'autres maisons. Les Haute plaine, Hauteurs tourmentées ouHurlevent des monts n'ont jamais fait vendre. (Victoria Gairin) (Translation)

David Aaranovitch's column in The Times mentions the National Theatre's performances of Jane Eyre; AnneBrontë.org posts about Flossy; the Brontë Society's Facebook Wall shares a few photographs from the private view of the new music installation by Ailís Ní Ríain.