Monday, December 07, 2015

Grough reports the unusual sight of an air ambulance taking off from the Brontë falls:
A walker was airlifted from a Yorkshire beauty spot after he suffered a suspected broken leg.
Calder Valley Search and Rescue Team was called out about 11.30am on Sunday at the request of Yorkshire Air Ambulance which had flown to the site at Brontë Falls, near Haworth in West Yorkshire.
The elderly man had injured his leg in a fall at the site, which lies on the popular route between Haworth and Top Withins on the Brontë moors. (John McHale)
The Yorkshire Post gives further details of the repair works on the roof of the Haworth Parish Church thanks to a National Lottery grant:
The project aims to restore and repair the north-facing roof on the parish church - which is famous for its Brontë family connections - just off Main Street, Haworth. Within the church building is the last resting place of members of the Bronte family, including authors Charlotte and Emily.
It has received a confirmed grant of £204,600 from the Heritage Lottery Fund (HLF) for the project and work is due to get underway next year.
One day before the National Theatre's production of Jane Eyre gets screened in cinemas all around the world, the Philadelphia Enquirer reviews the production:
With the same feeling I have when I stay up much too late reading a compelling novel, I realized at intermission, that I didn't want this show to end. This devised adaptation of Charlotte Brontë's iconic novel, Jane Eyre, is as thrilling and inventive as any show I've seen in recent years—and I'm no fan of devised theatre. (...)
But it's the company of wildly talented, disciplined actors, under Sally Cookson's inventive and high-precision direction that makes this show dazzling. As Jane, Elly Condron amazes: her plain Jane face radiates silent suffering or wonder or grief or the firm intelligence that guides Jane through her life. She, like the rest of the cast—many of whom play multiple roles—is agile and endearing and passionate. (...)
The creative stamina of the cast never flags: when the stage bursts into flames as Thornfield Hall burns down, it is as though the passion of the characters and the passion of the production have visibly ignited. (Toby Zinman
Elly Condron, as a matter of fact, is the understudy of Madeline Worrall who is interviewed in The Herald on Sunday:
“A lot of people have said to me that the way I play Jane is not what they expected from it,” she says. “I recoiled when I first heard that. I first read Jane Eyre when I was thirteen, and I want to be true to the book, so I asked what they meant. They said that the way we do it, Jane is so fiery and so sparky, but if you read the book, that's what she's like.
“Those dreadful pictures on the covers of the book don't help. A lot of Jane's fire is in her mind - the full title of the book is Jane Eyre: An Autobiography - and one of the biggest problems is how you bring that inner rage onto a stage. Jane learns the hard way very early on that she has to keep her passions under control, and she becomes very wilful, but there's this extraordinary brain still ticking. She is a fiery, angry wild child.” (...)
 Worrall's approach to Jane Eyre remains equally singular.
“It's about self-determination and living life on your own terms without damaging other people,” she says of the current production. “Personally, it's thrilling to be part of what seems to be a wave of great women characters being seen onstage, which is something that hasn't always been the case.
“I think what doing Jane Eyre has taught me is that the work that makes me happiest are exhilarating adventures like this, where you're devising it and creating it as well as performing it. I'm not sure what it will be like doing something with a script again after this. This show obliterates me,” she says. “Look out for the sweat.” (Neil Cooper)
The Daily Mail has mixed Emilys. You know there are so many of them... Brontë, Dickinson. You never know who is who:
Emily Brontë believed that the first thing she’d see in the afterlife would be her ‘dear, faithful old friend Carlo’. Maybe she did. To be honest, I’ve tried to console myself with the idea that dogs have a soul. (Bel Mooney)
Wrong. That was Emily Dickinson, of course.

Otago Daily Times reviews Alison Case's Nelly Dean:
Case has succeeded where many have failed.
She has written a story that honours and enhances the original, faithfully noting the events, characters and setting of the primary source, yet is a compelling, imaginative work in its own right.
Case knows her subject well - she is an English professor with an interest in 19th-century British fiction - and her attention to detail is evident.
Everything is spot-on (characters, language, customs, superstitions and setting), and she writes in prose as powerful, persuasive and passionate as Brontë's. (...)
It made me immediately reread the original, and I felt both were richer for Case's contribution.
The passion, cruelty and torment are there in spades, but so too is the glimmer of light over those bleak Yorkshire moors, which echoes the ''happier'' ending of the original.
Emily Brontë would surely have approved. (Helen Speirs)
The Manchester Evening News reviews a recent concert by the Mumford & Sons band:
A bleak Sunday night in December in the very rainy north of England could have sounded a little like the beginning of a Brontë novel, but instead is the scene for a room of 21,000 music lovers clapping until their hands burn and being happily swept away by the magic of Mumford & Sons. (Daisy Jackson)
Indeed, Mumford & Sons composed a song for the Wuthering Heights 2011 film.

The Daily Star (Bangladesh) reviews The Sharp Hook of Love by Sherry Jones:
Heloise and Abelard were not left alone by the adversities of the patriarch and theocratic society that prevailed in France during 12th century. The rigid tenets of conservative societies have all along persecuted lovers since the beginning of civilization. In this context it may be alluded that The Scarlet Letter by Nathaniel Hawthorne, The Broken Wings by Kahlil Gibran, Wuthering Heights by Emily Brontë and Romeo and Juliet by William Shakespeare tell pathetic love stories that failed to obtain recognition from the custodians of respective communities. (Mahfuz Ul Hasib Chowdhury)
News Tribune reviews The Hired Girl by Laura Amy Schlitz:
Other misunderstandings on Joan’s part are generally humorous, of her own making and can be chalked up almost entirely to the romantic notions she has picked up from numerous re-readings of her favorite book, “Jane Eyre.” She’s also trying to pass as an 18-year-old — no small feat for someone who’s actually 14 and not at all wise to the ways of a world she’s had very little interaction with until now. (Lisa Sanning)
Mario Vargas Llosa writes in Expreso (México) about Ernest Hemingway:
Leí mucho a Hemingway en mi juventud y fue uno de los primeros autores que pude leer en inglés, cuando todavía aprendía esa lengua, pero luego me fue desinteresando poco a poco y llegué a creer que no era tan bueno como me había parecido de joven. Hasta que volví
a releer, para escribir sobre él, El viejo y el mar, y quedé convencido de que era una obra maestra absoluta, una de las parábolas literarias que reflejaba lo mejor de la condición humana, como Moby Dick o Cumbres borrascosas. (Translation)
The Brussels Brontë Blog reports the presentation in Brussels of two books by Helen MacEwan: the French translation of The Brontës in Brussels and her biography of Winifred Gérin. AnneBronte.org posts the birth of Agnes Grey and Wuthering Heights in December 1847.

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