Trust the reader

Bustle resurfaces the profile literary character sketches by The Composites that we already talk about some time ago:

1. Jane Eyre from Jane Eyre by Charlotte Brontë
I sometimes regretted that I was not handsomer; I sometimes wished to have rosy cheeks, a straight nose, and small cherry mouth; I desired to be tall, stately, and finely developed in figure; I felt it a misfortune that I was so little, so pale, and had features so irregular and so marked…
'Jane, you look blooming, and smiling, and pretty,' said he: 'truly pretty this morning. Is this my pale, little elf? Is this my mustard-seed? This little sunny-faced girl with the dimpled cheek and rosy lips; the satin-smooth hazel hair, and the radiant hazel eyes?' (I had green eyes, reader; but you must excuse the mistake: for him they were new-dyed, I suppose)…
Having ascertained that I was myself in my usual Quaker trim, where there was nothing to retouch—all being too close and plain, braided locks included. (...)
4. Heathcliff from Wuthering Heights by Emily Brontë
His thick brown curls were rough and uncultivated, his whiskers encroached bearishly over his cheeks…
A ray fell on his features; the cheeks were sallow, and half covered with black whiskers; the brows lowering, the eyes deep-set and singular. I remembered the eyes…
Do you mark those two lines between your eyes; and those thick brows, that, instead of rising arched, sink in the middle; and that couple of black fiends, so deeply buried, who never open their windows boldly, but lurk glinting under them, like devil’s spies…
Compressing his mouth he held a silent combat with his inward agony. (Kristian Wilson)

Elle traces a profile of the writer Kia Corthron:

A more recent influence for Corthron is the work of nineteenth-century novelist Charlotte Brontë, whose preserved family home, the Parsonage at Haworth, the playwright visited during a stay in the north of England. "What I learned from reading Jane Eyre is to trust the reader," she says. "You don't have to give them all the information. Brontë knew the reader would get it because they would feel it."
It is not lost on Corthron that Brontë and her siblings wrote their immortal works in an age and an environment that tried and tested them. Ruled by a harsh father, they had scant opportunity for identity outside of their family. In spite of their isolation, their imaginations flourished. (Lisa Shea)

The Hindu talks about a poetic event in Mumbai:

[Shruti] Sunderraman will perform a piece highlighting how human beings like to blame others instead of looking inside. She is also curious about why they are terrified of communication despite having multiple tools to communicate. Her inspiration comes from poets such as Jack Kerouac, Allen Ginsberg, Charles Bukowski and Charlotte Brontë. “I love the fact that the performer is in control. The ambiguity associated with words on a page is not there. When you are in front of an audience, you can be the poem,” says Sunderraman. (Chintan Girish Modi)

El Confidencial (Spain) reviews Terry Eagleton's book How To Read Literature:

Tres estudiantes cotillas discuten una relación amorosa. 'A' no ve nada excepcional:Catherine y Heatchcliff le parecen un par de mocosos que se pasan el día riñendo. 'B' discrepa: pero es que no es una relación de verdad, sino una especie de "unidad mística de dos egos". ¡Paparruchas!, exclama 'C', Heatchcliff, lejos de ser un místico, es más bien una bestia. Responde B que puede ser pero que fueron "la gente de las cumbres" las que le convirtieron en un monstruo al no dejarle casarse con Catherine y que "al menos no es un mequetrefe como Edgar Linton". Y 'A' apostilla: "Linton no tendrá sangre en las venas pero trata a Catherine mejor que Heatchcliff"...
¿Qué ocurre en en esa conversación imaginada por el teórico literario inglés Terry Eagleton (Salford, Reino Unido, 1943)? Bueno, si el que la escucha no ha oído hablar de 'Cumbres borrascosas' nunca imaginará que los tres estudiantes están hablando de una novela. Ocurre que no se dice nada del lenguaje de la obra, de su estilo, de su técnica. Ocurre que cada vez es más difícil distinguir lo que dicen los críticos literarios sobre las novelas de nuestros comentarios habituales acerca de la vida real. Ocurre que ya sólo nos centramos en lo que dice un libro y no en cómo lo dice.
Ocurre que nos hemos olvidado de "leer". (...)
La segunda lección literaria de Terry Eagleton se resume así: "no trates a los personajes como si fueran personas reales". Aunque sea inevitable, para disfrutar de verdad del sabor de una obra hay que recordar a cada página que sus personajes no existen. No existe el rey Lear, ni Hamlet, Hedda Galber, el mentado Heatchcliff, la pequeña Nell, Tristram Shandy, Jane Eyre, Clarissa... No existe una Emma Bovary, tampoco un Stephen Dedalus. (Daniel Arjona) (Translation)

La Vanguardia (Spain) interviews the poet Pere Gimferrer:

“Mi abuelo tenía dos libros fundamentales, Rojo y Negro y Cumbres borrascosas. Se sabía los pasajes de memoria, me los leía, hacía una pausa para comentarlos y antes de continuar teatralizaba una avanzadilla. Cuando murió yo tenía 16 años. Era un personaje excéntrico, teatral, y poco conformista”, añade con una sonrisa. (Lidia Penelo)

Breaking News lists some minimalist literary tattoos, including this one from Wuthering Heights. Finally, an alert from Cluj (Romania) where the Ada Lupu adaptation of Wuthering Heights will be performed again at the Teatrul Nationl Cluj-Napoca.