Authoresses are liable to be looked on with prejudice

Nottingham Post reviews the local production of Polly Teale's Brontë considering it 'virtually unmissable'.

This is down to the excellence of Polly Teale's play, but, more importantly, to the sheer quality of most of the acting. The family are especially well cast.
Lucy Theobald, in a splendid Lace Market debut, is the bespectacled Charlotte, who craves celebrity and in the end achieves it. And she is briefly married. Charlie Osborne is an impressive Emily, tall and single-minded, who dies tragically after publishing only one novel, but leaves some great poetry.
Abigail Mahony, also an LMT newcomer, plays Anne, then as now under-rated by comparison with her sisters. She is the one most aware of the social ills arising from the industrial revolution underway in the outside world. And, railing against the subjugation of her sex, she gets one of the key lines of the play: "Kept like overgrown children in the nursery of life".
Daniel Potts is entirely convincing as Branwell. Much more limited than his sisters, and a indulged wastrel to boot, he is, even so, tragically unfulfilled. And Daniel Bryant is excellent as their father, clergyman Patrick Brontë, pompous and correct, but essentially loving and tolerant.

The Atlantic discusses the uncovering of Elena Ferrante's true identity.

The writing life has always been a risky business. Writers have dodged kings and popes, tyrants and megalomaniacs. But for female writers, the cruelest judge of all has often been society. Society has been quick to criticize ambitious women, a tendency Charlotte Brontë challenged in her work, including in her masterpiece Jane Eyre. It also ostracized those who dared to enter relationships outside marriage, as George Eliot found when she lived as the unmarried partner of George Lewes. Among the various tools in their arsenal of self-protection, writers have historically relied on the ability to write under a different name. Like Eliot, the Brontë sisters famously wrote as men, because, as Charlotte ultimately explained, “we had a vague impression that authoresses are liable to be looked on with prejudice.” (Mira T. Sundara Rajan)

L'Orient Le Jour (Lebanon) has a column on how people approach passionate love stories such as Wuthering Heights.

Il y a celles qui, plus sagement, dévorent les romans passionnels entre les départs du mari et des enfants, qui à son bureau qui à son école, et leurs retours.
Il y a celles qui, plus sagement encore, suivent un épisode quotidien d'une adaptation des Hauts de Hurlevent dans leur salon aux meubles bien époussetés, avec napperons brodés, volumes de l'encyclopédie Universalis rangés par ordre alphabétique. Elles dégustent leur feuilleton en sirotant leur thé avec de petits claquements de la langue pour exprimer leur satisfaction devant les affres provoqués par l'amour tout en haine et en vengeance de Catherine et de Heathcliff. (Nicole Hatem) (Translation)

Focus Vif (Belgium) reviews the film Une vie by Stéphane Brizé and is at times reminded of Andrea Arnold's Wuthering Heights.

Et Une vie de suivre un cours inexorable comme le passage des saisons, privilégiant les moments creux aux climax (souvent réduits à un plan, voire purement escamotés en de fulgurantes ellipses), oeuvre à l'abord incontestablement austère, mais à la densité et au souffle exceptionnels -on songe, par moments, au Wuthering Heights d'Andrea Arnold. Il y a là au final, sondant le paysage humain, le fascinant portrait d'une femme dont rien ne saurait entamer la droiture morale (et évoquant en cela le Vincent Lindon de... La Loi du marché), portrait transcendé encore par la composition frémissante de Judith Chemla (vue notamment dans Camille redouble et la série Engrenages), jusqu'à dispenser une émotion subtile et profonde. Beau film. (Jean-François Pluijgers) (Translation)