Saturday, June 17, 2017

Local newspapers highlight what's to come to the Brontë Parsonage in the next few weeks and months. And it's a lot! Keighley News has the dates for the rest of this year's Brontë Treasures in the museum's library:
Brontë Treasures dates for the rest of 2017 have been released by the Brontë Parsonage Museum.
The monthly events allow visitors to the Haworth museum to go beyond the security cord into the library for a close-up viewing of items not on display.
Visitors can examine rarely-seen items from the world’s largest collection of Brontë artefacts, manuscripts and personal belongings.
Tickets cost £85 for each session. They will be held on July 28, August 25, September 29, October 27 and November 24, all at 2pm. (Richard Parker)
Keighley News also reports that Poetry at the Parsonage will be returning for the second year in a row and will tie in with the celebrations of Branwell's bicentenary.
Poetry at the Parsonage returns for a second year following its successful inauguration in 2016.
Top-notch poets will headline a day of workshops, talks and performances at the Brontë Parsonage Museum in Haworth.
Budding writers will be able to get in on the act with an open-mic session, poetry readings and the chance to pick up hints from the masters.
The first festival of its type in Haworth was held last year to tie in with the 200th anniversary of Charlotte Brontë’s birth.
This year’s Poetry at the Parsonage festival, on Saturday July 1, is part of a year-long programme celebrating the bicentenary of brother Branwell’s birth.
A spokesman said: “For fledgling poets or those wanting to build on their talents, there’s the opportunity to gain inspiration and hone your skills through workshops and open mic.
“We’re delighted to announce Simon Armitage, Patience Agbabi, Jacob Polley, Kei Miller, Zaffar Kunial and Clare Shaw as workshop leaders.
“And we have a treat in store for the evening: Simon, Patience, Jacob, Kei, Zaffar and Clare will come together for a poetry reading in The Old School Room.
“Poetry at the Parsonage offers a unique opportunity to hear some of the most vibrant poetic voices on the scene."
All of the workshops will take place at venues in Haworth.
The day will begin with Clare Shaw’s Writing the Shadows, taking as a starting point Charlotte Brontë’s phrase, ‘the shadows are as important as the light’.
The workshop will explore the dramatic, poetic and personal importance of engaging with loss, trauma, pain and other difficult experiences in poetry.
A workshop by the Brontë Parsonage Museum’ s 2017 creative partner Simon Armitage, entitled The Great Indoors, has already sold out.
Birmingham-born Zaffar Kunial will help writers decide when their poem is ‘ready’ during a session on Poetry Editing.
He will teach basic principles, and give practical tips on aspects such as line breaks, syntax and form.
Jacob Polley’ s workshop Small World will explore the ‘close-in and seldom-examined’, along with the micro-decisions people make while writing a poem. [...]
Kei Miller will lead a workshop on the theme of 'Poetry is never about what we say, it is about how we say it'.
Patience Agbabi’s workshop Telling Tales – Page to Stage will follow the transition from written word to performance of her modern-day interpretation of Chaucer. [...]
The day after the festival, on Sunday, July 2, Simon Armitage will host Wandering Bards, a walk in the footsteps of would-be poet Branwell Brontë.
The linear walk will go from Luddendenfoot in the Calder Valley, where Branwell worked as station clerk-in-charge, over the moors to Haworth.
Simon will be reading poetry during the arduous trek aimed at experienced walkers. (David Knights)
We must say, though, that as far as we can remember, the phrase ‘the shadows are as important as the light’ is not actually by Charlotte Brontë, as it comes from Franco Zeffirelli's 1996 adaptation of Jane Eyre.

And The Telegraph and Argus announces a forthcoming talk on Emily Brontë to mark the 199th anniversary of her birth.
“Stronger than in man, simpler than a child” is the title of an upcoming talk at the Brontë Parsonage Museum.
The talk on July 28 at 7.30pm will look at the most enigmatic of the Brontë sisters, Emily, on the eve of her birthday.
Charlotte Brontë used the phrase to describe her sister Emily after her death, but this may not be the full picture. (Richard Parker)
The Guardian discusses the literary tie-ins of TV series Twin Peaks. First of all, we are told what a tie-in is, or should be:
The tie-in is a curious beast. As an exercise in branding, it can encompass lunch boxes, duvet covers, video games, toy mannequins and lollipops. In literature, a true tie-in refers to televisual or cinematic attempts to extend the narrative of a novel without changing its original story. It involves more than simply changing the book jacket – in the way that the novels of Jane Eyre and Jaws were reissued with new covers to cash in on their cinematic fame. And it is quite different from novelising a film – though that can lead to some interesting comparisons with its representations on screen. (Stuart Kelly)
LitHub wonders, 'Why are we so afraid of female desire?'
Passionate feelings of all kinds could look unfeminine. Even writing about them was risky. Charlotte Brontë felt obliged to apologize for her sister Emily’s rendering of the “harshly manifested passions, the unbridled aversions, and headlong partialities” of northern folk in Wuthering Heights. That a quiet, well-behaved girl could even imagine a Heathcliff was somewhat unseemly. Emily had been unworldly, a home-bred country girl, Charlotte explained, much accustomed to the rough folk of the rugged moorlands, and it showed in the “perverted passion and passionate perversity” of her characters. Not that Charlotte herself was able to fully disguise her passions: her love for the (married) French teacher, Professor Constantin Héger, with whom she lodged and worked in Brussels in the 1840s, was a disruptive influence in her life and erupts through the surface of her novels. (Carol Dyhouse)
Vulture reviews the film Maudie:
There’s a Gothic quality to Maudie, suggesting stories in which a headstrong young governess slowly turns a brusque master into a sensitive lover. That’s the template, anyway — the atmosphere is too desolate and the heroine too simple to make this a modern Jane Eyre. (David Edelstein)
The Yorkshire Evening Post mixes fashion tips with local knowledge:
For petites, the top of the dress is best fairly close-fitting, not necessarily tight, but fitted or skimming close to the body. This helps keep the look in proportion and streamlined. You can create the illusion of height by choosing a slightly higher waistline, although again this should be fairly fitted. A small figure in an empire-line dress simply looks shorter and wider (have you seen the Brontë dresses at Haworth Parsonage?). (Stephanie Smith)
El Periódico (Spain) reports on the total success of the recent stage production of Jane Eyre in Barcelona:
En Gràcia, el montaje más visto, con un 100 % de ocupación, ha sido "Jane Eyre", con 6.057 espectadores. (Translation)
La Voz de Galicia (Spain) reviews the film Mal de Pierres:
Rechazada por un profesor timorato que le da a leer Cumbres borrascosas, enamorada de un hombre desahuciado, encontrará la redención en la comprensión última de su hermosa locura. (Eduardo Galán Blanco) (Translation)
La Voz (Argentina) interviews the writer Mariana Enríquez:
–La historia de Éste es el mar es, finalmente, una historia de amor trágico. ¿Qué te gusta y qué te interesa rescatar hoy de ese tipo de relatos? (Eloísa Oliva)
–Mi libro favorito es Cumbres borrascosas. Esa es la mejor respuesta que puedo dar. Hoy o siempre, es un tipo de relato que me gusta y que, sobre todo, me parece que no es cínico. Me aburre enormemente la escritura cínica e incluso irónica. En este momento, esas distancias temerosas me provocan tedio. (Translation)
Wired (Italy) reviews Lady MacBeth:
 Vendicativa, egoista, la Lady Macbeth di Oldroyd è un personaggio a cui è impossibile non affezionarsi. È stato scritto, non a caso: immaginate Cime tempestose diretto da Hitchcock. In effetti il film si rivela l’epopea crimale di una donna moderna che non si lascia imporre marito e vita, ma si sceglie l’uomo con cui stare e la vita che vuole fare in un tempo in cui alle donne tutto questo non era concesso. (Claudia Catalli) (Translation)


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