"I could not, in those days, see God for his creature"

The Argus reviews the Brighton performances of the National Theatre's UK tour of Jane Eyre:

In a play of innovative features, the most memorable of the lot is the recurring presence of Rochester’s estranged Creole wife Bertha (Melanie Marshall), locked in the attic of Thornfield. Clad in red satin dress she drifts in and out of the action, a haunting observer of the unfolding plot. (...)
A standing ovation met the actors at the end of the play. Clifford looked overwhelmed and humbled by the audience’s response but it was fully deserved; she and her cast delivered a heart-warming, life-affirming performance to remind us just why Brontë’s novel has such a lasting appeal. (Edwin Gilson)

The Latest and The Brighton Magazine also review the production.

Salon reviews the film The Last Face by Sean Penn. It mentions a Brontë reference in the first minutes of the film:

Then Penn borrows from Terrence Malick’s playbook. A ticking clock sounds, hands are embraced, a tear falls, and other impressionistic images follow: lantern balloons float through the night sky, a voiceover talks about saving the world. There is the concert, which includes an elaborate onstage sand painting, and a quote proffered from one of the Brontës. Viewers should away in droves. (Gary M. Kramer)

The quote is made by the character of Charlize Theron as a voice over: "I could not, in those days, see God for his creature" from Jane Eyre, Chapter XXIV.

An article on Joy FM about a terrible incident in Ghana contains a mention to Jane Eyre:

A few days ago, while reading Charlotte Brontë’s Jane Eyre, clouds of warm tears rolled down my eyes in the middle of the night when a little homeless girl  – Jane Eyre – spent several days and nights in ice-cold weather wandering from house to house, looking for a piece of bread to stay alive. Tears drowned my vision upon realization that an entire community had shut its doors to a poor, innocent, hungry, homeless, dying girl! (Theodore Dzeble)

Another passing mention appears in an article in San Francisco Chronicle:

“Sylvia! Sylvia!” he continued, his voice at the level of Tarzan summoning Jane, Romeo summoning Juliet, Cathy summoning Heathcliff. “Sylvia! Sylvia! Where are you?” (Leah Garchik)

The New York Review of Books talks about John Keats:

It was said about Fanny that she wasn’t very beautiful, but undoubtedly elegant. Her nostrils were too thin, her face too long, the nose aquiline, and her pallor chronic. Her cheeks were never rosy, not even after a six-mile walk. The history of female beauty is almost always told in the negative. Even the Brontë sisters were talked about as plain, as was Emily Dickinson. Spiritual sex appeal does not seem to generate chivalry.  (Fleur Jaeggy)

This column in Diario Sur (Spain) contains a brief Brontë mention more original than usual:

A menudo rechazada, pero siempre de regreso, que diría Emily Brontë. (Rosa Belmonte) (Translation)

A reference to the poem Often Rebuked, yet Always Back Returning is highly original. Read this post about the possible attribution of the poem to Charlotte instead of Emily.

Il Corriere della Sera (Italy) and the Daily Mail talks about pseudonyms:

E chissà quale sarebbe il commento delle sorelle Brontë — Charlotte, Emily e Anne — che firmarono i capolavori della letteratura vittoriana con gli androgini Currer, Ellis e Acton Bell, a causa «di una vaga impressione che gli autori siano suscettibili di essere considerati con pregiudizio». (Sara Gandolfi) (Translation)

Female writers of the past such as George Eliot and the Brontë sisters had little choice but to use male pseudonyms if they wanted their work published. (...)
Speaking on the Radio 4 Today show yesterday, author Allison Pearson said it is a ‘small moment of triumph’ that men now have to pretend to be female to sell more, and added that in the ‘great library in the sky’ Charlotte Brontë and Mary Ann Evans (George Eliot) were ‘perhaps exchanging a wry glance of satisfaction’. (Tammy Hughes)