A very strong love template

Publishers' Weekly interviews Aline Brosh McKenna about her graphic novel adaptation of Jane Eyre.

What drew you to Jane Eyre? I have always loved that book. I remember reading it when I was about 11 or 12 and walking through my house with my nose in the book and not wanting to go downstairs for dinner and holding the book in my hand and weeping [because I had to stop reading].
The thing that spoke to me more and more as I matured was the romance with Rochester. I realized, as someone who had written a lot about male-female relationships, how much that relationship had imprinted itself on me: The remote and damaged man who looks past the superficial charms but is hampered by another woman. It's a very strong love template.
What did you want to keep from the original? To me, the essence of it is Jane's goodness and her loving-ness and her longing for family and longing to belong somewhere and her steadfast honesty and purity that pierces the heart of this lonely man. [...]
How is your Rochester different from Charlotte Brontë's? The thing about the Brontë sisters, and the Austen novels and Edith Wharton, is that the financial concerns are paramount. Everyone is scrambling to hold on to their fortunes. [My] Rochester is very wealthy in a self-made way, and his predicament with respect to his wife does not have to do with his financial circumstances. He has a different kind of trauma in his past, but there's still that idea of being haunted—in this case he is haunted by someone he truly loved, so that was slightly different. It was sort of about trying to change some of the external things but be true to his soul.
What I always loved about him is that he's serious, almost mean, but he gives Jane compliments and the compliments are very profound. He sees her depths, and that makes her fall in love with him. It's a bit like Shakespeare: You can take it and transpose it and embellish it, but it retains its soul, and that's what we were always conscious of—to have it maintain its Brontë-ness. (Brigid Alverson)

PopMatters interviews Gail Honeyman about her debut novel Eleanor Oliphant Is Completely Fine.

Were there any songs that you listened to while you were writing the novel? What other kind of media were you taking in while the story was coming together? Did you find yourself inspired by things you were listening to or reading or watching? I don’t listen to music when I write. If I do, I usually end up giving it my whole attention, which means unfortunately I don’t get much work done! In terms of reading, I often went back to Jane Eyre when I was thinking about Eleanor Oliphant Is Completely Fine. I love 19th century fiction and, in particular, fiction written by and about women. The things that make Jane stand out as a remarkable individual (her independence of spirit, her inability or reluctance to conform to expectations, her fierce intelligence and emotional honesty) were not considered pleasing, attractive or desirable female qualities according to the standards of the day, and she isn’t, to use a contemporary term, a people pleaser.
Of course, while I still had the same sympathy and affection for the character of Jane—who in no way deserves the treatment she receives—as I did when I first read the novel as a teenager, in later readings my understanding of the reactions of some of the adults she encounters in her early childhood was a bit more nuanced. (Deborah Krieger)

Times Higher Education reviews the book Consumptive Chic: A History of Beauty, Fashion, and Disease, by Carolyn A. Day:

Any reader of the Brontës, Jane Austen, Samuel Richardson or Charles Dickens might have some dim sense of this; the danger of “consumption” hovers constantly over heroines with susceptibly weak constitutions, a mark of their bodily infirmity and soulful sensitivity. (Shahidha Bari)

Deseret News lists all the literary references mentioned by general authorities from The Church of Jesus Christ of Latter-day Saints in their conference talks over the years.

Sister Ann M. Dibb, second counselor in the Young Women General Presidency from 2008-2013, spoke to the youth in April 2011. Referring to the British classic “Jane Eyre” by Charlotte Brontë, Sister Dibb recounted how the protagonist chose to stay true to her beliefs even when it wasn’t easy. Sister Dibb encouraged the Young women of the church to do the same. (Danielle Christensen)

Boing Boing has an article on Mary Shelley and her creation Frankenstein.

Mary projected unconsciously the danger of women living men's ideals. Most women manage in a parallel world of harsh feminine reality. They live in small lies, managing the truth on daily basis, providing for survival, with small talk, bread and soothing tender kisses. Even if they love, or write romantic poetry, they live the gap which sometimes they hide and other times they expose.
You can hear it in the pauses, the estrangement, if not in downright cries. From Cristina de Pisan to Mary, to the Brontë sisters, Austen, Virginia Woolf, Wollstonecraft... even Mary Elizabeth Braddon, with her torrent of best-sellers. Elizabeth Barrett, the poetess who escaped from her tyrant father who crippled her in order to possess her.
Before these ladies, we hardly have any record of a feminine witness. Other women certainly were there, they certainly did think, some even wrote...but no literary traces... their cries were not considered literature, their lives were historically expendable... just like Frankenstein's! (Jasmina Tesanovic)

In The Globe and Mail, A former student writes a tribute to the University of Toronto professor Fred T. Flahiff, who passed away last March.

He was Professor Flahiff to me when we met during my first year of PhD studies at the University of Toronto when he was acting chair of the English Department, and my "Jane Austen and the Brontës" instructor. [...]
Fred's thesis, its defence presided over by a harried Marshall McLuhan, having rushed back from shooting Annie Hall, had to do with place. Place, as he perceived it in Shakespeare and Milton, those great writers of artistic blueprints, wherein one's location and identity is fixed and central in the former, and moveable, fluid in the latter: "All places thou."
I learned about Austen and Brontë this way, and I learned about humanity, through the notion of who we are and what we value; and through other of his piercing insights – "The world will come to you," he assured me, in my youth, and it did. (Lynn Crosbie)

Augsburger Allgemeine (Germany) reviews the film Rock My Heart.

Wenn das Tier um die Ecke galoppiert kommt und sich wild schnaubend vor ihr aufbäumt, erinnert das ein wenig an die Schlüsselszene von „Jane Eyre“ – nur dass hier nicht der Reiter, sondern das Pferd selbst zum Objekt der Begierde wird. „Da ist dieses verrückte Pferd unter mir mit seinem riesigen Herzen, das nur für mich schlägt“, wird Jana sagen. (Fred Duran) (Translation)

Gazette Live mentions that Aysgarth Falls in the Yorkshire Dales appeared in Wuthering Heights 1992. The Nation mentions Alexa Chung's 'Prom Gone Wrong' collection, described as inspired by 'both the beauty of Wuthering Heights and Stephen King’s novel Carrie with extreme contrasts created by pairing masculine tailoring with feminine design details such as sequin embroidery on velvet and crushed satins'.