Amazing and Disappointing

The Statesman talks about different Wuthering Heights adaptation:

Hailed as an unforgettable classic of destructive passion and immortal love, Emily Brontë’s Wuthering Heights is one of the most psychologically complex, self-reflexive and indeterminate of Victorian novels. Her nuanced exploration of class conflict, power, and patriarchy in this multi-layered narrative, undermines conventional notions of gender, class and propriety.
Brontë’s one and only prized 1847 classic, has remained the treasure-house of ideas for a plethora of film adaptations since the 1920s. Established directors from in and outside Hollywood have experimented, tried their hands to appropriate and transcreate Brontë’s fascinating classic. It is one such literary text that poses the daunting challenge of narratives embedded within narratives, the use of multiple narrators with multiple points of view that make it all the more difficult to be translated on screen.
The result has been both amazing and disappointing for lovers of literature and the movie-going audience. Directors like William Wyler, Luis Buñuel, Robert Fuest, Peter Kosminsky, and recently woman director Andrea Arnold, have been quite successful in their intermingled transactions of literature and film, to work out a nuanced dialectic in their intertextual and performative readings. (Read more) (Pradipta Mukherjee)

Women's empowerment through literature in The Boar:

Women in history have conquered many obstacles and torn their way through multiple restraints to get to where we are today. The Suffragettes. Rosa Parks. Marie Curie. Anne Frank. Florence Nightingale. Eleanor Roosevelt. Women in literature have faced similar struggles. Emily Brontë published Wuthering Heights under the male pseudonym of Ellis Bell (her sister, Charlotte, published Jane Eyre as Currer Bell) because they feared rejection from publishing houses if they were to approach them as women. (Katie Stokes)

The Young Folks celebrates Kate Bush's 1978 The Kick Inside record:

“Wuthering Heights,” the album’s first single at Bush’s insistence, went to #1 on the UK charts, making it the first time a female singer-songwriter topped the charts with a self-penned song – and it remains Bush’s only number one single. The song was written at age 18 after Bush watched a mini-series adapted from the Emily Brontë novel of the same name. In the song she sings from the dead character Cathy’s perspective as a ghost, begging to be let inside and back into her love Heathcliff’s arms, perfectly capturing the wild and uncontainable emotions depicted in the novel. (Beth Winchester)

Britain's missing schoolchildren (because they are homeschooled) in The Sunday Times:

While her two younger sisters went to school as normal, Nina was educated at home. She was taught maths, English and other basic skills — but not science or arts. When she returned to school, she struggled to make friends.
“I didn’t know what teenage girls were like. I didn’t understand social cues. I was an avid reader but Jane Eyre doesn’t prepare you for life in 1999. I decided as a teenager I was meant to be alone, I was not meant to have any friends.” (Sian Griffiths and Iram Ramzan)

Today's Quiz in The Guardian asks you to find what links

13 Seattle doctor; Seattle S&M enthusiast; Anne Brontë governess? (Thomas Eaton)

There's also a Brontë-related question in The Times' crossword.

Daily Pakistan interviews the screenwriter Bee Gul:

Besides telling about her love for books, her favourite being Charlotte Brontë’s ‘Jane Eyre’, Bee Gul has this interesting thing to tell that music has been her biggest inspiration, partly due to her parents’ love for it, who would keep themselves updated with every genre of music and the house furnished with every kind of music player. (Muhammad Ali)

The Telegraph reviews the film Damsel:

The film pivots with a hugely bold, structurally remarkable scene midway about which I can say nothing, except that the long-awaited Wasikowska earns her co-billing and then some. The title’s an ironic clue that she’s probably capable of looking after herself – at least, one would hope so – and there’s more fire and purpose in her acting here than we’ve seen, debatably, since Jane Eyre (2011).

A concert in Suffolk, as reported by the Lowestoft Journal:

The Seraphim concert will include works by Fanny Mendelssohn, Lili Boulanger, Emily Brontë and composers like Carlotta Ferrari and more. As well as the unique a cappella sound of Seraphim’s nine voices, the celebration will include accompaniment and solo performances by renowned local pianist, Karen Smith. (Mark Boggis)

La Vanguardia (Spain) talks about the publication in Spanish of Desperate Remedies by Thomas Hardy.

La editorial barcelonesa Ático de los Libros acaba de recuperar en castellano "Remedios desesperados", la primera novela que escribió el británico Thomas Hardy, publicada en 1871 con un pseudónimo por su alto contenido sexual, muy polémico para la época.
Comparada con "Jane Eyre", de Charlotte Brontë, en esta obra el escritor narra la peripecia de Cytherea Graye, una joven venida a menos que se ve obligada a buscar empleo como dama de compañía y acaba en casa de la extravagante señorita Aldclyffe. (Translation)

Augustin Trapenard remembers in Les Inrockuptibles how

Toi, moi, nous avons tous une posture. Tout n’est que postures sociales. J'ai consacré ma thèse à Emily Brontë, qui, elle, préservait une posture du secret. (Clément Arbrun) (Translation)

MyLife posts about Jane Eyre; Crossexaminingcrime reviews The Missing Brontë by Robert Barnard.