Tuesday, September 03, 2019

Tuesday, September 03, 2019 10:10 am by Cristina in , , , , ,    No comments
Penguin Books recommends '10 classics to re-read in a cosy spot this autumn' including
Jane Eyre by Charlotte Brontë (1847)
An emotional rollercoaster of a book, Jane Eyre is the classic for you if you believe in hope, love and happy endings. Poor Jane is an orphan banished to a heartless boarding school, where she spends several miserable years but eventually trains to become a teacher. She's employed to tutor a young girl at Thornfield Hall, where her master, Mr Rochester, could just be the master of her heart, too. But there are unavoidable problems. Mad women in the attic, raging fires and almost-weddings will keep you on your toes, and wondering if kind, pure-hearted Jane will ever be granted her happy ever after. It's an uplifting novel laced with darkness, best devoured whilst under a blanket and sipping a luxurious hot chocolate. [...]
Wuthering Heights by Emily Brontë (1847)
This is a dark, tragic tale perfect for a cold, stormy night, a story of enduring love, bad decisions and star-crossed lovers who never quite get their act together. Heathcliff and Cathy have an inseparable bond from childhood, but class, pride and fury keep them apart even as they declare their undying love for one another. Expect a lot of sentimental talk about souls, ghosts and broken hearts - all the nitty gritty stuff you want in a spectacular gothic read - all set against the beautifully moody backdrop of the Yorkshire Moors. It's wild. It's passionate. It's a book that gets under your skin.
Refinery 29 asks its staff about what they're 'Excited To Read This September' and one of them picks Jane Eyre:
Sass Webber, Senior Project Manager
Book: Jane Eyre, Charlotte Brontë
Why is it your September read? A while back I realised I was reading one hot-off-the-press piece of fiction after the next, which meant I was potentially missing out on some really amazing reads. Since then I have tried to rotate my reading to a recent publication, 20th century read and pre-20th century classic and am currently on Jane Eyre, which I’m slightly ashamed to admit I’ve not read before. With pre-20th century fiction you somehow always expect the books to be hard work, use complex language and feel completely irrelevant to life today, but I’ve found this is rarely the case. Jane Eyre is so fluid to read, the language is vivid and beautiful and the relationship between Jane and Mr Rochester, which is always shown in adaptations to be dark and serious, is just so quick-witted and incredibly funny. Written in first person, Jane often breaks the fourth wall (can you have a fourth wall in a book?) and talks directly to the reader, which makes the book feel so utterly on trend (read: Fleabag-esque) – it’s hard to believe it was written 170+ years ago. (Eni Subair)
Several news outlets report the death of script editor Terrance Dicks, best known for his long association with Doctor Who. However, as BBC News says, he also
worked on such shows as The Avengers, The Diary of Anne Frank and a 1983 version of Jane Eyre starring Timothy Dalton.
Many sites also review the animation film Ji Yuan Tai Qi Hao, translated into English as No. 7 Cherry Lane, and screened at Venice Film Festival.
Meiling (Zhao Wei), her stunning 18-year-old daughter, arrives at the party late, but she knows who she is and what she’s entitled to: the future. In a short wig and an ever-changing collection of modern Western dresses (she models), she is a lovely sight. (Her mother, in contrast, wears a traditional electric blue cheongsam that accentuates her figure.)  Ziming gives the girl Jane Eyre and Wuthering Heights to read for their English lessons. They make a good-looking couple and soon they are going out together. (Deborah Young in The Hollywood Reporter)
A tutor in his seemingly copious spare time, Ziming is hired by wealthy divorcee Mrs. Yu (Chang) to brush up the English skills of her 18-year-old daughter Meiling (Zhao), a model with a steely, entitled eye on the future — and initially little interest in her dishy instructor’s attempts to force “Jane Eyre” on her. Mother and daughter rather starkly represent Hong Kong’s past and future: Mrs. Yu, a former Sino-Japanese War revolutionary turned luxury goods importer, is torn between radicalism and materialism, while Meiling is eager to shed all historical baggage. Ziming, a gentle romantic whose favorite book is Proust’s “Remembrance of Things Past” (subtlety, thy name is not Yonfan), is first drawn into an affair with the former, taking her to Simone Signoret matinees at a local picture palace, while her Mrs. Robinson-like relationship to him is wryly referenced by a passing marquee for “The Graduate.” Gradually, however, he succumbs to Meiling’s force of personality too. (Guy Lodge in Variety)
Visiting the right flat, Ziming meets a beautiful middle-aged woman recently arrived from Taiwan, Mrs Yu (Sylvia Chang) and starts working through reading sessions of Jane Eyre with her teenage daughter Meiling (Zhao Wei), a no-nonsense vamp with Louise Brooks bangs. Ziming and Mrs Yu form an immediate connection – indeed, she so takes to him that he’s soon starring in her luridly surreal erotic dreams – and the two start going to the movies together. Relationships between young men and older women are frowned on in the society where they live, but then The Graduate is on in town so why shouldn’t things spark? (Jonathan Romney on Screen Daily)
«In quel giorno era impossibile passeggiare». In queste sei parole qualcuno avrà già riconosciuto l’inizio di uno dei romanzi più celebri dell’800, quel Jane Eyre scritto da Charlotte Brontë. Ricorrono più volte, stampate proprio su quella prima pagina del libro, in maniera nient’affatto casuale; mi pare che questa frase sia piuttosto indicativa di No. 7 Cherry Lane del regista Yonfan, anzi, che addirittura in qualche modo rappresentino quest’inquieta rievocazione di un’epoca, di un luogo, di certe sensazioni. (Antonio M. Abate on Cineblog (Italy)) (Translation)
No. 7 Cherry Lane, film d’animazione dell’esordiente Yonfan, è ambientato nel 1967, nel pieno delle rivolte di Hong Kong, dove Ziming, giovane studente di architettura, è combattuto tra l’amore per la signora Yu e la figlia di lei, Meiling. È interessante come anche in questo caso la cultura Occidentale venga proposta come simbolo e viatico di emancipazione: i protagonisti parlano di Proust, che Ziming sogna di tradurre in cinese e che nel frattempo riassume alla signora Yu; leggono Jane Eyre e Cime tempestose in lingua, vanno ai matinée per vedere i film americani.  (Giulia Ronchi on Artribune (Italy)) (Translation)
Daily News (Sri Lanka) features Jayantha Chandrasiri who speaks about the connection between cinema and books.
“I see the relationship between cinema and literature as a kind of deep-down blood relationship. If not for literature, cinema would have definitely been loafing though it had theatrical elements. Plus, the people were not ready to accept cinema as an art at the outset. I do not think the mechanical and technological nature is to be blamed.” [...]
“If we observe closely as to what led to such a phenomenon, the picture is clear. It is literature that made it possible. The majority of the filmgoers are not readers of literature. But the majority of the authors in the cinema – say filmmakers and others – happened to be avid or prolific readers. That’s why we great works such as War and Peace, Anna Karenina, Tales of Two Cities, Crime and Punishment, Wuthering Heights and Doctor Zhivago enter the widescreen.” (Sachitra Mahendra)
25 Years Later reviews the film After.
Later on, he quotes Wuthering Heights at Tessa. There’s an obvious parallel that’s attempting to be drawn here between our dear hero and Heathcliff, but this is really not an example of a romantic hero that anyone needs in this day and age. Heathcliff may be in thrall to his obsessive love for Cathy, but he also violently abuses his wife and in one scene that no one ever remembers for some reason, hangs a dog specifically to upset her. Naturally After is somewhat devoid of wife-beating and dog-hanging and for that I’m thankful, because it’s certainly bad enough without all those things in the first place. The metaphors are especially confusing when you realise that Hardin’s character more closely parallels Heathcliff’s relationship with Isabella, who he marries for revenge just as Hardin leads Tessa along for revenge.
Yes, that’s right, that’s where our great romance is spawned from: Revenge. Timeless, right? Think of all those romances down the ages borne from revenge: there’s… uh… a bit in Don Juan, isn’t there? Iago and Desdemona in Othello, I guess; that ended well.  A swift Google informs me that there are plenty of terrible romance novels out there where revenge is the main factor in starting a relationship, particularly amongst handsome six-foot billionaires. Is that good? No, it isn’t, and get out if you think otherwise. (Steph Clarke-Whomes)
Inside Times ('the [UK] national newspaper for prisoners & detainees') reports a visit and a talk from author Ayisha Malik at HMPs Send and Downview.
She recommended her current favourites – Sarah Waters and Ottessa Moshfegh – and also explained how she loved classics like Jane Austen and the Brontës: a lot of the same social framework exists in the Asian community, with religion interwoven into daily life, whether Muslim or Christian, creating constraints and familial duty for Sofia Khan as well as for Elizabeth Bennett – this produced a fascinating discussion.
Pasadena Now credits John Ruskin with the local 'prized and emblematic Craftsman houses'.
Ruskin’s lifespan matched England’s Victorian Era almost to the year and he was, according to Spates, as famous as William Wordsworth, Thomas Carlyle, Benjamin Disraeli, the Brontë sisters, and other luminaries from the “Century of Lights.” (Stephen Siciliano)
As far as we know, the century of lights was the 18th century and John Ruskin lived in the 19th century, though. And coincidentally, William Smith Williams recommends two recent books about the man.

The New Yorker features Matthew Lopez and his play The Inheritance, which 'reimagines E. M. Forster’s novel [Howard's End] as a lovingly wry portrait of New York’s gay community'.
In Part 2 of “The Inheritance,” Toby buys an entire library of books for Leo, their authors listed by the chorus of men: “Jane Austen. James Baldwin. Emily and Charlotte Brontë. Italo Calvino. Joan Didion. Charles Dickens. Ralph Ellison. F. Scott Fitzgerald. E. M. Forster. . . . Leo opened ‘Howards End’ and from the first sentence, his life forever changed.” (Rebecca Mead)
Kudika (Romania) seems to be the first to quote from Emily Brontë's poem Fall Leaves Fall this year. AnneBrontë.org has a post on 'Charlotte Brontë, London And The Iron Duke'.


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