The Telegraph and Argus reports that 'Keighley’s railway station is to undergo a £4 million-plus transformation' and looks back on how it looked when first built.
The only illustration we have of early railway facilities at Keighley shows an extremely handsome mock-Elizabethan building which would have stood in the right-hand rear corner in the present Sainsbury’s car park, just west of the Bradford Road level crossing. However it is likely that the very first station was a much simpler affair. When Charlotte Brontë sent off the manuscript of Jane Eyre to her publisher Smith, Elder & Co on August 24, 1847, five months after the railway opened, she wrote: “I find I cannot pre-pay the carriage of the parcel as money for that purpose is not received at the small station-house where it is left.”
Charlotte’s letter suggests that the first station of 1847 was probably a temporary simple wooden structure and that the handsome mock-Elizabethan station was actually the second Keighley Station constructed at some expense after rail revenue had built up. (Alistair Shand)
In
The Guardian, writer Rhiannon Lucy Cosslett discusses how 'How the focus and joy of writing a novel helped me overcome my PTSD'.
It took a long time – almost four years – from start to finish. I used that time to create a character who had suffered a trauma and transposed on to her everything I knew about the psychology of my condition. I drew on my own symptoms, but also on chats with other sufferers, therapists and writers. I read everything I could get my hands on about PTSD, and re-read tons of novels. Trauma jumped out at me from the pages of books I had always loved: Wuthering Heights, Jane Eyre; gothic fiction provided a loose blueprint.
Los Angeles Review of Books has an article on reading to children:
I’ve always liked those moments in Tom Jones or Jane Eyre when the narrator calls out to the reader directly. In those cases, however, the relationship feels private, insular: a secret shared between reader and book. (Emily Hodgson Anderson)
La Difesa del popolo (Italy) discusses teenagers and reading.
L’adolescenza emana una fascinazione senza tempo: basti pensare a Heathcliff di “Cime tempestose”, di Emily Brontë, che, rifiutato perché trovatello, pur rispondendo a violenza con violenza, resta per sempre incatenato al “Verde paradiso degli amori infantili”, avrebbe detto Baudelaire; e non c’è chi non abbia visto in questo precocissimo amore tra il protagonista e Catherine una nostalgica reminiscenza dell’Eden originario. (Marco Testi) (Translation)
The Spanish edition of
Chicago Tribune reviews The Joffrey Ballet's take on
Jane Eyre with Cathy Marston's choreography.
Al término de la función de “Jane Eyre” de Joffrey Ballet, la noche del 24 de octubre, luego de las ovaciones de pie, los aplausos, las reverencias y las flores, una mujer de la audiencia que lleva entre sus manos una pequeña libreta de notas y un lapicero. Observa, pregunta y anota. No por oficio. Por gusto.
Se acerca a hacer plática. “Ella”, dice refiriéndose a la bailarina Anaís Bueno, que esa noche interpretó el rol protagónico de Jane Eyre. “Ella no solo baila. Habla con la mirada”, comparte, charlando en inglés.
“Ella", le respondo. “Es mexicana. Y está alternando el rol con otras dos bailarinas", cuento.
Esas dos bailarinas son la brasileña Amanda Assucena, quien aparece en la imagen promocional del ballet y la georgiana Victoria Jaiani, otras dos sorprendentes artistas que han protagonizado y alternado en otros espectáculos de la compañía, ya sea siendo Giselle o como parte de “The Nutcracker”. (Gisela Orozco) (Translation)
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