Wednesday, December 18, 2019

Wednesday, December 18, 2019 10:46 am by Cristina in , , , , ,    No comments
The graphic novel Rain by Mary and Bryan Talbot is one of The Herald's 'Best Graphic Novels of the Year'.
Rain, Mary and Bryan Talbot, Jonathan Cape
The latest collaboration of the husband-and-wife team is up to their enviable high standards. Part polemic, part natural sciences lecture, part love story, Mary Talbot’s story encompasses flooding in the north of England, the Brontës, grouse shooting, moorland ecology and an ecological warning. That she manages to balance all of this is testament to her storytelling skills. Husband Bryan’s art, meanwhile, is lush and evocative and powers the story along. This is the graphic novel as call to arms. (Teddy Jamieson)
Locus thinks that House of Salt and Sorrows by Erin A. Craig
is the lovechild of Edgar Allan Poe and Emily Brontë, with 21st-century pacing and a healthy dose of the Ingrid Bergman classic Gaslight thrown in for good measure. (Colleen Mondor)
The AU Review features Kathy O’Shaughnessy‘s In Love with George Eliot.
The only answer seems to be that this is true to the subject matter and true to Eliot, and that the mixing of the two narratives allows the reader to look at an author who is less “interesting” than other women novelists like Austen or the Brontës, from a number of interesting angles without being told what to think. (Emily Paull)
It is a thought-provoking remark as George Eliot would seem to be the one with the most unusual, interesting kind of life, and yet she is rather neglected by biographers, isn't she?

Not thought-provoking at all - actually rather silly - is this remark on the #MeToo movement from Fair Observer:
Men won’t be cowed into despair or faintheartedness. But are men likely to establish ground rules before they initiate intimacy? We’d have never got Emily Brontë’s “Wuthering Heights”or D. H. Lawrence’s “Lady Chatterley’s Lover” if men had always been so proper. And, of course, they won’t change — at least not that much. (Ellis Cashmore)
What?! Oh, thank goodness the world is far from perfect, otherwise we would only be reading about unicorns and rainbows.

Variety reviews the ninth and final chapter of Star Wars: The Rise of Skywalker. Beware of spoilers!
As stormy black ocean waves crash and churn around them, like something out of “Wuthering Heights,” Ren uses his red Sith lightsaber, with the cross-handle that makes it look like a pulsating version of Excalibur; Rey uses her trusty blue Jedi lightsaber. (Owen Gleiberman)
Flaunt interviews artist Catalina Ouyang.
I also recognized, at some point in the making, that I had subliminally been thinking of Jean Rhys' doomed, spectral heroines. Voyage in the Dark and The Wide Sargasso Sea were formative books in my teens. The elliptical quality of her storytelling—all its dissociated, drug-induced gaps in logic and time—was a kind of mirror to ways that negative space and omission operate in my work. The Wide Sargasso Sea, of course, offers the "postcolonial" origin story of Antoinette Cosway—known as Bertha Mason in Jane Eyre—whose legacy lives on in flames. The installation last laugh is a nod to her and the Victorian trope of the Madwoman in the Attic. So I really wanted to approach, with a necessary level of abstraction, the pain of the harmed and self-harming body, the pain of inheriting a body irreconcilably marked by and complicit in the violent occupation, the pain of a stripped, flayed, burned skin, hanging from the rafters. (Morgan Vickery)
Paper, Ink & Lizard reviews the manga adaptation of Jane Eyre.


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