Saturday, November 14, 2020

Saturday, November 14, 2020 11:03 am by Cristina in , , , ,    No comments
A couple of newspaper articles on the death of Peter Sutcliffe, known as 'the Yorkshire Ripper', mention Brontë country. New Statesman:
The American academic Nicole Ward Jouve’s excellent 1986 book The Streetcleaner: The Yorkshire Ripper Case On Trial was perhaps the first to reframe the story in a context too nuanced and progressive for the tabloid newspapers, and offered a much-needed outsider’s view on a bleakly beautiful northern England that Jouve initially only knew through writers such as the Brontë sisters. Further reappraisals have followed. (Benjamin Myers)
The Sun focuses on his ex-wife and their relationship.
Sutcliffe said: “We used to watch The Golden Shot with Bob Monkhouse and Anne Aston on TV at my mum’s before I took her home. Those were the days.
“We use to go all over the place. We met every few days. We went for walks — there was a good place with a very large reservoir where we’d go up, past Clayton Heights.
“We’d drive there, then go for a long walk between Queensbury and Halifax. Other times we’d walk over the tops from Queensbury to Haworth — Brontë land.” (Robin Perrie)
In a review of Francis Lee's new film, Ammonite, Under the Radar mentions his previous film:
Lee’s first feature, God’s Own Country, was a sweeping romantic tale between two men, which felt like it had leaped from the pages of an Emily Brontë novel, the misty Yorkshire moors providing an epic backdrop to the proceedings. A cinematic breath of fresh air, and one that had a wide-reaching impact on its release. (Josh Senior)
Doux Reviews on the series The Queen's Gambit:
While I don't often like stories about addiction, Beth's initial introduction to tranquilizers at such an early age only increased my sympathy for her. Who could blame her for becoming addicted to an escape from her Jane-Eyre-esque institutional existence? (Billie Doux)
A contributor to RedBrick discusses whether book covers serve to perpetuate gender stereotypes.
It may well boil down to the fact that the covers try to depict an aspect of the novel, and the most central aspect would be the protagonist. Again, stereotypically, and in accordance with gender stereotypes, romance novels usually follow the story of a woman, and thrillers that of a man.
This is especially true of classic literature, like Jane Eyre, Oliver Twist, Rebecca… to name a few. So maybe that is why book covers seem to appeal to one specific gender, because of the gender of the protagonist. If this is the case, then the problem may lie with the writing, as the book cover would just honestly be portraying the story’s content. Perhaps the breaking down of gender stereotypes should not be up to the cover art, but up to the author of the novels themselves. (Harpal Khambay)
A columnist from El Quindiano (Colombia) describes the joy of finally finding a copy of Jane Eyre.
Leer empieza desde la emoción de encontrar el libro que tanto buscamos porque estaba agotado; cuando después de ir a varias librerías o bibliotecas, por fin podemos tenerlo en nuestras manos. Por ejemplo, durante el aislamiento estuve buscando por varios meses el libro de Jane Eyre. Estaba agotado en todo el país por ausencia de importaciones. Cuando lo encontré, en la librería Tornamesa de la Zona G en Bogotá, varios meses después del inicio de mi búsqueda, fue un momento de felicidad absoluta. (Jimena Marín Téllez) (Translation)
Roadie Crew (in Portuguese) comments on the new music video by Panndora, The Moorland.
The Moorland é uma música que tem como temática o romance inglês de 1847 de Emily Brontë, “O Morro dos Ventos Uivantes”. A trama vivida pelo casal “Cath” e “Heathcliff” no século XVIII, adaptado para o século atual, se repete em uma história envolvente, apaixonante e trágica. (Leandro Coppi) (Translation)
Independent News Coverage Pakistan the newly married showbiz couple Sarah Khan and Falak Shabir, describing them as 'the next Jane Eyre and Rochester'.


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