Wuthering Heights is a tragedy in the purest sense

The Independent rescues from its archives Melissa Jones's Books of a lifetime devoted to Wuthering Heights:

Wuthering Heights has an undeniable hold but an elusive meaning. It has been continually cited as the archetypal story about romantic love, where the lovers experience an exquisite communion doomed by its own extravagance. Yet theirs is a love almost without tenderness. (...)

By attempting to soften, humanise, explain the lovers, screen adaptations have failed to capture the book’s power. Self-destruction is a feature of tragedy rather than romance; Wuthering Heights is a tragedy in the purest sense, the tragedy of self-betrayal and transgression. 

Margaret Atwood's Dream Dinner Party on Bon Appétit:

Dawn Davis: You get to host any three people, fictional or real, dead or alive. Who’s invited?

M.A.: I’ll stick to dead people. If I fail to invite some living people, they’d be very annoyed. (Not to say other dead people wouldn’t be. I’d expect to hear from Samuel Johnson and Oscar Wilde, who prided themselves on their dinner conversation.) But here’s my invite list: Graeme Gibson, my partner for many years; he loved a dinner party. He always cooked the main course and I did the starters, salad, and dessert. Charlotte Brontë and Toni Morrison would be my other guests. Both of them wrote novels with uncanny, weird stuff in them. Jane Eyre hears a spirit voice calling her over time and space and she answers it. I reviewed Beloved in The New York Times and have always been interested in Morrison’s technically varied way of approaching subjects. So pairing her with Brontë, who gave us the first open-ended novel, would be fascinating, especially since one of them is from the 19th century and the other is from the 20th.

MovieWeb on films set in the Regency-era:

A fan favorite for classic literary and movie settings has been the Regency era, even though it has been more glamorous than what it may have actually been like to live through that time. No longer are audiences seeing the world that writers like the Brontë sisters and Jane Austen once lived through: Regency-era, particularly in England, is glamorous, full of feisty women paving destinies against the strict confines and social codes of the era. (Ashley Hajimirsadegui) 

The Daily Star didn't really like the latest episode of Peaky Blinders:

What's happened to Peaky Blinders? It’s a bigger doped-up mess than Arthur Shelby.

This once-great BBC show feels slow, lumbering and neutered.

Backstreet Caesar Tommy Shelby (Labour MP, gangster, opium trader) spent most of Sunday’s episode stumbling around what looked like Wuthering Heights.

There was mist, wind, stony peaks…you half expected Kate Bush to start squawking behind a rock.

Tommy’s wee daughter Ruby had TB, but he was convinced she was the victim of a gypsy curse. (Garry Bushell)

The Times recommends the new season of Sanditon:

Towards the end, though, as our heroine elicits gasps by seeking a job — as a governess no less — there are hints that her storyline, at least, may become more like Jane Eyre than Pride and Prejudice. (John Dugdale)

El Ciudadano (México) celebrates the life and work of Emily Brontë:

Leer un libro como el escrito por Emily Brontë con la neblina de la noche, el crepitar de la leña, los árboles como sombra, es tener la suerte de que el paisaje y la naturaleza te permitan sentir el frío, los espectros, la negrura del bosque e imaginar que por algún lugar aparecerán Catherine o Heatcliff, quienes se amaron hasta la eternidad.
Sin duda la vida de Emily Brontë fue muy corta, ya que murió de tuberculosis a los 30 años, un 19 de diciembre de 1848. No sabemos si ella amó a alguien parecido a Heatcliff o quiso encontrarlo en su vida. Lo cierto es que sin duda su novela ha sido leída por millones de personas que encontraron en ese amor vehemente, una historia que a muchos les hubiera gustado vivir, a pesar de las consecuencias. (Flor Coca) (Translation)

Mangialibri (Italy) interviews the writer Francesca Diotallevi:

Enza Audino: Quali libri non possono mancare nella tua libreria e quali sono i tuoi modelli letterari?
F.D.: Dicono che nel primo romanzo di uno scrittore vadano a confluire tutti i suoi modelli di riferimento ed effettivamente dentro questo libro ci sono tanti autori che ho amato e che amo tuttora: le sorelle Brontë che hanno alimentato il mio animo da giovane romantica, Henry James con Giro di vite che per me è un romanzo fondamentale, e, da buona appassionata del genere gotico e dell’orrore, Stephen King. (Translation)

Crónica (México) interviews yet another writer, Lourdes Laguarda:

Marcos Daniel Aguilar: A lo largo del libro vamos encontrando libros que los protagonistas citan como “El Quijote”, “El principito”, etc., ¿en qué otras historias de la literatura universal te inspiraste para escribir esta novela?

L.L.: De manera directa, menciono “Moby Dick, “El principito”, “El Hobbit”, “Narraciones extraordinarias”, “El huésped” y algunos otros. De manera indirecta, muchos más. Varios en el texto, como una referencia pequeña a “Fahrenheit 451” en los últimos capítulos donde insinúan algo sobre quemar algo más; otros, en el mapa que se incluye al principio del libro. Por ejemplo, el fiel compañero y secuaz de Berenice vive en la calle Watson, apellido del fiel compañero de Sherlock Holmes. Así hay referencias específicas con una elección bien pensada a “Drácula”, “El padrino”, “Frankenstein”, “Lo que el viento se llevó”, “Jane Eyre”, “Los miserables”, “La caída de la Casa Usher”, “Romeo y Julieta”, “After Dark”, “Robinson Crusoe”, “La metamorfosis” y varias obras de Agatha Christie. (Translation)

And one more, Marija Andrijašević in Super1 (Croatia):

Ema Glavina: Knjiga koju bi svatko trebao pročitati je: 

M.A.: Široko Sargaško more Jean Rhys, predivno ispisivanje lika Antoinette Cosway koju u romanu Charlote Brönte (sic) upoznajemo kao Berthu Mason ili ludu ženu s tavana, odnosno ženu Edwarda Rochestera koja s njim dolazi u Englesku s Kariba. Njoj Rhys daje povijest, ime, boju kože, porijeklo, strasti, želju za životom, pa se čin Edwarda Rochestera čita onakvim kakvim on zbilja jest: metaforom za odnos prema onima koje su ‘civilizirani’ smatrali divljima. Poslije toga se i Jane Eyre čita nešto manje kao romansa, a više kao važna stranica iz kolonijalne povijesti Europe. (Translation)

And yet another one, Lucía Lijtmaer in El Salto Diario (Spain):

Pablo Elurduy: La novela también es una reivindicación de esas mujeres que están en el límite, diríamos “las anormales”. 

L.L.: No es una decisión ideológica y no quiero romantizar el proceso, pero ponerte a escribir una novela durante dos o tres años tiene un enorme componente emocional. No es un ensayo. Yo no me senté a escribir sobre estas dos mujeres con idea de proporcionar personajes que sean de determinada manera, ni para corregir nada. Siempre me han fascinado, en la literatura que he leído, en la cultura que consumo, los personajes que son cuerpos rebeldes de la manera que sea. También en temas de salud mental. Me interesa mucho la imagen de la loca en la ficción. ¿Quiénes son esas locas? ¿Quién es la mujer del ático en Jane Eyre? ¿Quién es la mujer que está encerrada ahí? Son cuerpos disidentes literarios, historias que me llaman más que otras. (Translation)

The Sunday Times (Sri Lanka) lists the Brontës among TB victims. The YSJ Library Blog reviews Wuthering Heights.