In my High School, I moved on to Sweet Valley High novels, Jane Austen and the Brontës. I found Moby Dick boring and laboured over To Kill a Mockingbird. Dracula was a treat. Wuthering Heights was too blustery for me, and yet Kate Bush’s enigmatic Running Up that Hill, first produced in 1985, kept me interested. As an accompanying soundtrack, it’s divine. (Margaret Hickey)
Novel approach lifts Tenant’s enjoymentAnne Brontë’s gothic novel has been adapted for the stage and its depiction of domestic abuse is as shocking as it was in 1848. (...) The Tenant of Wildfell Hall has been called the first feminist novel. Anne Brontë was certainly tougher on men than her sisters were and her novel, published in 1848, presented a brutal picture of habitual male drunkenness and domestic violence. It's shocking that it is all utterly relevant more than 170 years later. (John McCallum)
This jug features transfer printed drawings by Brita Granström and Mick Manning with splash lustre decoration.Branwell holds Tom, the family's much-loved black cat.This is the smaller of our jug sizes, holding 1 pint and being 11.5 cm tall with a 9cm diameter at base and neck.The hand-made nature of our ware means that it is subject to minor imperfections, just like those from the early C19 that are our inspiration. There will be some variation in decoration.
What books have made you cry?When God Was a Rabbit by Sarah Winman; Animal Farm by George Orwell; The Night Watchman by Louise Erdrich; Jane Eyre by Emily Brontë; Black Beauty by Anna Sewell. (Sharron Pardoe)
And for more famous names with local connections, visit Cowan Bridge a short drive away and see the school that Charlotte and Anne Brontë attended. Charlotte immortalised it as Lowood in, ‘Jane Eyre’ and a plaque on the wall will tell you more. (Paul Mackenzie)
Eléa PlaneixÉditions BaudelaireISBN :9791020352019February 2022Jeune femme moderne aux idées bien en accord avec son temps, jamais Marie-Gabrielle de Rivesaltes n’aurait imaginé un jour se retrouver littéralement projetée dans l’impitoyable haute société londonienne du milieu du XIXe siècle, là où la moindre rumeur peut mener une jeune femme à la ruine. Contrainte de jouer les jeunes ingénues à l’instar d’Elizabeth Scarborough, c’est tiraillée entre ses valeurs et celles de l’époque qui la révoltent qu’elle va tenter de passer inaperçue en attendant de pouvoir rentrer chez elle. Y parviendra-t-elle ? Ou provoquera-t-elle sa propre déchéance en entamant une liaison aussi interdite que scandaleuse avec Edward Rothbury, prétendant de sa nouvelle amie ?Loyauté amicale et dissimulation lui feront-elles connaître un sort moins tragique qu’Anna Karénine ? Admirer une époque fantasmée au travers de films et de romans est une chose, mais pourrions-nous y survivre ?
Emme Hoy's adaptation of Anne Brontë's THE TENANT OF WILDFELL HALL, ensures the essence of the early feminist novel remains while reinforcing the continuing need for sisterhood solidarity and support for women needing to escape from abusive environments. Under Jessica Arthur's direction, a Victorian aesthetic is combined with a more contemporary speech pattern to provide a visually elegant work that remains relatable to the 21st century audience. [...]Set Designer Elizabeth Gadsby has opted to keep the set relatively simple with an expression of the grey stone manor homes of both Wildfell Hall and Grassdale sitting atop the turntable stage to allow a view to events outside the grand houses and within their walls. Gadsby refrains from trying to replicate any expression of the countryside on which these homes sit, allowing the audience's imagination to fill in the gaps while also ensuring that the broader scene isn't central to the human stories that unfold. Trent Suidgeest's lighting design captures the changing light of sunny picnic weather, diming dusk and candlelight with an interesting visual expression of the sense of foreboding. Clemence Williams' sound design and compositions straddle a sense of old world and contemporary as they overlay the scenes with many being performed live by Eliza Scott.Jessica Arthur's direction ensures that Tuuli Narkle captures Helen's strength while holding an air of mystery. Narkle's Helen remains a likeable character in the face of the awful treatment she endured, the misogynistic behavior from the men and obnoxious insulting behavior from one of the women in her circles. She exudes the caring protective mother along with a resilience that enabled her to go against social expectations and the law.Remy Hii's portrayal of the Lindenhope farmer Gilbert Markham shows the young man's evolution from being more absorbed in his own opinions and entertaining the unkind commentary of the likes of the spiteful Eliza Millward (Nikita Waldron) to becoming more considerate and understanding of newcomer Helen and her son Arthur (Danielle Catanzariti). Hii ensures that there are initial similarities with the elder Arthur Huntingdon (Ben O'Toole) though while Arthur senior refuses to change his ways to the bitter end, Gilbert choses to change his ways.The remainder of the cast double characters that have similarities with their alternates in Helen's other life. Tara Morice gives Helen's Aunt, with whom she lives till her marriage to Arthur, and Gilbert's mother Mrs Markham a disapproving severity while her expression of Helen's maid Rachel is presented with a compassion and concern. As Frederick Lawrence and Lord Lowborough, Antony Taufa lends a softer tone as the landlord of Wildfell Hall and the reformed quiet husband of the obnoxious Annabelle (Nikita Waldron). Eliza Scott presents a quieter type of Victorian woman who was resigned to only being viewed in her role in relation to men, either as a subservient wife or an unwed woman of an age where it was believed she would no longer marry in the form of Milicent Hattersley and Mary Millward respectively. Scott's performance has a sincerity that makes the reveal of both young ladies' strength and solidarity with Helen even more powerful. The characters of Milicent and Mary, along with Rachel, are starkly contrasted with Nikita Waldron's calculated Eliza Millward and Annabella Willmont. While the rest of the performers balance a naturalness into their expressions, regardless of how absurd the characters and text feels in the modern world, Waldron overplays her roles with a more forced and unconvincing cadence that detaches the characters from the possibility of being relatable, ensuring they are thoroughly unlikable. (Jade Kops)
Of the three Brontë sisters, Anne was reputedly the most defiant and unruly. [...]For the most part, it is a stunning production thanks to the outstanding performances and clever design elements. What is problematic is the structure, length and density. The novel tells the narrative in three parts: present, past, then back to the present. Hoy’s script switches from present to past frequently. With many of the cast playing duel roles (different characters in each time frame) it’s easy for a viewer to lose the thread, especially if you are not already familiar with the story. (Rita Bratovich)
"Wuthering Heights" (1977) – Kate BushSpoiler alert: "Wuthering Heights" is sung from the POV of a ghost named Cathy. Non-spoiler alert: This is not the weirdest thing about the song. "Wuthering Heights" is a mood, and though it might not sound traditionally rebellious, it's possibly the most radical choice on this list. As bizarre now as the day it was born, this Bronte novel set to music captures madness in a spinning chorus you won't be able to excise. Written by the now-ubiquitous Kate Bush when she was 18 and sung in what might be described as "full banshee mode," "Wuthering Heights" was initially refused by her label to be the first single. But she insisted, filming a now-legendary video to match. And now, Bush's story continues as her music's role in Stranger Things has garnered renewed interest and a new generation of fans. Long may she twirl. (Debby Wolfinsohn)
A great turnout for the unveiling of Nancy De Garrs’ headstone by Steve, a direct relative of Nancy’s, along with our chairman, Allan Hillary, and Steve Lightfoot, volunteer researcher, whose amazing efforts managed to locate the unmarked grave. Epitaph by Charlotte Brontë. pic.twitter.com/pQETzICs4a
— UndercliffeCemetery (@undercliffecem) June 27, 2022
First Published 2022
eBook ISBN 9781003185116Paraphrasing Gertrude Stein, a frame is a frame is a frame. In a sense, all narrative is a reframing of experience, either lived or projected. In a novel such as Jane Eyre. An Autobiography (1847), the frame is of paramount importance. It begins with the subtitle. Purporting to be an autobiography, the novel asks to be read as an authentic narrative of a vulnerable I, claiming a voice in the public sphere. The act is revolutionary, as are the character’s repeated interpellations of the reader. Addressing the reader becomes a political act in Jane Eyre, as the metaleptical gesture emphasizes the novel’s proto-feminist undercurrent. Not only do the interpellations transgress narrative boundaries, they also produce meaning in different ways: they implicate the readers in Jane’s account, but, paradoxically, they remind readers of the fictional character of the narrative. The chapter starts by discussing the apparent paradox brought about by the use of metalepsis as an act of translatedness, in the context of the reflection on what an autobiography is and how identity is socially construed. In the second part, three translations of the novel into European Portuguese are examined, in order to see how different translators re-enacted Brontë’s metaleptical framework.
Paraphrasing Gertrude Stein, a frame is a frame is a frame. In a sense, all narrative is a reframing of experience, either lived or projected. In a novel such as Jane Eyre. An Autobiography (1847), the frame is of paramount importance. It begins with the subtitle. Purporting to be an autobiography, the novel asks to be read as an authentic narrative of a vulnerable I, claiming a voice in the public sphere. The act is revolutionary, as are the character’s repeated interpellations of the reader. Addressing the reader becomes a political act in Jane Eyre, as the metaleptical gesture emphasizes the novel’s proto-feminist undercurrent. Not only do the interpellations transgress narrative boundaries, they also produce meaning in different ways: they implicate the readers in Jane’s account, but, paradoxically, they remind readers of the fictional character of the narrative. The chapter starts by discussing the apparent paradox brought about by the use of metalepsis as an act of translatedness, in the context of the reflection on what an autobiography is and how identity is socially construed. In the second part, three translations of the novel into European Portuguese are examined, in order to see how different translators re-enacted Brontë’s metaleptical framework.
Brontë’s Wildfell Hall is a largely epistolary novel – written as a series of letters structured in three parts, with the middle section from Helen’s diaries during her years with her increasingly alcohol-sodden and volatile husband. Some stylistic continuity with Brontë’s novel is maintained by Gilbert’s off-and-on narrative commentary, which comes in fits and starts and is largely absent from the second half, only to be a little hammily recalled in the final line.Aside from this peccadillo, Hoy’s reworked version for the stage is a seriously impressive feat, alternating briskly and elegantly between these two phases of Helen’s life to build tension, pathos and intrigue over the play’s almost three-hour running time (which truly flies by – I was frankly dreading the long sit). On a rotating level stage, we leap between past and future, with most of the large cast simultaneously leaping between roles. As the two separate worlds spin closer together, the playwright deftly drops in pieces to the larger puzzle of how the at first all-adoring ‘good wife’ Helen found the courage to leave.Narkle is as fierce and lovely as a rose as our heroine, and convincingly displays the emotional turmoil of a woman trapped yet bitterly struggling against the gaslighting, victim blaming, misogyny and hyper-invigilated gender roles embedded in her society (including those imposed on her young son, played by Danielle Catanzariti). Arthur Huntingdon (whom critics have noted bears a striking resemblance to Brontë’s brother) is a chillingly calculating, intoxicated brute under Ben O’Toole – the shameless embodiment of poison-fuelled chauvinism that sees no reason and suffers no consequence to be less than the bully he is allowed to be. Like most abusers, he is simultaneously terrifying and pathetic. Hii’s Gilbert is also at first casually sexist, but not so far gone that his ideas on gender can’t be reorientated. Through his increasingly frequent dialogues with Helen, he learns that his assumptions of male superiority and functional marriages are narrow and cynical. In parochial England, it is his and other characters’ capacity to change – to see themselves and each other in a new light – which sets the play’s moral ideal. (For all its darkness, Wildfell Hall concludes as a romantic fantasy.)The whole cast give sterling performances – from the always winsome Anthony Taufa (as recovering addict and mysterious landlord), to Nikita Waldron (who plays two similar wily women, capitalising on their sexuality to attain whatever little power they can), to Eliza Scott (whose two characters also reflect each other, both being good-hearted allies who have been tricked by the patriarchy into underestimating their worth).Hoy’s script is laced with acerbically funny lines which travel centuries to mark with modern sensibilities, and there are dozens of little quirks of stage design and direction which make the audience burst appreciatively into laughter. For instance: Steve Rodgers as the reverend literally cracking open a raw egg on stage and sucking up its contents. Or a small little cross popping up out of a rotated chimney to suggest the building is now a church.One of my favourite lines, spoken sarcastically by Helen after a particularly despicable scene of male entitlement, is: ‘You truly are a glowworm among worms’. (In her note on the text, Hoy writes she added “a dash of irreverence… I think [Brontë] was a bit of an irreverent writer herself – so hopefully she won’t mind.”) [...]Written by Hoy in her late twenties – the same age as Brontë was – this production of Wildfell Hall is a bracing, sharp-witted and entertaining contemporary retelling of a provocative feminist classic. I was surprised and depressed at how relevant it felt. (Kate Prendergast)
In adulthood, when I finally picked up The Tenant of Wildfell Hall by the lesser-known Anne Brontë (the other Brontë), I did so with a mixture of resignation and spiritual smugness that is surely the reason anyone reads classics. This will be hard, I thought, but it will be good for me. How wrong I was! Anne’s novel is anything but a slog: it’s pacey, darkly funny, and almost unbelievably modern.Playwright Emme Hoy, who is this year’s Patrick White Fellow and whose adaptation is being staged by the Sydney Theatre Company, describes a similar reading experience.“I remember being viscerally shocked by the difference between Anne’s writing and Emily and Charlotte’s,” Hoy says.The play’s director, Jessica Arthur, agrees. “There was so much that, when I read the play, I thought: Emme’s taken some liberties here, and then I read the book and I was like: oh, they literally had this conversation,” she says.“It’s almost like the realistic sequel to Jane Eyre,” Hoy adds. “What happens if you actually marry Mr Rochester?”Reader, let me tell you: what happens is grim. [...]For these darker elements of her work, Brontë drew on her own life. Her Byronic elder brother, Branwell, a painter and poet, bore many similarities to Helen Graham’s husband, Lord Huntington. Both are charming and promiscuous (Branwell was once fired from a tutoring position in a reverend’s home because of a flirtation with his employer’s wife, 15 years his senior. Her name, hilariously, was Mrs Robinson). Branwell, like Huntington, also struggled with alcoholism, with Branwell losing his life to it at 31. [...]However, Hoy was determined to balance social critique with hope. Hoy says that while Helen, unlike Jane Eyre, realises “the love of a good woman can’t fix a man”, the play “is actually also saying, you can change yourselves: you may be brought up in this structure but you can overcome it and recognise it”. This is achieved through the main character Gilbert who, through learning about Helen’s past, comes to recognise his own prejudices and abuses of power, or as Arthur puts it, “he starts to really understand himself in relation to other people”.These strikingly contemporary themes of structural injustice and individual accountability might seem more at home in a think-piece than a period drama: the beloved, bonnet-y, bodice-y genre associated with frivolity and escapism. Indeed, the modern period drama is just what Anne Brontë might call “soft nonsense”. (Netflix’s Bridgerton, Arthur says, “has a lot to answer for”.) [...]She has also been mindful of preserving Bronte’s dry wit. For a novel about abuse and alcoholism, it’s surprisingly funny. Hoy reminds me that perhaps the most devastating scene of domestic violence is contained in a chapter ironically titled “Social Virtues”. In the play, a direct address by Helen to the audience preserves this comedic tone. [...]Before I leave, I ask Hoy and Arthur what they make of Charlotte’s suppression of her dead sister’s masterpiece. Did she feel betrayed, perhaps, by the way Anne appropriated their brother’s tragic life?“I think it’s an act of love,” Arthur says. Hoy elaborates: “She really hated the novel because she thought it was because Anne was dwelling so much on the darkness and the bleakness of life that she died … I think she loved her and was trying to protect her, and had this fear that Anne saw too clearly.”This answer, with all its intellect and compassion – its ability to stare tragedy in the face and still find hope – strikes me as very Anne Brontë. (Diana Reid)
Kelvin Players Theatre Company presentsadapted by Polly TealeDirected by Simon ShorrockThe Tobacco Factory Theatres, Bristol28 June to 02 July 2022 @ 7:30With Elly Warboys, Ben Pavord, Maya Hingaroni, Fran Lewis, Michael Shah, Wendy Withers.This version of Jane Eyre from Polly Teale presents a Jane who is wrestling with the confinements of a Victorian society. She is strong willed girl of only 18 years of age when she leaves for Thornfield to work as a governess in the home of Rochester. Most of the play centres around the developing relationship between Jane and Rochester who is 20+ years her senior. Rochester hides his first wife Bertha in his attic and when Jane discovers of her existence she fleas from Thornfield. She ends up at the house of St John Rivers, a missionary who takes Jane in to his home with the aid of his 2 sisters. When St John decides he wants to marry Jane, Jane is uninterested in a passionless marriage as the wife of a missionary and hurries back to Thornfield to discover a disheveled Rochester, blinded and damaged by a fire started by Bertha. She vows to marry Rochester following Bertha's death in the fire.The play presents an interesting twist in her relationship with Bertha, Rochester's first wife, who is locked in his attic, hidden away from Jane. Right from the start Jane and Bertha are intertwined, physically at points. Bertha, despite her apparent madness, represents everything that Jane wants to be. She has a freedom of expression ill afforded to a girl of her age in Victorian England. There is a kind of yin and yang relationship between them throughout the play where we see Bertha physically responding to Jane's trials and tribulations. Bertha will be visible on stage at all times in the 'attic'. As a result of this I will be looking to hold a workshop looking at the physical characteristics of Bertha as well as auditions for some of the main roles. The script as it is call for an amount of multi-rolling and is designed for 8 actors. I will be looking for a troupe of around 12. I am looking at being age fluid (as opposed to gender fluid) by using an actor slightly older than Jane's given age but with a suitable gap between her and Rochester. Auditions will follow after Hamlet, but if you have any questions about the show, please feel free to get in touch.
It was epically ambitious. Not only has playwright Emme Hoy condensed Anne Brontë’s 500-page novel down to less than three hours of drama, she had to resolve how to dramatise Brontë’s quirky structure, whereby the book’s middle half is an elongated flashback in the form of a journal, with few of the countless characters overlapping between the “present” and this past. (...)Ultimately, however, Hoy’s adaptation works better than [Jessica] Arthur’s production. Too often there’s an awkwardness and a stiltedness to the performances, especially in the first half, when Hoy takes the book’s comedic dimension closer to Jane Austen than Brontë. This requires a much lighter touch from the actors and director not to seem amateurish on occasion. It all improves markedly in the second half when the mood is more gothic, the story edgier and the drama heightened. (John Shand)ç
Sibling rivalry. Heartbreak. Addiction. Patriarchy. REALLY bad weather. Discover how literature's most volatile sibling hood penned their way to infamy against all odds in this new musical.Prudencia Productions, a brand new female-led theatre company, make their theatrical debut with the world premiere of 'The Brontës: A Musical', written by Katie Palmer, Lucas Tahiruzzaman Syed & Sarah Zeigler, directed/produced by Victoria Hadel, with musical direction from Griffin Jenkins, movement by Laura Dawn Platt, technical direction by Connor Hadel and produced by Megan Henson.
Learning she shared a birthday with the writer Emily Brontë, an 18-year-old Kate penned the rhapsodic Wuthering Heights in tribute to the novel of the same name.
That devotion is now set in stone – literally. In 2018, Kate wrote a poem about the novel and its author, which was inscribed into stone on the Yorkshire Moors near the Brontës’ Haworth parsonage. (Jo MacFarlane)
The Kate Bush fever lingers on: Tom's Guide, The Courier, The Sunday Times, HITC, Oxford Mail, NRK (Norway), COPE (Spain), Criterio (Colombia), Kombini Biinge (France), Il Post (Italy)...
The New York Public Library has a must-see – and free – Treasures exhibition, a beautifully random collection of objects, including the original A. A. Milne Winnie-the-Pooh, Eeyore, Kanga and Piglet toys (with not a Disney logo in sight, so make sure any little ’uns know what to expect), Charles Dickens’s and Charlotte Brontë’s writing desks (one grand, one very modest), Nijinsky’s dancing shoes and other artifacts, both personal and political. (Sarah Turner)
OCR has not cut all the big names. Wordsworth, Byron, Keats and Anne and Emily Brontë are still on the list. And many of the new poets are worthy additions to the syllabus.
I Used to Live Here Once: The Haunted Life of Jean Rhys by Miranda SeymourThis new biography of the Dominica-born author of Wide Sargasso Sea charts her course from the Caribbean to London and Devon, via a tumultuous affair and two marriages. Seymour is careful to separate the writer from her fictional protagonists: “At the centre of Rhys’s life stood her writing, a resource that is entirely absent from the lives of the women she described in her novels.” (Justine Jordan, David Shariatmadari and Imogen Russell Williams)
Travel to Ethiopia in Lauren Blackwood’s YA novel, Within These Wicked Walls. The book features teen protagonist Andromeda who is a debtera (an exorcist hired to rid homes of the evil eye). Since Andromeda is unlicensed, her only option is to work for a rich Patron who doesn't mind that she doesn’t have her debtera license. Her new boss, Magnus Rochester, comes with a lot of secrets, and things get way more complicated when Andromeda realizes she’s falling for him. Both engaging and chilling, Within These Wicket Walls, is a nod to the classic novel, Jane Eyre. (Mariette Williams)
Ne var ki güneş, yüzünü Britanya halklarından esirgemeye devam ediyordu. Victoria Dönemi Romantiklerinin romanlarında alabildiğine keder vardı. Brontë Kardeşler’in büyüğü Charlotte, ölümsüz eseri Jane Eyre’de iki farklı sınıftan insanın yaşadığı aşkı anlatırken dinin toplum üzerindeki tahakkümüne, sınıf çatışmasına ve ataerkil toplum yapısına derin bir melankoliyle mercek tutuyor, küçük kardeş Emily ise daha sonra pek çokları tarafından “aşkı en iyi anlatan roman” yakıştırması yapılacak Uğultulu Tepeler’inde sisli İngiltere kırsalının rüzgarlı bayırlarında yeşeren tutkulu ama bir o kadar hastalıklı, ve elbette içinde sınıf çatışması barındıran, bir aşkı bütün dramıyla gözler önüne seriyordu. Ortaklaştıkları tek konunun bir ömür süren bir aşk anlatısı olduğunu söylemek yanlış olmayacağı gibi, Kolombiyalı Usta Yazar Marquez’in Kolera Günlerinde Aşk’ı düşünüldüğünde Brontë’nin kaleminin coğrafyadan doğru yüklendiği elemi görmek kolaylaşacaktır. (Bilge su Yildirim) (Translation)
Jorge Lamas: ¿Cómo es musicalmente este disco?S.M.: Como me suele ocurrir en todos los proyectos, trato de que dialoguen diferentes referentes muy separados entre sí estilísticamente. En este disco bebo de Beach House, Cocteau Twins, The War on Drugs o Mogwai por una parte, y por otra está esa influencia más flamenca, como la colaboración de mi hermana Estrella. Una vez más es un punto de encuentro donde pongo en relación diferentes referencias musicales y literarias ya que estaba por aquel momento leyendo a las hermanas Brontë, a Emily Dickinson y, al mismo tiempo, estaba con el Cancionero Popular de Rodrigo Marín. Dialogan para mí artistas que no coinciden en el tiempo, pero sí en la sensibilidad y manera de expresarse. (Translation)
J'ai beaucoup lu les sœurs Brontë à l'adolescence, rappelle-t-il. La littérature m'a construit. (Nicholas Schaller) (Translation)
Du sable, des bûches, des plantes : piétonnisée, la rue des Braves de Koekelberg devient la place des Sœurs Brontë.Ce samedi, riverains et associations ont installé des infrastructures provisoires dans la rue perpendiculaire au parc Élisabeth. Une étape temporaire avant la création d’une nouvelle place koekelbergeoise.Il y avait du monde ce samedi dans la rue des Braves de Koekelberg. Petite artère perpendiculaire au parc Élisabeth. Il faut dire que ce n’est pas tous les jours qu’on piétonnise une rue à l’aide de sacs de sable, de plantes, de troncs d’arbres."Il était temps de faire quelque chose. C’était une rue avec beaucoup de trafic de transit. C’est désormais un espace convivial, et il y aura des animations", sourit Charlie, riverain en tenue de travail, aux côtés d’une vingtaine de "braves" volontaires, locaux et membres d’associations. (Translation)
Jane Temson - If you could only read one book for the rest of your life which book would it be?
It would either be Wuthering Heights or Jane Eyre. What magic was going on in that vicarage in Howath? (sic) They are both works of genius, peerless pieces of storytelling, crammed with vital, fascinating characters. The emotion explored by the Brontës, and then felt by us readers, is awe-inspiring. I read each at least every other year and they jostle for first and second place in my affections.
Jesús ManséVenue: Museo Oceonográfico. Sala Nautilus, Donostia, SpainOpening 24th JuneClosing 4th September
Una vez 'aparcada' su obra como Jesús María Cormán y bajo el amparo de su heterónimo Jesús Mansé, el pintor donostiarra inaugura en el Aquarium donostiarra una colección de cuarenta pinturas en pequeño y mediano formato con la que homenajea el universo literario de las hermanas Brönte (sic) : de 'Jane Eyre' a 'Cumbres borrascosas', el espíritu romántico más arrebatado protagoniza la muestra. 'Una temporada en el Mar de Brönte (sic)' permanecerá abierta al público en el Museo Oceanográfico donostiarra hasta el próximo 4 de septiembre.Aquí conviene hacer una aclaración: Cormán/Mansé homenajea a las Brönte (sic) , pero lo hace tras encomendarse al espíritu del hermano, Branwell, la 'oveja negra' de la familia que, lejos de conformarse con ser un elemento sin oficio, ni beneficio, se dedicó a sabotear cuantas vidas tuvo a su alcance, incluidas las de sus tres hermanas, Charlotte, Emily y Anne. (...)El pintor releyó de forma simultánea las obras de las tres hermanas Brönte (sic), de forma que «la muestra se articula en torno a guiños a las escritoras», por ejemplo, en los títulos de las distintas secciones, que remiten a diversos personajes de sus novelas. Sobre el protagonista de Branwell, el artista donostiarra señala que «sin haber brillado en ninguna actividad y siendo un 'bala perdida', era el niño consentido de sus padres y de sus hermanas. (Alberto Moyano) (Translation)
From Neighbours to Marco Polo on Netflix, Spider-Man: Far From Home and Crazy Rich Asians, the 35-year-old has had a varied career but live theatre is his happy place, so opening the contemporary adaptation of Anne Brontë’s The Tenant of Wildfell Hall this week has been a dream.“It’s been seven years since I’ve been on stage, and it’s something I’ve been trying to get back to,” he tells Insider between rehearsals.“I started off in the theatre. I went to drama school and was very theatrically based. I always thought that’s where I was going to have my career and then ended up going down the film and TV route which kept me really busy.” [...]The Tenant Of Wildfell Hall follows the mysterious arrival of Helen Graham in the town of Lindenhope.She has a young son in tow but no husband in sight — a concept which so shocked English society in 1848 that Brontë’s sister — Jane Eyre’s Charlotte Brontë — tried to stop the book’s republication.Hii plays Gilbert Markham, the protagonist and narrator in the novel who falls in love with Graham, played by fellow NIDA graduate Tuuli Narkle. (Lisa Mayoh)
4. HaworthFrom Leeds 19 milesHow to get there car, busWith a biopic about Emily Brontë due to be released later this year, a Wuthering Heights frenzy is incoming, and the village of Haworth, where she grew up, has double the limelight this year as a location shoot for the new Railway Children film too. Get in before the hordes to visit the Brontë Parsonage Museum and tackle the moors, walking from the wild-feeling campsite at the Wuthering Heights Inn, a simple Yorkshire pub with pitches and two shepherd’s huts. It’s within easy driving distance of Leeds, or you can cycle in about two hours, but there’s also a bus from Bradford, which is even closer.Details Pitches from £8pp, room-only shepherd’s hut for two from £60 (thewutheringheights.co.uk) (Gemma Bowes)
great-grandfather was Rev Dr William Cartman, headteacher at Ermysted’s for 26 years and also a friend of Patrick Brontë, preaching at the funeral of his daughter, the novelist, Charlotte Brontë. (Lesley Tate)
'What Souls Are Made of' by Tasha Suri (Young Adult)This retelling of Wuthering Heights follows Heathcliff, the son of an Indian sailor who arrives on the Yorkshire moors feeling more and more ostracized. He resides in the home of Catherine, whose father is attempting to mold her into a young lady of society, even if she longs for something else. When Catherine's father dies, the relationship between the two threatens to unravel, but can they withstand the test of time?What Souls Are Made Of will be published on July 5, 2022. (Anna Garrison)
A very rare chance to see this classic, never released in the UK, in the cinema. With a youthful Isabelle Huppert as Anne Brontë and Isabelle Adjani as Emily, this French production tells their story, staying close to the facts of their lives and community.Dir. André Téchiné France 1979 (U).In French with English subtitles.
Sunday, 26th June 2022 | 2:00 pm - 4:00 pm The Cubby Broccoli, National Science & Media Museum
Anita Sethi[...]My best ever beach bookLast summer I walked UK coastal paths and along the way read and re-read some gems including the undersung Anne Brontë, who I explored for a recent Radio Three programme and whose love of the sea shines through her work (she’s buried above the beach in her beloved Scarborough).
7. «El camino del fuego»María OruñaOtro caso de la inspectora Valentina Redondo, que tanto nos enganchó en Los libros del Puerto Escondido. Esta vez, la maestra viguesa del «domestic noir» lleva la acción hasta la brumosa Escocia. Sus (en principio) apacibles vacaciones en compañía de Oliver se convierten en algo muy diferente a lo previsto. Como siempre, alterna trama actual e histórica. Esta vez, más bien literaria, con Lord Byron y sus memorias como pieza angular para resolver un misterio que nos lleva hasta el siglo XIX y nos ofrece unos compañeros tan atractivos como Henry James, Mary Shelley, las Brontë... Tentador. (Elena Méndez) (Translation)
2. The Story Sisters by Alice HoffmanHoffman’s tale might seem like an odd choice because large sections of the novel don’t take place in Paris, but for me there is no other book that captures the city’s beauty as well. It also reveals the power of place to heal. Hoffman is a master of setting and this fairytale-esque novel of three dark-haired sisters is no exception.Elv, Meg and Claire are modeled on the Brontë siblings. Together they build a fantasy world full of fairies and demons, complete with their own secret language. The world is a manifestation of their closeness but, ironically, its genesis was a brutal act that ultimately drives the three girls apart. (Lori Lamothe)
Bluebeard’s Castle is a contemporary gothic suspense novel. It takes inspiration from the folk tale “Bluebeard,” featured in novels such as Rebecca, Dracula and Jane Eyre, and from classic Hollywood thrillers such as “Gaslight”, to examine issues about male violence and female desire.The synopsis says: “While on holiday in Cornwall, Judith, a young, wealthy British mystery writer, meets and falls in love with Gavin, a handsome and charming baron. His love transforms her from a plain, lonely girl into a beautiful, glamorous woman overnight. After a whirlwind honeymoon in Paris, he whisks her away to a Gothic castle in the countryside. But soon her perfect marriage begins to fall apart and she finds herself trapped in a nightmare, as her husband’s mysterious nature, and his alternation of charm and violence, become more and more confusing and frightening.” (Sian Bayley)
Además, ninguna de las múltiples versiones audiovisuales ha conseguido todavía capturar la complejidad del libro, inspirado por dos narrativas victorianas que se entremezclan: Jane Eyre (1847) de Charlotte Brontë y el cuento popular de Barba Azul. [...]La fábula de Barba Azul, esa historia sobre un hombre adinerado que asesina a una serie de mujeres curiosas que entran en la cámara prohibida de su mansión, se reformula en Jane Eyre y se convierte en algo más que un aviso moralista sobre los peligros del matrimonio para las mujeres. En esta novela, la protagonista rompe con el ideal de mujer sin deseo que la sociedad victoriana espera de ella al enamorarse de Rochester, el Barba Azul de Brontë, a pesar de que este tiene encerrada a su primera mujer, Bertha Mason, en el ático de su mansión Thornfield Hall.Tachada de loca para justificar su confinamiento, a Mason se la considera la doble de Jane porque puede verse como una encarnación de la parte más liberada y pasional de la protagonista. Esta conexión la une de manera subversiva con la noción de la mujer caída de la época. Esta se caracteriza por su feminidad transgresiva en contraposición a la concepción del ángel del hogar, un ideal patriarcal que relegaba a la mujer exclusivamente al ámbito doméstico y a una feminidad restrictiva y recatada.Sin embargo, la relación entre Jane Eyre y Bertha Mason podría decirse que se construye a nivel metafórico, y está teñida de visiones patriarcales y coloniales que dejan a Bertha en un segundo plano. [...]Pese a que Rebecca se ha estudiado generalmente en relación a Jane Eyre, hay otra novela de Charlotte Brontë que nos muestra una relación similar a la que se da entre las dos señoras de Winter.En Villette (1853) encontramos también una idealización por parte de la protagonista, Lucy Snowe, mucho más explícita y detallada que el vínculo que se puede inferir entre Jane y Bertha.Ante una representación teatral del personaje bíblico de Vashti, la primera mujer del rey persa cuyo destino influye en el de su segunda mujer Esther, Lucy la describe en términos similares a Rebecca, tanto en su apariencia física como en su actitud. Lucy considera que Vashti, aunque a veces demonizada, no es “ni una mujer ni un hombre” y desea acercarse al sufrimiento con fortaleza incluso en situaciones adversas.Aunque el personaje resulta ambivalente y orientalizante, Lucy no solo la admira, sino que consigue imaginarse y acercarse a identidades no normativas a través de la ideación excéntrica que hace de Vashti. De esta manera, se puede interpretar la relación entre la segunda señora de Winter y Rebecca de formas que van más allá de una dramatización de la idea patriarcal de rivalidad entre mujeres.Incluir a Villette en estos debates es clave para reconsiderar la enorme influencia de las mujeres excéntricas y revalorizar el deseo transgresor de acercarse hacia modelos de feminidad alternativos, algo que contradice directamente ciertos discursos de la cultura patriarcal hegemónica. (Marta Bernabeu) (Translation)
Most folk who dislike a play are polite enough to withdraw quietly at the interval. However, an irked and fractious show-off can perform a mega-flounce in the middle of the action. The beauty of this form of ‘booing’ is that it’s silent but visible to every-one in the theatre, including the actors. The most recent exodus I witnessed was at the National Theatre’s scruffy and chaotic update of Wuthering Heights. At different stages of the first act, I saw three women, each on their own, making for the escape hatch. And the entire crowd could tell that the jail-breakers weren’t coming back: they’d taken their handbags with them. Doubtless many others longed to join them in a general stampede. (Lloyd Evans)
11 Track albumPhotography by Janine HairArtwork by Sara Tang,Graphic Design by Mary Kate CuccariIn her liner notes, Lee tells us the album’s title borrows from the title of Charlotte Brontë’s “Jane Eyre,” as she feels the book and her album share the themes of “rebirth and coming into one’s own.” This being her first solo album, it would appear “Eyre” is an apt title to feels well thought through. (Daniel Neely in The Irish Echo)
Some of the names of the tracks are:
Helen Burns’: Black Pat’s/Over the Moor to Maggie’s (Reels)Trip to Thornfield: Hills of Coore/Seán Ó Duibhir A Ghleanna (Hornpipe/Set Dance)
She was a nursemaid and cook for the family taken on straight from school when Charlotte Brontë was born, moving into their first home in Thornton, near Bradford, and then onto Haworth Parsonage. She only left the family's employ when the children went away to school, and remained in contact with them years later - treasuring a portrait of Charlotte and a letter from their father Patrick until she died in Bradford's workhouse.Her last wish was to avoid a pauper's grave, and instead she ended up in her sister Mary's family plot in Undercliffe Cemetery - yet no headstone marked the spot and as decades went by the area became overgrown and forgotten about.Now, a campaign by the cemetery's volunteer researchers has succeeded in funding a headstone for Nancy and a lasting tribute to her remarkable life, which saw her nurse the sisters' mother Maria Brontë through cancer and play with the girls on the moors now known as Brontë Country. She appeared in their stories and joined in their games.On June 27, the new stone will be unveiled during a tour of Undercliffe Cemetery organised to mark Bradford Literature Festival. It has been made possible by contributions from de Garrs from all over the world, descendants of her 11 siblings who emigrated to the US and South Africa.It was in 2019 when Steve Lightfoot, researching burials for a tour programme on Bradford's 'worthies', came across an old newspaper article which mentioned that the Brontes' maid was interred at Undercliffe."We didn't know where she was - and it was because she was buried as Nancy Malone, her second husband's name. There were three others in the plot with her and I began to dig deeper for about six months. The grave was unmarked, but it did turn out to be her sister's plot. It was very overgrown and the grass was about 3ft high."In 1884, a reporter from the Pall Mall Gazette had interviewed Nancy in the workhouse - where she had retired at the age of 82, widowed and penniless - after realising she was the last remaining link to the family's domestic lives, having outlived all of the Brontës.Nancy was the daughter of a Bradford shoemaker, born in 1803 and with 10 sisters and just one brother. In 1816, Patrick Brontë sent word to the city's industrial school, asking for a nurse for his three children - Maria, Elizabeth and newborn Charlotte. Pupils Nancy and her sister Sarah were recommended and she moved to Thornton, eventually spending eight years as part of their household."By the time she left in 1824, there were six children and she looked after them all - though the eldest two died within 12 months of her leaving. She did a sterling job and she deserves to be remembered. She never ceased to talk about her days with the Brontes when she was in the workhouse."Mr Lightfoot believes that Nancy had to be let go once her charges started school as by then Patrick Bronte was 'broke' and unable to afford as many servants. Nancy married her first husband six years later, but John Wainwright was killed in an accident while working at the original Salt's Mill in Bradford. She took up dressmaking to earn a living.She kept in touch with the family, and Charlotte and Emily both visited her at her home, and she also wrote letters to them and eventually attended Patrick's funeral. Yet it was in 1857 that their lives collided again when Patrick gave novelist Elizabeth Gaskell permission to write a book about Charlotte. Mrs Gaskell interviewed former servants, one of whom had been sacked and had an axe to grind. She testified that Nancy and Sarah were 'wasteful' workers and that Patrick's behaviour was volatile and cruel.It was Nancy who drew Patrick's attention to the claims, and he later wrote a letter of reference asserting that she had been a loyal and faithful employee which she had framed for her wall. A friend of Patrick's son Branwell, a Keighley schoolteacher, also interviewed Nancy for an article he published in a local newspaper to set the record straight.Yet the most intriguing aspect of Nancy's story is the gifts - known as 'relics' - that she received when she left Haworth. Three of the items were donated to the Bronte Parsonage Museum by her nephew in 1896, but many others are unaccounted for - including the portrait of Charlotte set in glass."It would be quite a special find, and better than the picture in Elizabeth Gaskell's book, which is a copy of a chalk drawing made in 1850. This sounds like it was a different portrait and a unique one on Ambrotype. If it was ever found it would be a sensation, as it's never been seen before."Nancy eventually became too old to work, her second husband had died and she had no income or pension. She ended up in the workhouse, which is what happened in those days. Her sister Sarah was still alive in the US and her brother Henry in Sheffield, but it seems like she had lost touch with them." (Grace Newton)
Haworth, EnglandBest for: Bibliophiles inspired by love stories.At first glance, the English village of Haworth could stand in for any limestone Yorkshire hamlet. But at the top of its steep climb of a high street is the Brontë Parsonage Museum, where sisters Charlotte, Emily, and Anne lived and wrote.On exhibit every year is one of the miniature books the sisters created as children. “They contain prose, poetry, and reviews,” says curator Ann Dinsdale. “The tiny scripts are difficult to read without a magnifying glass. Their small size became a secret code for the sisters.”Also on display is the dining room table where the Brontës wrote. “Every evening they would walk around the table reading aloud from their work and discussing ideas for their stories,” Dinsdale notes. The claustrophobia of that room and the image of the sisters pacing around that small table underscore their love of the surrounding moors, where they found boundless inspiration—including for Emily’s haunting classic love story, Wuthering Heights.Haworth—all tearooms and pubs behind gray stone facades—is also a stop on the Keighley & Worth Valley Railway, where vintage steam trains ferry passengers between other bucolic Yorkshire hamlets. (Raphael Kadushin)
Do any of the lexicographers ever feel disquiet about language change? [Bernadette Paton, an Australian former art teacher who has been at the OED since 1987] admits the use of “of” instead of “have” – “I would of” – “gives me a bit of a jolt. [But] putting it in the dictionary wouldn’t upset me in any way, because I recognise it is used.” We pause to look it up, and find Charlotte Brontë is quoted as a source. Salazar laughs: “Charlotte Brontë! She doesn’t know how to write proper English.” (Pippa Bailey)
La primera es la más pulp. Un salvaje asesinato reúne a cuatro personajes sin nada en común salvo ser descendientes de Mary Shelley, el explorador Richard Burton, Charles Darwin y Emily Bronte. Y se produce la inevitable cacería humana a cargo del doctor Zaroff.La segunda historia comienza a cambiar de tercio al viajar a 1848, con una madura Mary Shelley y los susodichos Charles Darwin, Emily Brontë y Richard Burton en la trama que aclara mucho de lo visto en la primera parte del cómic y en que va desapareciendo la carga pulp para abrazar lo trágico de la venganza que se está pergeñando. (Fernando Vílchez) (Translation)
Adapted by Julie ButtersJune 23 03:00 pm EDT – 04:00 pm EDTCultureHouse Salem at Old Town Hall32 Derby SquareSalem, MAWith Julie ButtersLet Jane Eyre sweep you away to Thornfield Hall—and into the heart of her romance with the mysterious Mr. Rochester. This costumed dramatic reading, adapted from Charlotte Brontë’s novel, runs approximately twenty minutes. Jane & Rochester will be performed twice with a brief Q&A after each show.
Julie Butters (Jane/creator of Jane & Rochester) is a Salem-based writer and actress. Her stage adaptation of Jane Eyre, in which she played adult Jane, was produced by Connecticut’s Flock Theater as a Zoom film in 2020. Her involvement with the film, which is available for free viewing online, was the cover story for the Spring 2022 issue of 01907 The Magazine. Jane & Rochester was first performed at the inaugural Red Rock Literary Festival.
The book that…[...] …I asked for one Christmas as a kid:Jane Eyre. My mother said, “You won’t understand it.” That acted as an incentive. (Riza Cruz)
If Sally Rooney is the millennial Austen, [Ottessa] Moshfegh is for Brontë bitches with Gothic instincts and a high tolerance for vivid descriptions of bodily functions. (Esther Zuckerman)
In her liner notes, Lee tells us the album’s title borrows from the title of Charlotte Brontë’s “Jane Eyre,” as she feels the book and her album share the themes of “rebirth and coming into one’s own.” (Daniel Neely)
I Used to Live Here Once: The Haunted Life of Jean Rhysby Miranda Seymour, William Collins £25Seymour’s biography of the contrarian author of Wide Sargasso Sea is clear-eyed yet sympathetic. It not only tells the story of an extraordinary, complicated life — but offers an appreciation of Rhys’s great literary legacy that is sure to send readers back to her novels. (Carl Wilkinson)
His father, Reverend Thomas Allbutt, was Vicar of Dewsbury Parish Church from 1835 to 1862, and his mother, Marianne, was the sister of Margaret Wooler, of Dewsbury, who taught Charlotte, Emily and Anne Brontë.Sir Clifford met the Brontë sisters on a number of occasions when they visited the vicarage at Dewsbury, where their father, Reverend Patrick Brontë, had been curate some years earlier.The Brontë sisters often visited the vicarage to have tea with the Allbutt family, and they also attended the church at various times, although St John‘s Church, Dewsbury Moor, was their regular place of worship.For this was the church nearer to their school, Healds House on Healds Road, which was run by Margaret Wooler, Mrs Allbutt’s sister, and Sir Clifford’s aunt.This was the school where Charlotte taught, and where her sister Anne was a pupil. (Jane Chippindale)
Mădălina Elena MandiciActa Iassyensia Comparationis, Issue No: 29 (1/2022), Page Range: 37-46This paper approaches the manner in which Charlotte Brontë’s Jane Eyre, a parentless avid reader, comes into contact with parodies of the patriarchal Victorian family, where monstrous male figures exercise authority over female members of the household –the strange child, the vulnerable outcast, the lunatic. To explore the textual and social tensions the figure of the female reader as a threatening force produced in the nineteenth century, this paper focuses on a sagacious heroine civilizing a bestial hero representative of the fairy-tale genre. Though certainly ahistorical, Jane subverts the fairy-tale game of submission and dominance, inviting contemporary readers to see her as a participant in the construction of social meanings and challenge conflicting assumptions around her seemingly dark double and physical inferiority. Touching as it does on female experience within domesticity, this study submits findings consistent with the idea that the home – the locus of Victorian well-being – can easily adjoin a horrific Gothic site of incarceration and terror, populated by male tyrants and colonized monsters. For Jane Eyre and other reading heroines confined to such places as symbolic prisons or intellectual hospitals, books turn out to subsume plentiful underlying supplies of vitality.
Warner Bros has announced the release date of Sex Education star Emma Mackey's new movie Emily.The biopic covering the early life of iconic novelist and poet Emily Brontë will be coming out on October 14, 2022. (Shaun Wren)
She’s best known, of course, as the author of “Wide Sargasso Sea” (1966), a postcolonial prequel to Charlotte Brontë’s “Jane Eyre.” Told from the point of view of Antoinette Cosway, Mr. Rochester’s Creole wife, the novel draws on Rhys’s own childhood on the Caribbean island of Dominica.That novel was published when Rhys was 76, after the literary world had largely forgotten her. Readers raced to catch up. [...]Rhys had a uniquely lonely intelligence, and a talent for facing hard truths. If all you know of her is “Wide Sargasso Sea,” this book will encourage you to branch out. That’s nearly — almost, maybe — worth the price of admission. (Dwight Garner)
And then I won the very first Papermill Playhouse Rising Star Award, which is like the Tony Awards of New Jersey for high schools. Then I didn't do my senior show, because part of winning it is that Papermill had me do a straight play called "Jane Eyre." Anne Hathaway was my understudy. (Jim Munson)
That saddened me as it reminded me that many of the the Bronte siblings also died of ‘consumption’ as their water source was infected and I was ruing how many good authors died early due to poor water sanitation and how difficult it was to get safe drinking water. (Tanushree Singh)
Eminent Behn scholar Professor Elaine Hobby agrees, adding: "Without Behn, we wouldn’t have Mary Shelley, Jane Austen, Charlotte Brontë and other great writers; Behn gave other women the power to believe they could publish and succeed." (Lydia Chantler-Hicks)
Elena BiscontiniUniversità degli Studi di Padova, Dipartimento di Studi Linguistici e Letterari2021Heathcliff, "afreet", "Gothic Villain": studio del protagonista maschile di "Cime tempestose", delle caratteristiche che lo inseriscono nelle tradizioni precedenti alla stesura del romanzo e degli aspetti per cui da queste si differenzia, rendendo la storia d'amore di Emily Brontë una delle più complesse e travagliate dell'Ottocento.Myongja YuStudies in English language & Literature 48.2 (2022): 87-112This paper first of all concerns an adjustment of my unheimlich-mechanism concept and fairly correlates to the series works of that mechanism in four steps: The Settling of the Father-unheimlich Figure – Ambivalence and Repetition of Doubles – Fatal Event or Death – Sublimation and Creation. This time, with more help by Lacan and Žižek, the report aims to further reveal that the unheimlich figure of its first stage then indicates more precisely the very Lacanian objet a whose utmost instance is the Phallus, the castration-father: In Seminar X, Lacan declares the Phallus (objet a), unheimlich. Thus supplementing the first stage of that creation Mechanism, I attempt to explore this veiled objet a, the Phallus, as the secret creative force of artistic works as in, for example, Jane Eyre (1847) by Charlotte Brontë, demonstrating the universal application of the mechanism. Moreover, the Phallus, objet a, will be treated regarding the location issue in-between the Real and the Symbolic of the Lacanian Borromean Knot. The present paper first sets itself apart by reinforcing the unheimlich mechanism theory connecting the unheimlich to the Phallus/objet a. Secondly, it expands and suggests almost for the first time a new horizon in reading Jane Eyre with the Lacanian unheimlich mechanism among other studies bearing on the psychoanalytic aspects of the novel. Moreover, this Lacanian reading of Jane Eyre will further explain Jane’s rebellious action. (Kyungpook National University)
Even Charlotte Brontë’s Jane Eyre can be seen through a queer lens, particularly in her formative experiences pre-Rochester. (David Caballero)
Wuthering Heights is a novel that's still in my heart from my college days. The love story of Cathy and Heathcliff touched my heart over these years. Later, the post appeared on my Facebook page on September 23, 2021. It went like, 'I will build a house beside a crawling path and name it 'Wuthering Heights.' Surrounded by a forest near a stream where deers will come to drink. Some distance away, I will build a shed with a room with glass roofs where 50,000 books will be scattered around. There will be bamboo chairs and neon lights all over the campus. People read for hours, and after their eyes hurt, they will go to sleep. Some may be crying but will fall asleep gazing at the sky.' Exactly 14 days later, I saw a place near the Kuttiyadi-Wayanad pass as same as what I wrote and imagined. I had no other option but to buy it, and that is Wuthering Heights. [...]Bronte sisters' roomA room is exclusively arranged for the works of the Brontë sisters namely Anne Brontë, Charlotte Brontë, and Emily Brontë. This will be used as a study room with a Victorian atmosphere. Many people like Prof. Nagesh, Sheeba, Bindu, Prof. Salil Varma, Fathima, Priya, Abida, and Sajan, teachers, and cultural activists have contributed books to this library. (Babitha Manningappalliyali)
Buena parte de la producción cinematográfica sobre aristócratas y vasallos tiene un origen literario, casi siempre en clave de drama romántico. Desde las múltiples adaptaciones de la novela Jane Eyre de Charlotte Brontë –de Alma rebelde (Robert Stevenson, 1943), con Orson Welles y Joan Fontaine, a las versiones de Franco Zeffirelli de 1996 o de Cory Joji Fukunaga en 2011–. . . (Javier Yuste) (Translation)
3. ‘Wuthering Heights’Inspired largely by the BBC adaptation of Wuthering Heights instead of the Emily Brontë novel, the track that launched Kate Bush was written in the leafy South London suburb in the summer of ’77. As London was swollen with the vicious angst of punk, Kate Bush was creating a masterful pop record: “There was a full moon, the curtains were open, and it came quite easily,” Bush told her fan club in 1979.Bush’s iconography only grew from this moment. Her employment of dance, mime, theatricality began to herald in a new era for pop music. Still, nobody could have predicted, least of all the teenage Bush herself, how successful ‘Wuthering Heights’ would become. That people like you and I would be still so enchanted by its whimsical nature, high octave notes and the sheer fantasy it inspires.It even landed Bush with the wonderful accolade of being the first woman to top the UK charts with a song written and performed by herself. A landmark moment in a glittering career that has always shined. (Jack Whatley)
by Anne BrontëAn adaptation by Emme HoyDirected by Jessica ArthurPreviews 21 – 24 June 2022Season 27 June – 16 July 2022Performance start timesPreview performances 7.30pmIn-season evening performances Mon & Tue 6.30pm; Wed – Sat 7.30pmMatinee performances Wed 1pm; Sat 1.30pmAn epic of love and freedomWhen Anne Brontë’s The Tenant of Wildfell Hall was published in 1848, it became an instant sensation. The witty, stirring, and groundbreaking story of Helen Graham and her mysterious arrival in the town of Lindenhope – a young son in tow but no husband in sight – so shocked and galvanised English society that Brontë’s equally famous sister (Jane Eyre’s Charlotte Brontë) sought to prevent its republication.Playwright Emme Hoy last shared her spectacular gift for shining new light on classic texts with the original monologues she penned for STC’s 2018 production of Saint Joan. Now, almost two centuries after The Tenant of Wildfell Hall’s scandalous publication, Hoy mines this pioneering classic to produce a charming, ingenious, and passionate period drama for the twenty-first Century.Taking inspiration from sources as diverse as Fleabag and Pride and Prejudice and starring Tuuli Narkle (Black is the New White tour) and Remy Hii (The Golden Age, Netflix's Marco Polo), The Tenant of Wildfell Hall will be directed by STC’s Resident Director Jessica Arthur (Grand Horizons, Wonnangatta) in a whip-smart and contemporary production that will bring this lush, rallying, and beautifully-told story into the present to share with a brand new generation.
