Katarina Shaw and Heath Rocha aren’t just skaters; they are a force of nature. Brought together as teenagers, their chemistry electrifies audiences, setting them apart from their competitors. They don’t just perform routines—they tell a story on the ice, one laced with passion, defiance, and a hunger for something more. But behind the carefully choreographed moves and press-ready smiles is a tangled web of ambition, betrayal, and heartbreak.Fargo structures the novel around an upcoming documentary investigating the infamous scandal that ended their partnership a decade ago. As the media frenzy reignites, Kat is forced to confront not just the public’s perception of her, but the truth she’s been trying to escape. What really happened between her and Heath? And can a love story that burned so brightly ever truly fade?At its heart, The Favourites is an unflinching look at the price of ambition. The novel explores the sacrifices made in the pursuit of greatness—what is lost, what is taken, and what is willingly given up. Fargo masterfully captures the suffocating world of professional skating, where everything is controlled, from diet and wardrobe to media narratives and personal relationships.Kat is a protagonist who demands attention. She is fiercely talented, ruthlessly determined, and often difficult to love. But that’s what makes her so compelling—she refuses to be reduced to a likeable, palatable heroine. Her relationship with Heath is the novel’s beating heart, messy and destructive yet impossible to look away from. They are drawn together by shared trauma and an understanding that no one else can offer. Their love is the kind that consumes, leaving no survivors. (Jade McGee)
What did you guys talk about? Did you have much in common?We had so much in common – it was slightly weird! Interests, music, hobbies… we even spoke about our ideal number of pets and it was the same! We spoke about literature, and how I bought ‘Wuthering Heights’ because I love Kate Bush’s song, and it turned out that it was her favourite Kate Bush song, too!
Charlotte Lee-PotterRoyal College of Art, 2025This practice-research redraws literary and natural landscapes via an original entanglement of geopoetics, feminist and literary theory, walking, and geometry.The project is translated through a process-orientated, materially-driven methodology. Using fresco, assemblage, domestic arts, biomaterials, sound and printmaking, the research dissolves literary texts in a process neologised here as ‘dewriting’. By testing the archetypal properties of paper, ink, and milk, the project creates imaginary libraries, books conceptualised as ‘desemic’ texts,‘pages’ made of laser-etched milk, and frescoed objects Using these methods and materials, I extract fictional and nonfictional women from their original stories, both from my past and from works by George Eliot, Charlotte Brontë, and Virginia Woolf. I focalise these women as art objects, reconfiguring them in new, communal narratives.The catalyst for all four women is my invented character known as May who has walked the natural landscape for hundreds of years. May is a composite woman; she embodies both the Medieval life-writer Margery Kempe, myself as a literary scholar, and the spirit of women who have walked the earth for centuries. May, who moves conceptually across wild terrain with her distinctive travelling library, creates a space that is enabling and unbounded for the women characters who come after her. She is both repository and synthesis.The central research question is whether May and her library can configure limitless, newly-readable possibilities for entrapped female characters travelling unfamiliar territory.Taking the form of a legend, this research dewrites restless, oppressed and neglected Maggie from The Mill on the Floss, Rhoda from The Waves, Lucy from Villette, and Susie, my impoverished great aunt born in 1899. In dissolving the literary and familial texts that hold these characters up, the project asks whether women can be re-embodied in new and mutually sustaining ways; what role might excavation (of both self and landscape) play in decoding and rewriting women as they walk without their texts? What might emerge from their newly materialised and reconfigured life stories? How can these re-visualised narratives draw attention to women’s ongoing struggle for intellectual enrichment?This inquiry uses a ‘seeing’ frame of the strange loop, a geometric form with a logic- defying ability to continually rise in height whilst returning to where it started. It is a democratic and equalising construct and, as such, is a leveller. A strange loop is infinitely expandable and, like a library, can be filled with new women and new texts, ad infinitum.The research assesses whether the self-referential construct of a strange loop can produce a new visual language for women in the landscape and address a series of political questions about their entitlement to walk unhindered and unjudged.Life-writing, with its infinitely flexible scope, extracts the project from the confines of the more rigid terms of ‘autography’, ‘autobiography’, or ‘abridgement’. In an original contribution to the interdisciplinary fields of life-writing and visual storytelling, characters are liberated from their fictions, dewritten, and entangled via visual-art.The work looks through and beyond the surfaces of past and future landscapes, giving space to fictional bodies and new narratives. It dewrites and rewrites a visual legend of potential inclusivity.
Appearing on This Morning during the week, the young star was asked by Ben Shephard and Cat Deeley what it was like working with the A-List Barbie star."I see her all the time and I speak to her all the time, but I don't really have any scenes with her," he said, revealing that fans won't get to see the two sharing the screen together. (Joe Anderton)
Jeanne Syquia is becoming Jane Eyre. Not for the first time today—she’s been Jane since morning, will be Jane until evening, has been steeping herself in Jane for months. When we speak about her preparation for the role, Syquia mentions how the character might even change her physically. “I was thinking about this the other day. I was thinking about how I’m going to have better posture after this play.” But physical transformation is merely the beginning of her journey into Charlotte Brontë’s complex heroine.“As I was reading the novel, there were just so many passages that jumped out to me where I thought, oh, I know that feeling, or I’ve felt that way before.” (...)It might seem curious that a novel written in 1847 about an orphaned governess in Victorian England would continue to resonate powerfully with audiences in 2025. But it emphatically does. Syquia believes the character speaks directly to contemporary concerns.“I think that it’s a very modern sensibility,” she offers, for Jane to push back “just because the world has told me in various ways that I need to behave a certain way or sound a certain way or look a certain way or check off certain boxes.”That modern sensibility she references has become a cultural flashpoint in recent years—the pushback against rigid categorization of identity, the rejection of traditional boxes that society provides for self-definition.“But we live in a time where people are saying, ‘Hey, why do we have to — I don’t actually have to check off those boxes,” Syquia observes,“My experience is bigger than those boxes.”This reading of Jane Eyre—not merely as a Gothic romance or a period bildungsroman, but as a radical text about self-determination—has gained traction in recent years. But Syquia’s interpretation feels particularly thoughtful because she approaches Jane not as an icon or a symbol, but as a human being negotiating impossible circumstances. (...)As our conversation draws to a close, I ask Syquia what she hopes audiences will take away from the production.“Well, I hope they go on the journey,” she says, simply. “I hope they are interested to go on Jane’s journey with her.” (Peter Latham)
1. "Whatever our souls are made of, his and mine are the same."Emily Brontë's powerful line from Wuthering Heights is a hauntingly poetic expression of deep, soul-binding love. This sentence captures the essence of a connection that goes beyond the physical realm, suggesting a shared spiritual essence between two individuals.The use of "souls" emphasizes a bond that is both profound and eternal, highlighting the idea that true love is rooted in understanding and unity. It is a sentiment that resonates across time, as readers are drawn to the notion of finding a soulmate who mirrors their own essence.Brontë's words remind us that love can be an all-encompassing force that transcends the boundaries of individuality. (Fritz von Burkersroda)
To close March, the month of women, with a flourish, we bring you the works of the Brontë sisters, an example of the struggle for equality in the world of literature.Jane Eyre, Charlotte BrontëAlthough many recognize the novel for the love story, Jane Eyre is much more than that. Charlotte tackles other deep issues such as the condition of women, social inequality, religion and education that may be of interest to many readers today. Which is why it is seen as one of the first feminist books. Certainly, the gothic literature elements are also a draw for many readers.Wuthering Heights, Emily BrontëThe narrative style creates powerful imagery through vivid, poetic prose. Readers looking for a complex plot with fascinating and contradictory characters will be delighted. They will definitely be swept away by the visceral plot that explores death, human nature and intense destructive love.Agnes Grey, Anne BrontëA thought-provoking novel about the status of women, social inequalities and the limited opportunities for women in Victorian society. The story is still relevant today as it explores through complex characters the social difficulties and the eternal search for happiness. (Edgary Rodriguez R.)
Jane Eyre 2011What it’s about: The young governess Jane Eyre (Mia Wasikowska) takes a job under the watchful, brooding eye of Mr. Rochester (Michael Fassbender), whose waistcoat is big and full of secrets. A muted, pastel color palette provides the perfect backdrop for their bad romance to rupture and flourish.Why it’s perfect for rainy spring Sunday afternoons: Jane and Mr. Rochester are melancholy for various reasons, mirroring your mood as you contemplate the Excel sheet awaiting you tomorrow morning. As a bonus, this is set in the mid-19th century, making you nostalgic for a time period in which you never lived. The realization that you are trapped in this dull, waistcoat-free present may make you sip your cappuccino all the more wistfully. (Evan E. Lampert)
So many books I’ve loved unlock British history and our national temperament – in particular our stiff upper-lip and fortitude – by taking an unsentimental look at boarding school life. Jane Eyre wouldn’t linger long in the imagination had she not triumphed over the hideous deprivations she endured at Lowood School.
Como Violeta, la protagonista de su nueva novela, Aixa de la Cruz (Bilbao, 1988) devoró entre los 10 y los 14 años todos los folletines románticos decimonónicos que cayeron en sus manos: “Los leía con la voracidad con la que ahora vemos Netflix”. Tal vez por eso quiso escribir ella uno. Acarició durante mucho tiempo la idea de una reescritura de Cumbres borrascosas, una historia romántica de muchos capítulos. Y, si en Todo empieza con la sangre (Alfaguara) el lector sigue los pasos de Violeta, contagiándose del pulso acelerado de su corazón y sintiendo sus vientos interiores que parecen siempre cambiantes, este no tarda en comprender que bajo esa piel que quiere erizarse y herirse, abrirse al otro, palpita una búsqueda todavía mayor. (Alba Correa) ( Translation)
Many other Vogues also deal with Emerald Fennell's Wuthering Heights one way or the other. Vogue Italia or Vogue France (with a list of Wuthering Heights film adaptations)
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The annual conference of the Kansai Branch of the Brontë Society of Japan took place on 21 March at Kindai University Higashi Osaka Campus , where two members presented their research.Following the research presentations by the two Kansai chapter members, Pauline Clooney, author of "Charlotte & Arthur" and founding member of the Banagher Brontë Group, gave a talk via Zoom from her home in Ireland.
We are absolutely delighted to share that we were successful in our bid and will be welcoming this artwork to the Museum for the first time!Emily's watercolour titled 'The North Wind' was created in 1842 whilst she and Charlotte were studying at the Pensionnat Heger in Brussels.
Mano de MithrilLLC - KdpSaISBN: 9798312047240¿Sabías que los gigantes fueron el menor de los problemas del Quijote? Mucho se ha escrito sobre el ilustre hidalgo de la Mancha, pero son pocos los que saben que tuvo lidiar con androides, vampiros o con una Dulcínea tan empoderada como Frida Kahlo. Tras recopilar los textos apócrifos de Cervantes, por fin podremos descubrir las aventuras más insólitas del caballero de la triste figura.En esta recopilación de relatos, grandes maestros de la literatura como Tolkien, Hemingway, Poe o Emily Brontë se adentrarán en las páginas del libro más famoso de la literatura y compartirán aventuras con don Quijote de la Mancha. Para dar vida a estas historias han unido sus plumas: María Sofía Abarca, Antonio Arjona, Monserrat García, Iván Humanes, Antonio López, Juan Carlos Martínez, Gustavo Daniel, Violeta Sánchez, Óscar Sandoval, y Mano de Mithril.
What is your favourite book by a dead author?Because this question is impossible to answer — I like too many dead authors too much — I’m going to use this space to say I think Villette is the best novel Charlotte Brontë — or any Brontë — wrote. It’s a superb portrayal of loneliness and the sobering daily work of sanding fantasy down to fit reality. Lucy Snowe — priggish, humane, loyal, introverted, socially awkward yet great for barbed repartee — is a pleasingly frustrating narrator, who reads, to me, like Brontë trying to come to terms with her own social defects. To say Villette is one of the greatest novels ever written about disappointment — you will throw your book across the room when you hit that ending — does not give it enough credit for also being very horny. Lucy’s experience of the erotic powers of Dr John Graham Bretton and Ginevra Fanshawe are written with passion and hunger, and M Paul Emanuel is the focus of the kind of yearning that should have set the pages on fire.
"It's every single book I have ever written," says novelist Rowan Coleman, who has had about 40 books published since her first in 2002, including the Sunday Times bestseller The Memory Book in 2014, and The Bronte Mysteries series under a pen name [Bella Ellis]."I felt absolutely sick… I have no way of knowing how much revenue that has cost me. Like most writers, I struggle to pay the bills. I have three jobs, I have children to support and a mortgage to pay. And there are tech billionaires who are profiting from my work and the work of countless other authors as well. How can that be right?"Meta, Coleman says, allegedly decided to obtain "what they needed cheaply and quickly".But financial compensation aside, she says there is a bigger issue. "It's a threat to this profession even being able to continue to exist. We are, I think, at genuine risk of not having any books for people to actually pirate - at least not any written by humans." (Gemma Peplow)
The Brontë Sisters publishes a video about the Brontë animals and their influence on their writings. The Behind the Glass podcast interviews Claire O'Callaghan.
Curated by Rochelle SteinerMarch 30 - July 13, 2025Laguna Art Museum307 Cliff Dr., Laguna Beach, CA 92651Laguna Art Museum presents Carole Caroompas: Heathcliff and the Femme Fatale Go on Tour, a series of works created between 1997-2001. Here, feminist artist Carole Caroompas took inspiration from the lead character in Emily Bronte’s 19th-century novel Wuthering Heights, turned him into a rockstar, joined him with the self-inspired, dangerous sexual presence, the “Femme Fatale,” and sent them on a journey of desire and destruction. Throughout her career, Caroompas (1949-2022) drew from a diverse array of sources, including art history, rock music, zines and magazines, literature, film and advertisements to both reflect and subvert gender roles, power dynamics and the construction of identity. These works are dynamic in their hybrid forms and color, involving periods of intense research, sketching, drawing, painting, collage, embroidery and other approaches with found materials and on canvas.Born in Oregon City, Oregon in 1946, the artist grew up in Newport Beach, California; she studied English at Cal State Fullerton and received her MFA from the University of Southern California in 1971. After graduate school, Caroompas lived in Los Angeles and became associated with peers who similarly explored abject themes in their punk-inspired works. She also worked within the context of feminist artists whose work utilized stitching, embroidery and other forms that could be considered “women’s work” or craft, taking on these forms and approaches while creating critique.Fiercely independent, she did not receive the wide-reaching recognition of some of her contemporaries, despite her consistent exhibition history and national awards. It is only now, after her death in 2022, that her work is being well-considered for her unique approach and its impact on her contemporaries and generations of artists who followed.
The Brontë sisters feature in artwork now adorning a Class 331 unit.There are also depictions of landmarks including Bradford City Hall, Cartwright Hall, the Alhambra Theatre and a statue of author and playwright JB Priestley.And as part of the initiative, celebrating Bradford 2025 UK City of Culture, the train has been named The Bradfordian.The artwork was unveiled in a ceremony at Bradford Forster Square, attended by guests including West Yorkshire mayor Tracy Brabin and Bradford Council leader Councillor Susan Hinchcliffe.Kerry Peters, regional director for Northern, says: "The City of Culture celebrations are already putting Bradford on the map and making a real difference to local people by boosting a sense of pride."That’s why Northern is committed to promoting these fantastic events, supporting the organisers and providing a warm welcome to everyone who visits the district."We hope passengers who see this artwork will take a moment to reflect on Bradford’s unique history and then look ahead to find an event they can attend."Ms Brabin says: "The vibrant artwork on this train is a fitting tribute to Bradford and our region’s thriving creative industries." (Alistair Shand)
The Harvest, 4(1), 35–45.This paper aims to study the textual relations regarding the role of ideologies for the maintenance of center-margin relations. My efforts are to uncover the problems related to race, gender and nationality in the discourses of the mainstream texts, and observe the connections between such problems and counter-discursive narrations of the contesting texts. I argue that beside aesthetics, the mainstream texts have political and ideological orientations that serve the interests of the privileged. That is why the alternative writers critique them for the social transformation and justice to the suppressed underclass people and other excluded groups. The new literary discourses emerge from the limitations of the previous discourses. So, epistemology gets the new direction by the disruptive narratives which are constructed with the vision of alternative relations. In this study, I employ the comparative approach to examine the intertextual relations between the pairs of texts with regard to the influence of ideologies in the construction of social hierarchies in the mainstream narratives. The finding of this paper is that the alternative narratives, written from the perspectives of the marginalized, emerge from the ideological fault lines of the hegemonic discourses of the mainstream narratives. The alternative narratives: Aime Cesaire’s A Tempest, Jean Rhys’s Wide Sargasso Sea and JM Coetzee’s Foe critique the mainstream narratives: William Shakespeare’s The Tempest, Charlotte Brontë’s Jane Eyre and Daniel Defoe’s Robinson Crusoe respectively. The critical authors attempt to uncover the suppressed voices of the marginal by reconfiguring the canonical literary discourses. Their attempts are to articulate voices for the justice of socially excluded and underprivileged.
My all-time favourite Sofia Coppola movie also happens to be one of her most divisive: Marie Antoinette, released in 2006, and starring Kirsten Dunst as the 14-year-old Austrian archduchess sent to France to marry the future king. The film is frequently inaccurate, but in a way that’s wildly fun: baby-pink Converse Chuck Taylors unlaced in her bedroom, socialites dancing to “Hong Kong Garden” by Siouxsie and the Banshees during a masked ball and costumes dyed in candy colours that weren’t achievable at the time. Oddly, all of this works to ground us in reality: Marie Antoinette was a teenager! Just like you and I once were.Which brings me neatly to Emerald Fennell’s upcoming Wuthering Heights adaptation, in which 34-year-old Margot Robbie plays 18-year-old Cathy from the classic Emily Brontë novel. Already the “first look” images, in which Robbie’s pictured in a wedding dress, have incited backlash. Firstly, the traditional white wedding dress as we know it wasn’t widely popular until Queen Victoria wore one during her 1840 marriage to Prince Albert (Wuthering Heights is set in the late 1700s). The dress itself – the embellished puff sleeves, the off-the-shoulder silhouette – is also pretty 1980s. And Robbie’s got a blonde dye job. Which wasn’t a thing until two centuries later.But again, does any of this really matter? Putting aside the fact that the film isn’t even out yet, it’s worth remembering that Wuthering Heights is a fictional novel – not a historical document. It didn’t actually happen. And what is the purpose of a novel or film, if not entertainment? Yes, they could have shoved Cathy into a floral number with those hefty 1700s jutting out hips, but isn’t that shimmering voluminous ball skirt just so much more whimsical? And it’s pretty safe to assume that, just like the anachronisms in Coppola’s Marie Antoinette, these inaccuracies are intentional.While accuracies can work to transport us to a certain time or place in a magical way – Sophie Ellis-Bextor’s “Murder on the Dancefloor” in Fennell’s Saltburn (set in the 2000s), the muted fabric tones in Greta Gerwig’s Little Women (set in the 1860s) – I don’t think any director or novelist necessarily owes us historical exactness when it comes to producing art. Was Queen Anne a lesbian with a thousand white bunnies, as in Yorgos Lanthimos’s exceptional 2018 black comedy The Favourite (I hope so, but there’s no proof)? Stranger Things is set in the 1980s, but I don’t recall my mother describing a hostile alternate dimension known as the Upside Down from that era? I’m being facetious, but you get the idea: fiction is fiction. We may as well have fun with it.At this stage, I actually hope that Fennell’s Wuthering Heights is in fact woefully inaccurate to the time period. I hope Cathy shows up in a pair of Sambas, and that Heathcliff has a laptop stowed away in his study. It’s worth remembering that, in the original Wuthering Heights, Heathcliff was nearly 40 and romantically obsessed with a child, so, you know… a bit of artistic licence isn’t always a bad thing.
When Wuthering Heights was published in December 1847, many readers didn’t know what to make of it: one reviewer called it ‘a compound of vulgar depravity and unnatural horrors’. In this extended extract from episode three of ‘Novel Approaches’, Patricia Lockwood and David Trotter join Thomas Jones to explore Emily Brontë’s ‘completely amoral’ novel. As well as questions of Heathcliff’s mysterious origins and ‘obscene’ wealth, of Cathy’s ghost, bad weather, gnarled trees, even gnarlier characters and savage dogs, they discuss the book’s intricate structure, Brontë’s inventive use of language and the extraordinary hold that her story continues to exert over the imaginations of readers and non-readers alike.
I first saw Cathy Marston’s Jane Eyre nine years ago, since when it’s enjoyed considerable success in Europe and the USA. Now it returns to its Yorkshire roots (see below), before touring over the next couple of months to Nottingham, Sheffield, Norwich and Sadler’s Wells. On principle I’m sceptical of the wisdom of dancing adaptations of densely plotted Victorian novels, but this one has its merits.True, the narrative is unnecessarily muddled at first, and only those with vivid memories of the book will follow the import of the early scenes involving Aunt Reed, Reverend Brocklehurst and Helen Burns. Periodic incursions of a sextet of anonymous and predatory males representing repressive patriarchy further confuses matters.But the slow-burn progress of the relationship between prim Jane (Sarah Chun) and Byronic Rochester (Jonathan Hanks, excellent) is strongly conveyed in psychologically dynamic movement, there’s a witty ball scene and a splendidly dotty Bertha Mason to set the stage on fire. Philip Feeney has plundered Schubert to concoct an effective pastiche score (played by a live orchestra, thanks be) and Patrick Kinmonth’s designs economically evoke the raw Brontëan landscape in the Ravilious manner, all washes and striations of grey, green and brown. A rapt audience in Leeds palpably loved it all. (Rupert Christiansen)
Ask someone when they first read Jane Eyre, and they will no doubt remember: the voice of its protagonist leaps off the page as if to grab you by the forearm, pulsating with life.Passionate, determined, and fiercely protective of her claim to happiness, Jane possesses a strength of character that utterly belies the plainness and penury of her beginnings.Even those who haven’t read this novel, first published in 1847, are likely to associate it with popular representations of governesses and madwomen, which Jane Eyre helped enshrine as icons of the Victorian era. (Matthew Sussman)
Character Analysis Through Politeness Maxims, in Emily Bromtë's Wuthering HeightsYuldasheva Feruza Erkinovna and Halimova Nilufar Hakimovna
Vol. 1 No. 6 (2025): Analysis of Modern Science and Innovation
Abstract
This paper will analyze the intricate and often deceptive role of politeness in Emily Brontë's Wuthering Heights, arguing that it functions not merely as a superficial social convention but as a powerful tool for character development and narrative propulsion.
Northern Ballet’s revival of Jane Eyre is a haunting, poetic distillation of the beloved novel that speaks to its audience in movement as eloquently as Charlotte Brontë’s work did in wordsëWith undeniably beautiful choreography from Cathy Marston, the production at Leeds Grand Theatre strips the story to its core - but loses none of its power. It’s a visceral and deeply affecting interpretation of the protagonist’s journey from abused orphan to fully grown woman.From the opening moments, the production grips the audience. Young Jane is sketched in sharp, staccato movements. We see her bullied by her cruel cousins and banished to Lowood School, where deprivation and tragedy shape her resilience. [...]And the set’s abstract nature also heightens the production’s dreamlike quality. A particularly striking element is the evocation of fire: thick smoke and a wash of searing orange light transform the stage into a terrifying inferno as Bertha - wild and untamed in a ragged red dress - torches Rochester’s bed and later crashes his doomed wedding to Jane.The relationship between Jane and Rochester is electric, their duets an intense push and pull, filled with longing, restraint and barely contained passion.For a novel as sprawling as Jane Eyre, the two-hour run time is impressively condensed. Yet the story never feels rushed, the key moments seamlessly flowing into one another. Even those unfamiliar with the book will feel its narrative pulse in every leap and lift. (James Connolly)
Robbie was seen on the set of Wuthering Heights in paparazzi photos that were published in March 2025. The photos show her seemingly in the midst of a wedding scene, strolling the misty English moors while wearing a voluminous white ball gown, a long gauzy veil, a diamond tiara, and a bridal bouquet.Faithful fans were quick to point out physical discrepancies between Robbie’s onscreen portrayal and Catherine’s depiction in the book: Robbie was seen with her signature blonde hair while the novel describes her character as having dark-brown hair. Others accused the adaptation of favoring aesthetics over historical accuracy due to the anachronistic style of Catherine’s wedding dress. White wedding dresses, for instance, were not commonly worn until the Victorian era, which doesn’t occur until decades after the events in the novel. (Although, considering the fact that most major period movies depict brides in white wedding dresses, classic literature fans just might have to give up on this fight.) Besides the hue of the dress, critics also took issue with the design, deriding the inclusion of glitter—which wasn’t invented until 1934—as the so-called Bridgerton effect. (Chelsey Sanchez)
Earlier this week, photos of Robbie on the Wuthering Heights set surfaced online, sparking instant discourse. One of the major points of contention was Robbie’s costume: a white off-the-shoulder wedding dress, outfitted with embellished poufy sleeves, a basque corseted bodice, and a shimmering voluminous ball skirt. The bridal look—which seemed as though it was more befitting of the 1980s than the early 1800s—was complete with a cathedral veil anchored by a tiara and a rose and hydrangea bouquet.But it wasn’t just the dress’s more modern interpretation that peeved English majors of yore: it was the dress period. As many were quick to point out, wedding dresses as we know them didn’t exist until Queen Victoria popularized the now-traditional white with her 1840 marriage to Prince Albert. Since Emily Brontë’s story takes place around 40 years before, a white wedding dress would be far from the norm. The voluminous silhouette would also be abnormal for the time. The neoclassical style was still in fashion; flowing dresses with empire waists were de rigueur.While the dress is definitely not a faithful period recreation, it’s not worth fussing about—yet. (Nor is it worth using as a bellwether to predict the film’s success.) As we know from Promising Young Woman and Saltburn, Fennell is a stylish filmmaker with a strong aesthetic vision. We wouldn’t expect anything less from her Wuthering Heights adaptation. So, why don’t we just let Margot Robbie and Emerald Fennell do their thing, and we can reserve judgments for opening weekend? (Hannah Jackson)
Forum sells 273 lots of Fine Books, Manuscripts and Works on Paper on Thursday, March 27. (...) A first edition of Charlotte Brontë's Villette (1853) inscribed by the author to William Makepeace Thackeray is estimated at £10,000–15,000.
Auction:
Thursday 27th March 2025 1:00pmLot 107A
[Brontë (Charlotte)] "Currer Bell". Villette, 3 vol., first edition, presentation inscription from Brontë to William Makepeace Thackeray, Smith, Elder & Co., 1853.
Estimate: £10,000 - 15,000[Brontë (Charlotte)], "Currer Bell". Villette, 3 vol., first edition, vol. 1 lacking publisher's catalogue at end, presentation inscription from Brontë to William Makepeace Thackeray "W. M. Thackeray Esq. from the Author" to preserved front free endpaper in vol. 1, dated Jan. 29th but year partially
trimmed, ink gift inscription "Miss J Mathews from R Ferguson, Oct 3 1877" beneath in a different hand, vol. 1 with unidentified heraldic ink-stamp to front free endpaper, Thackeray's small embossed stamp to head of titles, vol. 3 title and following 2 ff. loose, occasional light soiling, spotting to endpapers and very occasionally elsewhere, 19th century half calf over marbled boards, by Geo. Coward of Carlisle with his ticket to pastedowns, spines gilt and with red morocco labels, some wear to extremities, lightly rubbed, [Smith 6 pp.138-142], 8vo, Smith, Elder & Co., 1853.⁂ A remarkable presentation copy linking two of the great figures of 19th century English literature. Brontë is known to have held Thackeray in high esteem, dedicating the second edition of Jane Eyre to him, after much admiring his recently released Vanity Fair (1848): "I see in him an intellect profounder and more unique tha
n his contemporaries have yet recognised; because I regard him as the first social regenerator of the day". The two first met at a dinner party given by publisher George Smith in late 1849, the meeting reputedly stilted by Brontë’s shyness. Another dinner party, held by Thackeray in Brontë's honour in June 1850, appears to have been no more successful, with Brontë perceived as serious and in outmoded dress by her fellow guests. Despite moments of awkwardness, the important literary relationship between Brontë and Thackeray evidently stemmed from a deep mutual appreciation.Villette was Brontë’s last novel to be published in her lifetime. Thackeray posthumously published her fragment ‘Emma’ in his Cornhill Magazine (April 1860), accompanied by a personal tribute: "An impetuous honestly seemed to me to characterise the woman...Hundreds of those who, like myself, recognised and admired that master-work of a great genius, will look with a mournful interest and regard and curiosity upon this, the last fragmentary sketch from the noble hand which wrote Jane Eyre".
Lot 58
Heger (Claire Zoë) 4 Autograph Letters signed and one Autograph Postcard signed to Katie Douglas & one Autograph Letter signed to Meta Mossman, 1884-89, on a variety of subjects; and 4 other letters, from Louise Heger, referring to Charlotte Brontë as an artist etc.
Estimate: £600 - 800Heger (Claire Zoë, directrice of the school in Brussels attended by Charlotte and Emily Brontë, 1804-90) 4 Autograph Letters signed and one Autograph Postcard signed to Katie Douglas & one Autograph Letter signed to Meta Mossman, together 13pp & 2 sides., in French, [Brussels], 25th April 1884 - 9th January 1889, on a variety of subjects including their 51st wedding anniversary, family remembrances, advice etc.; and 4 other letters, from Louise Heger, referring to Charlotte Brontë as an artist etc., v.s., v.d. (9).⁂ Claire Zoë Parent (1804-90), was born in Belgium to a French father, and inherited from an aunt, a nun, a boarding school in Brussels, and it became known as the ‘Pensionnat de Demoiselles Heger-Parent,’ situated in the 32 rue d'Isabelle. In 1836, Clare married Constantin Heger (1809-96), a teacher at her school. Charlotte and Emily Brontë enrolled in the school in 1842 as pupils and teachers. Charlotte fell headlong in love with Constantin Heger and sent him numerous letters. Heger tore the letters up but Madame Heger rescued them and repaired them. They were given to the British Museum and were eventually published in The Times newspaper in 1913. Charlotte's time in Brussels with the Heger's furnished her with significant material for her later novels, especially The Professor and Villette.Provenance:Mme Zoë Claire Heger;By descent to Louise Heger (1839-1933);Gifted by Louise Heger to Miss Marion Douglas (sister of Katie Douglas);Marion gifted her Bronte relics to her niece, Meta Mossman;Gifted to Mr W.R. Cunliffe;Thence by descent to the present owners
Lot 52
Brontë (Patrick) Seal, oval orange hardstone (carnelian), engraved "B", set in a brass seal ring, c. 1840.
Estimate: £4,000 - 6,000Brontë [formerly Prunty, Brunty] (Patric
k, Church of England clergyman and author, 1777-1861) Seal ring, oval orange hardstone (?carnelian), engraved "B", set in a brass seal ring, slightly tarnished, old paper label attached "Bronte seal", hardstone 22mm. x 20mm., ring height 33mm., n.d. [c. 1840].⁂ In February 1842, Patrick Brontë escorted Charlotte and Emily to Brussels to attend the school at the Pensionnat Heger, 32 rue d'Isabelle. They planned to stay initially for six months, but they were subsequently invited to stay on, Charlotte to teach English and Emily music in lieu of fees.
Brontë (Emily) The North Wind, watercolour heightened with touches of gum arabic, after Finden's engraving of 'Ianthe' (Lady Charlotte Harley) in vol. II of the Life & Works of Lord Byron, image 160 x 113 mm (6 1/4 x 4 1/2 in), under glass, spotting and some toning to sheet, mount exposure lines visible, some surface loss and abrasion to corners, fine craquelure to gum arabic, framed, [1842]Provenance:Painted by Emily Brontë while at the Pensionnat Heger, Brussels, 1842;Probably Constantin Georges Romain Héger and Mme Zoë Claire Heger;By descent to Louise Heger (1839-1933);Gifted by Louise Heger to Miss Marion Douglas (sister of Katie Douglas);Marion gifted her Brontë relics to her niece, Meta Mossman;Gifted to Mr W.R. Cunliffe;Thence by descent to the present owners
EDIT: Acquired by the Brontë Parsonage Museum.
Lot 54
Brontë (Charlotte) 2 cabinet portrait photographs of Charlotte Brontë, taken from the celebrated portrait by George Richmond in 1850, decorated brass frames, not before 1850.
Estimate: £600 - 800Brontë [married name Nicholls] (Charlotte [pseud. Currer Bell], novelist, 1816-1855) 2 cabinet portrait photographs of Charlotte Brontë, taken from the celebrated portrait by George Richmond in 1850, decorated brass frames, tarnished, housed in a leather pouch, each 65 x 52mm., [not before 1850].
Brontë [married name Nicholls] (Charlotte [pseud. Currer Bell], novelist, 1816-1855) Lock of Charlotte Brontë's hair, given by Charlotte's friend Ellen Nussey to be shared between Lady Morrison and Genevieve Wigfall, housed in an envelope "A part of a lock of hair of Charlotte Brontë's given to me by Miss Ellen Nussey
April, 1889. Leeds, Genevieve Wigfall", copy of letter from Lady Morrison to Wigfall, v.s., v.d., [gifted in 1889] (4 pieces).
Lot 56
Brontë (Charlotte).- Lowndes (T.) Autograph Letter signed to Marion Douglas, Eglinton Park, Kingstown, Dublin, October 1893, on Monsieur Heger, "you mentioned that you were apprehensive reflecting M. Heger's health; and a small quantity of others (sm. qty).
Estimate: £300 - 400Brontë (Charlotte).- Lowndes (T.) Autograph Letter signed to Marion Douglas, 8pp. & envelope, 8vo, Eglinton Park, Kingstown, Dublin, October 1893, on his interest in Charlotte Brontë and the Heger family, "you mentioned that you were apprehensive reflecting M. Heger's health", small tear along fold; and a small quantity of others, including c. 14 20th century letters sent to Walter Cunliffe regarding his collection of Brontë/Heger material, press cuttings etc. (sm. qty).
Lot 107Estimate: £1,500 - 2,000[Brontë (Emily and Anne)], "Ellis and Acton Bell". Wuthering Heights and Agnes Grey, 1 vol. as issued, second English edition, first issue with title dated 1850, lacking half-title and advertisement f. and publisher's catalogue, front free endpaper with later ownership inscriptions (abrasion and few small holes where one removed), divisional title to Agnes Grey with contemporary ownership name to verso, few short marginal tears, p.27 & 131 into text with tiny loss to one letter, p.318 some old tears and paper repairs affecting text with loss to few words, the occasional small stain, some soiling, gutter slightly cracked at points, upper hinge cracked, 19th century ?library cloth, spine lettered in gilt and with some fraying to ends, spine and upper cover slightly faded, few small and light stains, corners bumped and rubbed, [Smith 3 pp.63-69], 8vo, Smith, Elder and Co., 1850.
Turns out that Emerald Fennell’s “Wuthering Heights” is being shot in VistaVision. Recently leaked photos, with lead Margot Robbie in a wedding dress, have been making the rounds the last few days. DP Linus Sandgren was seen using the film format.There wasn’t a film shot in VistaVision for over 60 years until Brady Corbet’s “The Brutalist” broke that spell last year. Before that one, the last film to use VistaVision cameras was Marlon Brando’s “One-Eyed Jacks” in 1961.Now, we’re going to be getting four films in the next year shooting in VistaVision. Whether this turns out to be a brief fad remains to be seen, but so far we have new VistaVision-shot films from Fennell, Paul Thomas Anderson, Alejandro Gonzalez Iñárritu, and Yorgos Lanthimos coming out in 2025 and 2026. (Jordan Ruimy)
Margot Robbie is no Cathy Linton. That hasn’t stopped her, however, from standing on the English hillside in a billowing wedding dress on the set of Emerald Fennell’s adaptation of Emily Brontë’s Wuthering Heights. There was a brief but notable outcry when Robbie and Jacob Elordi, playing Brontë’s brooding Heathcliff, were announced: These stars are too old, too tan, too Australian. The first surreptitious shots of Robbie in costume, however, lit up the internet anew.What we know with certainty about Cathy and Heathcliff is that they meet in their adolescence, their tumultuous courtship lasting until Cathy’s death at age 19. Cathy is canonically brunette, while Heathcliff — a foundling, or orphan — has a dark complexion that leads characters to suggest he may have Romani heritage. Neither are, despite Fennell’s casting, Australian, but it’s always good to double-check that kind of thing. Their relatively young ages and social differences contribute to their doomed romance, but Brontë’s novel is more often defined by its depiction of cruelty and morality within the rigid English class system. You know, classic Emerald Fennell stuff.That Fennell’s adaptation is being picked apart before we even have approved press stills is perhaps mostly indicative of her reputation as a divisive director, prone to exaggeration and excess. Fennell’s films often elide both history and plausibility — strict adherence to period-appropriate accuracy in casting, costume, or feel is besides the point. We don’t yet know what Fennell’s “take” on the material is — if any — or whether the ages or costumes are gestures of purpose or convenience of star power. But even if the director isn’t doing something crazy with the text, that doesn’t necessarily mean her film is doomed so much as it joins a catalogue of “miscast” Wuthering Heights.Since the publication of Wuthering Heights in 1847, more adaptations than not have abandoned faithfulness to the text in lieu of artistic vision. The very first adaptation of the novel was a silent film in 1920 directed by A.V. Bramble, starring Anne Trevor (who was around 20 at the time of shooting) and Milton Rosmer (who would have been nearly 40). Since then, Wuthering Heights has traveled around the globe with adaptations in French and Spanish and Hindi, starring actors of all sorts of ages and backgrounds. Most of those who have played Cathy and Heathcliff — Juliette Binoche, Merle Oberon, and Rosemary Harris, for instance, as well as Ralph Fiennes, Laurence Olivier, and Tom Hardy — are far older than the required ages for the duo.There are certainly some good adaptations of Wuthering Heights, but part of why the book has endured is because of how difficult it is to bring to life. Cathy and Heathcliff are tricky characters, moody and selfish and destructive (teenagers …), whose inconsistent qualities are their only constant. Their relationship is both fated and impossible to root for. Set in the dreary English moors, Brontë’s book is steeped in mist and mystery. Wuthering Heights was her only novel, and it feels apt that no one adaptation has ever really nailed that which makes her book so literally singular.You don’t have to go back 100 years, however, to get the most “accurate” adaptation of the novel so far, only about a decade. Andrea Arnold’s 2011 take on the novel, starring Kaya Scodelario and James Howson, indulged in the dark, swampy qualities of the novel, emphasizing the bleak and animalistic qualities of the two lovers over the explicitly erotic (though there was some of that, too). Scodelario and Howson are fantastic and as close to age-appropriate as any. The film is solid if not harsh, like walking directly into the wind, but its adherence to literary canon didn’t necessarily carry Arnold’s film into the beloved literary classic canon. All of which is to say, there’s time yet for Fennell’s adaptation to delight (or disappoint) us. Besides, no one can unseat the best adaptation, Kate Bush’s “Wuthering Heights.” It would be foolish to even try. (Fran Hoepfner)
The 53rd Hong Kong Arts Festival 第53屆香港藝術節
Emma Rice—Wuthering Heights
A National Theatre, Wise Children, Bristol Old Vic and York
Theatre Royal co-production
Lyric Theatre, The Hong Kong Academy for Performing Arts
26-29 Mar 19:30
29 Mar 14:00Internationally renowned director Emma Rice transforms Emily Brontë’s epic story of love and revenge into an audaciously inventive music theatre experience in her stage adaptation of Wuthering Heights, co-produced by four major UK theatres. The critically acclaimed production has received rave five-star reviews, and features an 11-member cast and an exhilarating blend of live music, comedy, puppetry, dance and projections. Wise Children’s version of Wuthering Heights re-examines the classic tragedy and warns how cruelty towards others can affect the world for decades to come.
While Bronte’s novel doesn’t include specific dates and ages. . . (Nick Bond)
Mona Gad AliAlsun Beni-Suef International Journal of Linguistics Translation and LiteratureVolume 5, Issue 1, June 2025Ecocriticism is an interdisciplinary field that studies the relationship between literature and the physical environment, focusing on human relationships with the surrounding nature. This paper examines Emily Brontë's Wuthering Heights through an ecocritical lens, focusing on the interconnected relationship between ‘self and place’ as embodied in the triangle of Catherine, Heathcliff, and the Yorkshire moors. Drawing on ecocritical theories of ‘place attachment’ and ‘environmental determinism’, this study challenges the previous ecological perceptions of the novel’s setting that introduce the moors landscape as an ecological ‘space’, and attempts, through the analysis of characters’ relation with each other’s and with the moors to approach the setting from the notion of ‘place’. The paper compromises three parts: first, introducing ecocriticism and the expression of its different approaches in fiction. Then, drawing upon the notion of ‘self and place’, referring to the core differences between ‘space’ and ‘place’ in ecology with some examples of ecocritical works. Finally, handling of the paper’s perspective that the moors landscape is a ‘place’ through examining the interrelated connection between characters and the moors. By tracing human-nature bonds across generations, the study illuminates Brontë's critique of ecological and societal norms and her vision of potential harmony between humanity and nature. This approach offers fresh insights into Brontë's masterpiece, positioning Wuthering Heights as a pioneering exploration of environmental consciousness and the profound impact of place on human identity and relationships.
The actress,36, is playing Catherine Earnshaw in the £62 million production, with Saltburn actor Jacob Elordi taking on the role of Heathcliff.Strolling across the misty Moors, she looked stunning in the off-the-shoulder dress that featured a voluminous skirt - with filming coming just months after she gave birth to her first child.Margot's long veil trailed behind her as it caught the breeze, while her costume was completed with a bouquet of roses. (Laura Parkin)
The Daily Mail is a bit bitchy, because Margot Robbie is 34, as a matter of fact. Not the only problem with the numbers in the article: it's also said that "Brontë's Wuthering Heights, published in 1850, is considered a masterpiece of English literature". As before, wrong. It was published in 1847.
Northern Ballet’s critically acclaimed Jane Eyre will be on stage at the Theatre Royal, Nottingham, Tuesday, April 8, to Saturday, April 12.Based on the novel by Charlotte Brontë, dancers will bring the beautiful love story to life through heart-stirring choreography and live music that captures the essence of her timeless tale.Jane Eyre is choreographed by internationally acclaimed British dance maker Cathy Marston, and set to a score of original compositions and existing work compiled and arranged by composer Philip Feeney.Cathy Marston said: "The Brontë's stories are inspiring to translate into dance because of their intense emotional journeys for the protagonists, the backdrop of landscape and elemental forces that seem to amplify these emotions, and in the case of Jane Eyre particularly, the range of wonderful soloist roles that add texture, depth, and warmth to the central narrative." (Eloise Gilmore)
Jane Eyre 2011Charlotte Brontë's timeless novel, Jane Eyre, has captivated readers of all ages with its engrossing depiction of a woman's search for equality and freedom.From her childhood to the rollercoaster romance with Rochester, Jane Eyre has been adapted several times, and 2011's film is one that truly captures the pining of Rochester, the spirit of Jane and the sweeping romance.It stars Michael Fassbender as Rochester and Mia Wasikowska as Jane. (...)Wuthering Heights (2011)Emily Brontë's 1847 novel of the same name is one of the all-time classics. A blend of Gothic drama and burning, yearning romance, the immortal tale of the wild Heathcliff and Catherine 'Cathy' Earnshaw.Sweeping, tragic and absorbing, the 2011 film starred Kaya Scodelario and James Howson.
El ambiente cultural que se respiró en la casa delos Brontë llevó a las tres hermanas a interesarse por la literatura. Emily Brontë, a pesar de su corta existencia, está considerada como una artista consumada y muy por encima de su época. Cumbres Borrascosas, su única novela, es hoy reconocida como una de las grandes obras maestras de la literatura inglesa. En su momento, la historia de amor apasionado y tormentoso entre Catherine y Heathcliff desconcertó a los lectores por su intensidad y por desafiar los límites de la moral victoriana. (Rebeca Márquez) (Translation)
Adapted by Elizabeth WilliamsonA Noise Within3352 E. Foothill Blvd.Pasadena, CA 91107Previews:March 23, March 26, March 27March 29, March 30, April 4, April 6, April 11, April 18EDIT: Important Performance Update: Sunday, March 23 at 2pmDue to an actor health issue, we must postpone our first preview performance of Jane Eyre originally scheduled for Sunday, March 23 at 2pm. If you have tickets for this performance, our Box Office team will contact you directly to reschedule.Director: Geoff ElliottCastJane Eyre : Jeanne SyquiaMr. Rochester : Frederick "Freddy" StuartMrs. Fairfax : Deborah Strang*Blanche/Bessie/Grace Poole : Trisha MillerMason/St. John Rivers/John Reed : Riley ShanahanPriest/John/Doctor : Bert EmmettYoung Jane/Adele : Stella BullockLeah/Mary Ingram/Diane Rivers/Bertha : Julia ManisPreviews: March 23, March 26, March 27March 29, March 30, April 4, April 6, April 11, April 18Experience Jane’s resilience and determination to live life on her own terms, from her early years of hardship and mistreatment to her eventual pursuit of love and independence. In a tale beloved for generations, thrills, mystery, and romance abound in this tenacious story of self-determination. Facing societal expectations and personal challenges, Jane navigates betrayal and injustice with inexhaustible courage.This bold and dynamic production offers audiences a compelling portrayal of one woman’s quest for freedom and fulfillment in the face of devastating adversity.
“I read the adaptation first, having never read the novel, and I couldn’t put it down—it set me on fire,” says [Geoff] Elliott. “It’s a deeply affecting love story that’s also a Gothic horror tale, at once stirring, terrifying, with an impending sense of violence, and, in the end, uplifting. Williamson did a remarkable job of distilling the novel, which I’ve since read three times, into a sweeping, fast-moving two hours that moves like a river.” (Chloe Rabinowitz)
Jeanne Syquia, who stars as Jane at A Noise Within, has been re-reading the book throughout the rehearsal process and reports that, “The play follows the novel pretty faithfully. There are maybe two or three scenes that come chronologically in a different order in the play, just because it streamlines the story and makes it more cohesive for the theater audience. Aside from that, it’s very faithful to the novel.”Despite its age, Syquia says, the story teaches important lessons for today, “about being true to yourself and never losing sight of who you are. Jane’s character has such integrity and such a strong moral compass. As you see in the novel and the play, she goes through some difficult, sometimes horrific, conditions. But throughout it all, she has a strong sense of herself and doesn’t betray that part of her.”Syquia adds, “There’s a beautiful line in the play that I really love: ‘The more solitary, the more friendless, the more unsustained I am, the more I will respect myself.’ In essence, to me, that means, the more she chooses the hard road, the more she’ll respect herself because she would only have chosen that if she’s staying true to who she is.” (Laura Foti Cohen)
Rho has always loved reading. When she was six years old, her South Korean family moved to Uganda, where she remembers reading a copy of Jane Eyre left behind by the previous British tenant of their Kampala house. (Joan MacDonald)
“When I think of a melancholy brunette, I think of a Brontë or something. And I was really sick the past few years, and, you know, like a moody writer, curmudgeonly trudging through the world. I just felt like it was really indicative of that type of person, and that’s how I felt for the past few years.” (Dani Maher)
Mikael Wood: Leonard and Sabrina aside, who are your bards of desire?L.D.: James Baldwin. Garth Greenwell. Jeanette Winterson. I've been reading the Brontë sisters one by one.M.W.: Why?L.D.: Boygenius went to the Brontë museum [in England], and I was in the middle of "Jane Eyre" during that. Then I read "Wuthering Heights" recently, and I'm gonna read "Agnes Grey" next. They were repressed and wanting romance, and even though it's a much different world now, I think a lot of people are feeling repressed and wanting romance. Wanting a mystical, cosmic love to come your way, or the idea that you love someone so undeniably and inexplicably that they could be the villain of the story and you still have to love them — that interests me.
There was no possibility of taking a walk that day---Jane Eyre, Charlotte BrontëDubai-based Anjalie Rathore, a homemaker and avid bookwoom believes that while it gives you an insight into an author’s writing style, it’s also the first impression that invites your curiosity. Some lines seem so ordinary and plain and yet, you want to read on. “I think, it’s the gift of a remarkable author to start with the simplest of lines, and still set the tone of the rest of the book,” she says.Rathore quotes Jane Eyre, by Charlotte Bronte, which starts with the simple words: “There was no possibility of taking a walk that day.” These words carry the weight of quiet, sullen disappointment, describing a sense of hopelessness that pervades through the first few pages, delving into the ill-treatment of the protagonist Jane, at the hands of her aunt and siblings [sic]. (Lakshana N Palat)
For instance, in Charlotte Brontë’s “Jane Eyre,” the character Bertha Mason coined the term “madwoman in the attic.” Mason, who played an antagonist role, was portrayed as “mad,” and a threat to the book’s main character, Jane Eyre, who often struggled with being defiant throughout her adulthood.While some of Bertha Mason’s actions were questionable, including inflicting physical harm on others, the source of her supposed “madness” can be linked to the fact that her husband locked her up and isolated her. Bertha Mason’s actions were a result of her husband’s suppression, and act as a great contrast to the book’s leading lady. Jane, a character with a tragic childhood, grapples throughout the novel with balancing her independence and the constrictions of society. “Crazy” Bertha Mason, a character who despite having little physical agency lives with more freedom to behave recklessly, juxtaposes Jane seamlessly.Many popular pieces of modern feminist literature depict women similar to Bertha Mason, in that they are not entirely stable, but in the light of a main character as opposed to the antagonist. Not only do these novels push back against the restrictive ways women have been portrayed in the past, they also embrace the idea that female characters can be morally grey; that female characters and women in real life can be loud, aggressive, passionate and imperfect and still be human and be worthy of recognition. (Cecilia Tiles)
For fans of Charlotte Brontë's Jane Eyre, Michael Fassbender's interpretation of Edward Rochester was enough to make anyone swoon.And apparently that extended to his equine costar on the film, Prince. While sharing memories of his experiences across his filmography, Fassbender recalls that his horse had a stimulating reaction to his presence."What comes to mind is a horse called Prince with an erection as I was sitting on his back," Fassbender shares.The actor later reunited with the horse on 2015's Macbeth, in which he played the titular Scottish king. But apparently the horse was more a Rochester type than a Shakespeare fan. "Weather conditions were brutal," Fassbender remembers. "It was literally horizontal rain, cold locations in Scotland, and reuniting with Prince the horse that had an erection on Jane Eyre. I don’t think I gave him an erection this time though." (Maureen Lee Lenker)
St Mary's Church and The Lord Nelson Inn are both Grade II listed.The pub was also said to be a drinking haunt of Branwell Brontë, brother of the famous Brontë sisters, while he worked as a station master in nearby Luddenden Foot. (Abigail Kellett)
Series two returns with our first guest of 2025, the Rev. Oli Preston of Haworth Parish Church.We discuss 19th-century medicine, looking after ourselves and the environment, and what it's like stepping into Patrick Brontë's shoes in the parish he cared for.
