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by Clare PollardBloodaxe BooksISBN: 9781780377476September 2025Clare Pollard cocks a snook at Dr Johnson’s all-male Lives of the Poets in chronicling her own life and theirs in her Lives of the Female Poets. These portraits and self portraits offer glimpses into the poet’s own everyday life – from nit-combing and laundry to pollen counts and cocktails, watching school plays to shopping on Rye Lane – all whilst in conversation with female poets through the ages.Playing with forms from the version to the glosa, these are poems that remix, adapt and channel figures from Enheduanna, the first recorded poet, through to Wanda Coleman. Probing the idea of the ‘Poetess’ over time, there are also poems about writers’ lives – sonnets for Anne Locke, who wrote the first English sonnet sequence; a sestina for Elizabeth Bishop; a series of prose poems about Emily Brontë; and a look at the tragic life of L.E.L.Whether imagining a ‘three-martini afternoon’ at the Ritz with Sylvia Plath and Anne Sexton, or exploring the ways women writers have been erased from the canon in the book’s long, closing poem, Clare Pollard’s playful sixth collection celebrates and commemorates all those female poets who have come before.
There are three poems about Emily Brontë, as far as we know: On Emily Brontë, Age Six; The Sex of Emily Brontë, and Emily Brontë and the Critic. On the Rough Trade Books podcast (via Soho Radio), the author discusses that her collection includes biographical poems about female poets. She mentions there's "a poem about Emily Brontë masturbating," which she acknowledges "might be a flashpoint for some people what they think is too much."
She explains that throughout the poem she's constantly questioning "am I allowed to say this? Is this too much?" She adds that "the only person I've experienced of masturbating myself really so, you know, it's obviously a self a self-portrait on some level."
Claire then contextualizes it by saying she was "a very sexually frustrated teenager who like didn't have a proper [relationship] until I was about 20." She believes Emily Brontë had a similar experience, noting she'd watched a film that implied Brontë had a torrid affair and thought "oh really" - clearly skeptical, believing Brontë was more likely sexually frustrated like Claire herself had been.
So it came to be that the Brontë family arrived in Haworth, the village in which Patrick accepted the perpetual curacy of St Michael and All Angels’ Church where he would serve his parishioners for forty-one years until his death in 1861. They now had a larger house, a forever home the family could breathe in. They had space, where in time those young, curious and developing minds would write some of the finest nineteenth-century literature ever published. (Read more)
Brontë created a heroine who refuses to compromise herself for anyone, revolutionary for 1847. Jane’s insistence on equality in relationships and her moral strength made her the template for independent female characters.The gothic atmosphere, complete with mysterious mansions and dark secrets, shaped countless thrillers and mysteries. Modern stories about women finding their voice in difficult circumstances, from The Handmaid’s Tale to Gone Girl, carry Jane’s DNA.The first-person narration let readers inside a woman’s mind in ways that hadn’t been done before. (Adam Garcia)
In-person 2pm Free with entry to the Museum and for residents in BD20, BD21 and BD22 Brontë Space at the Old School RoomOnline 7:30pm £6 On Zoom: a link will be sent before the eventIn December 1847, Thomas Newby published Wuthering Heights by Ellis Bell in two volumes. The Examiner called it ‘a strange book’, while one reviewer for The Literary World confessed that despite its ‘disgusting coarseness’ he was ‘spellbound’.In December’s Thursday Talk, we reflect on the charged reception history of the novel, then and now. In the absence of a manuscript and scant personal writings, we explore the clues that remain of Emily Brontë’s own relationship to her only novel.This talk will be delivered by Dr Olivia Krauze, College Assistant Professor in English at Lucy Cavendish College, University of Cambridge, and Dr Claire O’Callaghan, Senior Lecturer in English at the University of Loughborough and Editor-in-Chief of Brontë Studies.
The book that... [...]…I’ve re-read the most:Jane Eyre by Charlotte Brontë. Jane Eyre is my favorite novel, and I used to be able to recite entire passages from it—which should tell you just how many times I’ve read it. Her voice has endured the test of time and my porous memory. (Riza Cruz)
«Soy fan absoluta de Jane Eyre, Cumbres Borrascosas, Otra vuelta de tuerca, Frankenstein.... Y también de Los pazos de Ulloa. Quería hacer algo gótico victoriano, pero con alma gallega», explica. (Begoña R. Sotelino) (Translation)
For Fall–Winter 2025, Max Mara introduces “The Untamed Heroine” — a woman of composure, intellect and purpose whose heart quietly yearns for the romance and drama of a windswept moor. Drawing on 19th‑century classics such as Jane Eyre by Charlotte Brontë and Wuthering Heights by Emily Brontë, the collection balances restraint with longing, discipline with desire.
The World of Interiors and Country Life published more information about how this edition resurfaced, from all places, in Hollywood:In the hushed corridors of rare book dealing, where whispers of provenance matter as much as price, certain volumes occupy the realm of legend.The first London edition of Wuthering Heights is such a book, surfacing perhaps once in a decade, commanding prices exceeding £200,000, and vanishing almost immediately into private collections or institutional vaults. For most collectors, it remains an unattainable dream, admired from afar but forever out of reach.This month, however, Bayliss Rare Books in London has unveiled something extraordinary: a first American edition of Emily Brontë’s sole novel, offered at £18,500.Published by Harper and Brothers in New York in 1848, mere months after the London edition and during Brontë’s lifetime, it represents the earliest obtainable version of this literary masterwork. That it has survived 177 years in original condition makes it remarkable. That it arrives just as filmmaker Emerald Fennell prepares her adaptation makes it prescient.
Nearly 200 years later, as Emerald Fennell prepares to showcase Wuthering Heights on the silver screen, one of the few surviving copies of that anonymous first American edition – ‘by the author of Jane Eyre’ – has resurfaced, as if it could sense the timely groundswell of interest in the story, with all of its historical context baked into the near-perfect-condition cloth cover. It is one of only two examples available in the original state, and this is by far the finer.
The intrepid discoverer is London-based book dealer Oliver Bayliss, who happened upon it largely by chance. He recently found himself in Los Angeles in the pursuit of a collector who apparently possessed a rare first edition of JRR Tolkien’s The Hobbit. ‘The photos he had sent me over email were truly awful – pixelated, blurry, the works. Still, I took a gamble,’ Oliver says, and despite having ‘the photography skills of a potato’, he flew out to meet the collector in Hollywood.
Unexpectedly, The Hobbit was worth Oliver’s own there-and-back journey for more reasons than one. It was during a discussion with the collector about other books of note that Oliver mentioned in passing that he was also on the hunt for a first edition of Wuthering Heights. ‘He said: “I have one! In the original cloth.”’ It had never been on the market, sitting quietly in California all these years. ‘I can truly say I got goosebumps,’ Oliver adds, ‘so I flew home with my Hobbit, and then a few days later, the Wuthering Heights arrived in London.’When he first opened it, Oliver was floored. ‘It’s so, so rare to find one like this,’ he explains. ‘The UK first edition is a unicorn at this point, but the first American edition is also a notorious rarity, especially in the original cloth.’ It was cheaply made for a mass audience, which contributes to its scarcity – it was never intended to last. ‘You’re seeing it exactly as the first readers did. It felt a bit like unearthing a ghost.’ (...)The British first edition of Wuthering Heights, published in London in December 1847, has become mythical among collectors. Copies are virtually unobtainable today and command more than £200,000 when they surface, once in a decade. The Harper & Brothers first American edition is the earliest obtainable version for collectors (at least, says Oliver, the only one you can lay your hands on ‘without remortgaging the house, selling the car, and perhaps even a kidney’). For Oliver, the story of this specific edition mirrors Emily’s own. ‘It was printed without her name, sold under another’s, and for years misread. Yet it is through editions like this that Wuthering Heights first began its journey from obscurity to immortality.’ (Elly Parsons)
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22.00 hA beautiful widow takes up residence in the near-derelict Wildfell Hall. Befriended by a young farmer, she will not tell him about her past, until malicious gossip spreads.22:55 hHelen decides to reveal more to Gilbert and gives him her diary. He learns about her doomed marriage to the rich Arthur Huntingdon and how she fled his debauched cruelty.23:50 hHuntingdon has abducted young Arthur, forcing Helen to return to him. In spite of his dissolute behaviour, she nurses him until his death.
Wuthering Heights is “right” in the sense of phenomenal writing, but also because it’s wrong in all the right ways.Brontë does not shy away from physical and mental abuse. However, the book treats these issues with the respect they rightfully deserve. Brontë paints a portrait of generational trauma, oppression, and passion-inflicted violence that stands out from many other books of her generation. Even today, the book’s approach to “dark romance” remains uniquely nuanced. For lovers of gothic literature or romanticism, Wuthering Heights also contains the best of both worlds.Tragedy is at the heart of Wuthering Heights, with the question of “what could have been” constantly at the back of the reader’s mind. We follow two troublesome kids, Cathy and Heathcliff, as they develop a sweet juvenile romance. But due to a combination of external coercion and inner conflicts, an invisible barrier begins to form between them.Ultimately, their love is intense and corrosive; it allows their humanity to shine through while simultaneously catalyzing each character’s self-destruction.Many popular dark romance tropes today trace back to Wuthering Heights, but the book subverts them in surprising ways as well.To start out, while Emily Brontë didn’t invent forbidden love, she certainly helped redefine what it could mean. While the foundational work of forbidden love, Romeo and Juliet, focuses on the mutual conflict between two aristocratic families, Wuthering Heights is built on class conflict and racial discrimination. But the book doesn’t use them as side pieces; it dives deep into how such issues shapes each character, and how that in turn perpetuates a cycle of abuse.Forced proximity, obsession, and enemies-to-lovers are also popular modern-day tropes you can find in this 19th century novel. And you can be sure that Brontë doesn’t shy away from giving heavier topics their due diligence.You’ll find yourself screaming at the characters for making all the wrong choices, but at the same time, you know perfectly why they would make that decision. That all makes it an excruciating read—but an excruciatingly good one.So at the end of the day, we’re left with one question: Why read dark romance at all? Why can’t we just be satisfied with romance, and why are so many of us drawn to the darker side that fiction provides? The same thing applies to consuming tragedy, horror, and similar genres. They’re not feel-good material, but something about them fascinates us regardless.I propose that it all has to do with catharsis—referring to the release of strong or repressed emotions. Originally, the term was popularized by Aristotle to explain how tragic stories heal the mind by allowing us to experience emotional purging without having to go through actual tragedies. In dark romance, a similar process applies. Most readers trudge through the psychological turmoil because they expect that at the end, the “romance” part of “dark romance” promises a strong emotional payoff.Moreover, dark romance also draws to mind issues that are usually not present in the mainstream. Such issues usually tie into domestic spheres; thus, writers and consumers are more likely to brush them aside. But the dynamics that underlie romance also reflect bigger problems laced within our society. Dark romance, particularly those written with literary sensibilities, often directly address these issues and seeks to bring these hidden depths to the surface.As with all cultural phenomena, a trend often originates from a convention-breaking product that shocks, intrigues, and captures. For a genre that’s constantly “trending” throughout different time periods, it’s interesting to see where it all started. (Nea Le)
Margot Robbie’s Contentious Wuthering Heights Wedding DressSpeaking of clothing items setting the internet ablaze, online film and fashion buffs certainly had lots to say when the first images of Margot Robbie in Emerald Fennell’s upcoming Wuthering Heights adaptation hit our newsfeeds. Is it the right time period? Is the cleavage too revealing? Should the character even be in a wedding gown, given that the story takes place before they even came into fashion? The film will debut on Valentine’s Day next year—expect more discourse then. (José Criales-Unzueta)
Born on the 4th, 13th, 22nd, and 31st — Charlotte BrontëCharlotte Brontë is known for her novel Jane Eyre, mirroring the disciplined, resilient nature of these birth dates. Aligned with the vibration of 4, these individuals are the architects of their own reality, known for pragmatic focus and concentrated efforts. Similarly, Brontë carried a deep commitment to integrity and strong personal ethics. (MaKayla McRae)
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Trinity Laban Musical Theatre presents:Music and Lyrics by Paul GordonBook and additional Lyrics by John CairdDecember 2 - 6Trinity Laban Conservatoire of Music and Dance, King Charles Court,Old Royal Naval College, LondonCharlotte Brontë’s classic gothic romance is brought to life onstage in a musical adaptation. We follow the independent, passionate governess Jane Eyre, through her harsh childhood after being left as an orphan to an uncaring aunt, through her employment as a governess at Thornfield Hall. There, she meets the mysterious and magnetic Edward Fairfax Rochester, master of the house and warden of her pupil. Though drawn to each other, they are haunted by the ghosts of Mr. Rochester’s past, which threaten any possibilities of a future of love or happiness for either. This Tony Award-nominated musical features a grand, sweeping score that transports the audience to a world of wild, ungovernable passion on the moors.
Would you name your dog after the brooding, vengeance-seeking Heathcliff from “Wuthering Heights”? [...]Top bookish dog names trending in 2025[...]7. Heathcliff (tie): From “Wuthering Heights,” up 81% (Clare Mulroy)
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by Emily BrontëAdapted by Thomas BirkmeierDirected by Anna BergmanSet design by Sabine Mäder. Costume design by Lane Schäfer. Choreography by Stefan Richter. Dance choreography by Nira Priore Nouak. Music/Composition by Heiko Schnurpel. Chorus master: Daniel Bengü. Video by Andreas Deinert. Dramaturgy by Carlotta Huys.November 28December 6,12, 20, 31January 9, 14, 30March 15April 10Staatstheater Darmstadt, Staatstheater Darmstadt, 64283 Darmstadt, GermanyThe bond between Catherine, the daughter of a landowner, and her adopted brother Heathcliff, a foundling from the slums of Liverpool, is characterized by profound understanding and longing. However, when Catherine decides to marry the wealthy Edgar Linton to escape the squalid conditions at their shared home, Wuthering Heights, Heathcliff is so deeply hurt that he leaves the area. The loss of her beloved foster brother and closest confidant plunges Catherine into a deep crisis. But even with Heathcliff's return, now a rich young man, Catherine cannot bring herself to turn her back on Edgar, and so begins a maelstrom of revenge and dependency that destroys two families across generations."Wuthering Heights," Emily Brontë's only novel, is now considered a classic of English literature. In this complex family saga centered on the anti-hero Heathcliff, violence and anger dominate. "Wuthering Heights" is essentially the anti-"Romeo and Juliet": The love between Cathy and Heathcliff is not a tragic, innocent, and ideal one that endures against all odds until death and transcends the boundaries of origin, but rather a love bordering on obsession and marked by rage.In her production, director Anna Bergmann explores these abysses of the human soul, which are made visible through Heathcliff, and searches for their origins – including in societal structures.
Im ersten Teil fügt sich Bergmann widerspruchslos in dieses laute Pathos. Wir sehen in einem Vorgriff Heathcliff an Catherines Grab selbige verfluchen, ihren Geist als Hologramm hereinschweben. Wir sehen grimmige Riesenköpfe mit Sensen eine freudlose viktorianische Welt markieren, aus der es kein Entkommen gibt, begleitet von der drohenden Elster. Nebel und Regen verdüstern den Raum, einzelne Figuren performen Popsongs, aber in Moll. Sie sind archaisch gekleidet, ihre Gesichter weiß geschminkt, ihre Endkonsonanten gleichermaßen feucht betont – nur bei Emily Klinge als flatterhafter Catherine kommt bisweilen rebellisches Charisma zum Vorschein.Die opernhaft humorlose Wucht ist unerträglich, aber auch effektvoll. Nach der 38-minütigen Pause leuchtet dann sofort ein, warum sie so lang war, dann ist nämlich alles anders. Bergmann hat ihre große Stärke ausgepackt: den ästhetischen Totalbruch, aufgehängt an dem Plotpoint, dass Jahre vergangen sind und Heathcliff wohlhabend und zivilisierter nach Wuthering Heights zurückkehrt. In Darmstadt erfährt die Figur außerdem eine orlandoeske Geschlechter- und Zeitenwandlung: Flora Udochi Egbonu hat die Brustplatte abgelegt, die Haare aufgemacht und ein kurzes giftgelbes Kleid angezogen. Heathcliff ist jetzt eine sexy Rächerin mit Peitsche und singt keck "The Kill" von den Dresden Dolls.Auch alle anderen haben mindestens ein Jahrhundert gut gemacht. Ein zweistöckiges Haus fährt aus dem Bühnenboden, es gibt farbige Latexkostüme und hochgestylte Frisuren, komödiantisch koordinierte Catfights und Kotzorgien, und die Dienstbot:innen der Anwesen Hintleys und Edgars telefonieren einander very British Weisheiten durch. Das zuvor vorbildlich statische Ensemble wechselt die Spielweise und führt den Text nun genüsslich als campy 80er-Jahre-B-Movie mit einer Prise Pollesch vor.Der Sinn dieser stilistischen Gegenüberstellung darf natürlich in Frage gestellt werden. Muss er aber nicht. Denn so macht diese "Sturmhöhe" richtig Spaß. Glück gehabt. (Martin Thomas Pesl) (Translation)
I get it. Really, I do. Literature imprints upon my heart as much as the next person. I am an author after all, and a romantic one at that. I am prone to attaching myself to lines from poetry or prose in ways that sometimes make me believe they are speaking directly to me. I have even been tempted to tattoo them onto my skin, a permanent etching as if that might mean more, that I might be able to absorb them entirely. And yet, I cannot bring myself to really believe that Emily Brontë, an exceptional woman who took huge, beautiful risks in her work, would really be turning over in her grave at the very idea of Jacob Elordi tightening breathless Barbie’s corset. (...)I do not think that any of us are able to accurately guess what Brontë’s reaction might be to any of the many adaptations of her work. However, I do wonder whether she might have been just a little excited by what contemporary female artists are now making of her work and what women are now allowed to conceive and create. Perhaps she might even be delighted that her story was still being consumed by new audiences, generation after generation falling for new Heathcliffs and new Cathys while the moors remain the same — wild, barren, hostile places within which dark and all-consuming love stories still take place.I cannot bring myself to feel too concerned that younger audiences may see this film and consider it the definitive Wuthering Heights (although I highly doubt that will be the case). (...)Whether you agree with her or not on her casting choices, this much is true: it is all art. When Brontë wrote Wuthering Heights, I would be surprised if she viewed it as a sacred text designed to be preserved forever. When an artist puts work out into the world they release it. It no longer belongs to them; not really. You cannot manage the way people hear your words, view your images or listen to your songs. You cannot control their emotions or correct them. You create, you perfect — and then you let it go to take on new meaning. If you’re lucky it resonates not just with one person, but with many over generations; perhaps even a century and a half later you will still inspire people to make something new. And maybe you wouldn’t like it, but it’s all art, and nothing is sacred.May we always be surprised, shocked, appalled and bewildered by art. I hope we’re having this conversation again in another 100 years and another 100 after that. Wuthering Heights is ours, Fennell’s and of course, Charli XCX’s to do with what we please and if some people don’t like it, the original is waiting untouched for them to return to, anytime they like. (Laura Kay)
Many other websites still repeat the same yadda-yadda about Wuthering Heights 2026: Vanidad, L'Officiel, Startefacts, TV Central, Hola, Tuttotek...
While working as a governess for some “unmanageable cubs” in 1839, Charlotte Brontë lived in Lothersdale at Stone Gappe.Her employer, the then owner of the three-storey five bay property south of Stansfield Brow which dates to 1725, Charlotte’s is said to have resembled her character Edward Rochester in Jane Eyre. (Stuart Minting)
So too undiscovered stories of charity when I was researching the Brontës for what for me must be the highlight of the year to welcome the Queen to open the Brontë birthplace in Thornton saved for the nation and now celebrated as the humble beginnings of greatness.Who would have thought when I penned the phrase Be More Brontë to encourage the same resolute determination in young people that three budding writers had shown that Camilla would be the first person to write those words within it’s walls?Giving from others bought it for future generations but also brought stories of giving during the Brontë sisters lifetimes to the fore.For example, did you know that the ruined farmhouse at Top Withins that inspired Emily Brontë’s Wuthering Heights was actually a part of charitable giving in its own right even before the three sisters and their brother roamed the moors?Money from it’s rent fed and clothed poor children. And now in modern day it forms the centre piece for Wuthering Heights day when charities benefit from the recreation of Kate Bush’s famous dance on the birthday she shares with Emily Brontë and is celebrated each year on July 30th.Add to that the fact that Patrick’s Brontë’s first major curacy at St Peter’s Church in Hartshead, just a few days before Christmas, handed out thick wooden fabric to the women to sew warm clothes for their children particularly during the luddite uprisings when cottage weavers were losing their homes and their livelihood and you will see why charity was a centre piece of giving as much then as now. (Christa Aykroyd)
The Brontës may feel mythic now, but artifacts like this demonstrate that behind every great work is a human life that once held fear, hope, pain, and passion. (Emily Chan)
Contrasting my previous picks is “Jane Eyre,” a classic by Charlotte Brontë that has sat on my shelf for three years and I have attempted to read twice (third time’s the charm?). Jane Eyre tells the story of its namesake in first-person, beginning with Jane’s abusive childhood and staying with her throughout her education and early adult life. I picked this one up again and found that I had a much better grasp on the language and concept of the book, and decided to try it once more. (Beatrice Cosgrove)
What is your favourite film?Jane Eyre and Inception.
Espido Freire está feliz con el tema que le ha tocado esta semana en Cuerpos especiales. La escritora se ha puesto romántica al analizar Tu cuerpo en braille de Nil Moliner, una canción a la que encuentra bastantes paralelismos con Cumbres Borrascosas de Emilie (sic) Brönte. El protagonista musical es el primo hermano de Heathcliff. "Los dos se quedaron traumatizados en la misma noche de tormenta", ha explicado. (Translation)
Keighley News reports the top 10 Keighley-area attractions according to Tripadvisor which incldude the Brontë Parsonage Museum, the Brontë waterfall, Top Withens and Haworth Parish Church.
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Soap & ClayOut on the wily windy moors...An ode to Brontë and Bush! A little black slither of our Lady Macbeth soap becomes The Heights on a green clay, heather-topped moor. With a pomander scent of Patchouli, Orange, Black Peper and Clove. With extra virgin olive oil to ward of the effects of windy moorland.Ingredients and informationSoap for Face, Hands and BodyIngredients: Sodium Cocoate, Sodium Sunflowerseedate, Sodium Rapseedate, Sodium Olivate, Sodium Castorate, Pogostemen Cablin, Illite, Kaolinite and Montmorillonite (French Green Clay), Olea Europea, Citrus sinensis, Kaolin (Dead Sea Clay), Spirulina platensis, Eugenia caryophyllus, Calluna vulgaris.Allergens: Citral, Linalool, Limonene, citronellol, geraniol, eugenol, isoeugenol.Also contains tiny Lady Macbeth inbed: see ingredients and allergens on our Lady Macbeth page.65-75g approxStore in cool dry conditions before use and keep me dry between washes to help me last longer. Best used within 10 months of purchase.For external, rinse-off use only. Discontinue if skin irritation occurs. Our soaps are handmade in our home soapery and we cannot guarantee that they are free from allergens. Not suitable for under 3’s.
‘Sanctum Sanctorum’ is defined as a sacred room or inner chamber: a place of inviolable privacy, hinting at the focus of the exhibition. The title reminds me of the passage in Brontë’s Jane Eyre, when the titular character refers to "the sanctum of the schoolroom", a place where Miss Temple offers her warmth and kindness; the room acts as a moral refuge in an otherwise oppressive environment. (Alice Culkin)
Tell us three things about yourself . . .[...] I love to read. My mother taught me to read when I was very young, at four or five years old, and reading has influenced my playing. Playing a song, or a guitar or banjo solo is a lot like telling a story. A few of my favourite books I've read and reread throughout my life: The Chronicles of Narnia, and The Screwtape Letters by CS Lewis; The Lord of the Rings by J.R.R. Tolkien; Orthodoxy, and Tremendous Trifles by G.K. Chesterton; Jane Eyre by Charlotte Brontë; The Count of Monte Cristo by Alexandre Dumas; Lilith, and Phantastes by George MacDonald; Pride and Prejudice by Jane Austen; To Bless the Space Between Us: A Book of Blessings by John O’Donohue; The War of Art by Steven Pressfield; If You Want To Write by Brenda Ueland; The Adventures of Huckleberry Finn, and Tom Sawyer by Mark Twain. (Alan Corr)
Heap Earth Upon It by Chloe Michelle HowarthVerve Books[...]Despite the 1965 setting, the eerie atmosphere and fog-covered town feels more reminiscent of the misty scenes of older gothic classics like Wuthering Heights or Rebecca. Howarth has created a gorgeous yet tense tale of buried secrets. (Rosie Ofori Ward)
The first spot on my list is Soap and Clay. Located just along from Magdalene, the shop stocks the cutest art pieces, alongside homemade soap and adorable felt animals, none of which will break the bank. For parents or older relatives, soap and bath products are always a safe bet for a present, while Soap and Clay’s special literature-inspired soaps like Lady Macbeth or Wuthering Heights are the perfect gift for an Engling friend or somebody who loves to read. (Ellie Buckley)
Kate Bush hizo algo similar en Wuthering Heights, la primera canción de The Kick [Inside], su álbum debut de 1978. La letra está inspirada en Cumbres Borrascosas. “Tengo tanto frío, dejame entrar en tu ventana”, “Demasiado tiempo deambulo por la noche”, “Estoy volviendo a casa para marchitarme”, canta con una rareza inquietante, repleta de progresiones armónicas inusuales, con frases irregulares y largas. Es un fantasma que reclama, que insiste, como hacen los fantasmas. La artista inglesa escribió eso en una sola noche, a los 18 años. (Daniela Pasik) (Translation)
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O Período Vitoriano:
Rastros literários e desdobramentosEdited by Sandra Sirangelo Maggio and Valter Henrique de Castro FritschEditora ZOUKISBN: 978-65-5778-130-22024A obra O Período Vitoriano: rastros literários e desdobramentos, organizada pelos pesquisadores Sandra Sirangelo Maggio e Valter Henrique Fritsch, mergulha profundamente na intrincada teia da literatura vitoriana, revelando suas nuances e complexidades em meio ao contexto social, político e cultural do século XIX britânico.Essa coletânea oferece uma abordagem meticulosa das obras e temas que caracterizaram a literatura da época, apresentando renomados autores como Charles Dickens, Charlotte Brontë e Mary Shelley. Com vinte e quatro capítulos elaborados com rigor acadêmico por pesquisadores de destaque, a obra ressalta o papel da literatura como um espelho fiel das tensões e contradições da sociedade vitoriana.Cada capítulo constitui uma janela para um aspecto distinto da literatura vitoriana, investigando desde as questões filosóficas e morais até as nuances do romance e do gótico. Os autores exploram adaptações, ficção derivativa e temas que ressoam na literatura contemporânea, cinema e outras formas de expressão artística.Fruto de uma colaboração entre o Programa de Pós-Graduação em Letras da UFRGS e a Editora Zouk, este trabalho transcende o escopo meramente acadêmico, constituindo-se como um convite à reflexão intelectual pelos corredores da literatura vitoriana, onde o passado dialoga de forma cativante e elucidativa com o presente.
A reinvenção de Jane Eyre no graphic novel Jane, de Aline Brosh McKenna by Débora Almeida de OliveiraMarionette: o entrelugar da mulher crioula em Wide Sargasso Sea by Deborah Mondadori Simionato and Marcela Zaccaro Chisté.The influence of water and air in Wuthering Heights and Jane Eyre by Caroline MouraA coloniser’s trauma and possible dialogues in Villette by Alan Noronha
Wuthering Heights (February 13)Director: Emerald FennellCast: Jacob Elordi, Margot Robbie, Alison Oliver, Hong ChauEmerald Fennell’s take on Emily Brontë’s Gothic masterpiece is sure to ruffle some purist feathers; the film’s Charli xcx-soundtracked trailer caused a stir the moment it dropped online. But leave it to the Saltburn director to get people talking—and maybe even picking up the classic book to compare notes. Fennell’s version of Wuthering Heights, though (which stars Jacob Elordi and Margot Robbie as the story’s central tragic lovers), is more of an impressionistic interpretation than a faithful adaptation of the novel. (Claire Valentine McCartney)
On Saturday, November 28 there will be an event with several Brontë-related talks. The Offaly Independent says
The Banagher Brontë Group will bring its 2025 programme to a close this Saturday, 29 November, with a series of cultural events celebrating the town’s links to the Brontë fa a wreath at the grmily.
The day will begin at 2pm with the traditional laying ofave of Arthur and Mary Anna Bell Nicholls in St Paul’s Churchyard. Arthur Bell Nicholls, Charlotte Brontë’s husband, spent his later years in Banagher.
At 3pm, the Long Room in Crank House will host the launch of Dr Michael O’Dowd’s new book, Charlotte Brontë: A Medical Casebook.
The launch will follow an interview with Dr Maebh O’Regan, offering attendees insight into the medical themes that shaped Charlotte Brontë’s life and writing.
Events will conclude with an intimate recital by the Banagher Brontë Ensemble in the Parlour Room of Simon and Mary Lyons’s public house.
Supported by an Arts Grant from Offaly County Council, the recital will feature musical pieces interspersed with readings from and about the works of the Brontë family, performed by members of the Banagher Brontë Group and invited guests.
For a long stretch of her long life, Jean Rhys was thought to be dead: drowned in the Seine, they said. For some of it she was thought to be a fraud. In 1949 a neighbour in Beckenham who knew her by the name of her husband (who was a real fraud) accused her of impersonating the famous author Jean Rhys. ‘I feel rather tactless being still alive,’ she wrote to her daughter. She often said she felt like a ghost, and sometimes like a ghost’s technological equivalent: ‘A writer is only a telephone.’Hilton Als, who has curated exhibitions inspired by Joan Didion and James Baldwin, has now created one about Rhys. Postures: Jean Rhys in the Modern World, recently on display at London’s Michael Werner Gallery, does not try to cover all Rhys’s glimmers in and out of vivacity. Nevertheless there is a spectral quality to this ‘collective portrait’, which includes no actual portrait of Rhys herself. Paintings, sculptures, photographs – and one dress – from the 18th to the 21st century are shown alongside extracts from Rhys’s writing, without further explanation. Als has said he wanted to make ‘an emotional transcription of how she makes me feel’. Which raises the question of who this exhibition is about, whose postures these are. [...]There is a thin line between the tangential and the bafflingly oblique. Celia Paul’s simmering portrait of Charlotte Brontë – eyes down, mouth set, raw-boned, wary, building to thunder – is a hot line to the person who created Bertha Mason. (Susannah Clapp)
Esther’s unconventionality is expressed in two striking ways. First, she wants a tattoo. Not just any old tattoo, but a quotation from Jane Eyre: ‘The more solitary, the more friendless, the more unsustained I am, the more I will respect myself.’ This is, you will agree, a lot better than ‘No regrets’, but it’s pretty unusual for pre-second world war America. (Esther was born in 1905.) (Nicholas Lezard)
by María Cabezas HernándezUniversidad de Valladolid, 2025Charlotte Brontë’s novel Jane Eyre is one of the most distinguished works of all time. This dissertation analyzes the personal development that its protagonist, Jane Eyre, experienced throughout the course of her life. In order to achieve that, the analysis is divided into five sections, which are framed according to the five locations she lived in, each one of them corresponding to a different stage of the protagonist´s life. Among these, the most transcendental moments from Jane’s life will be analyzed in order to establish the influence they had over her future behavior and character and to describe how most of those core moments and Jane’s learning are a reflection of Charlotte Brontë’s own development.
If you're looking for a Brontë adaptation to whet your appetite ahead of Emerald Fennell's Wuthering Heights next year, a modern classic has just resurfaced on BBC iPlayer.Starring Ruth Wilson and Toby Stephens, Jane Eyre first aired in 2006 to critical acclaim, even picking up BAFTA and Golden Globe nominations.Following a reunion between its lead stars, the four-part adaption has captivated new audiences on iPlayer and can be found on the streaming service's 'New and Trending' section.Wilson stars as the titular character from Charlotte Brontë's 1847 gothic novel with Stephens taking on the role of the mysterious Mr Rochester.Viewers were just as enamoured as critics with the adaptation, with one fan on IMDB calling it "a true masterpiece".Another user called it: "A lavish production in all the right ways (script, cast, direction, location, details), this is a perfect literary adaptation - very much in the heritage of the BBC's 1996 Pride and Prejudice, but perhaps even better."While a third added: "Surely this is the version against which all others must be judged? Outstanding performances by the two leads."Just last week, Wilson and Stephens reunited for iPlayer's Remembers... series where they discussed the adaptation.Wilson revealed that, nearly 20 years on, she still has people coming up to her to talk about her performance, with young girls telling her: "You're my favourite Jane Eyre."The actor only had one screen credit to her name prior to being cast in Jane Eyre and admitted she was "excited and terrified at the same time" when she got the call that she'd been cast. (Stephanie Chase)
1. Charli XCX: “Chains of Love”Wisely, Charli XCX will be following “Brat” with something completely different: a full-album soundtrack to Emerald Fennell’s upcoming take on “Wuthering Heights.” The two singles she has released from it are a far cry from the confessional club classics of her 2024 breakout album — a moody, melodramatic collaboration with John Cale (who, to be fair, is brat) and this lush, reverb-drenched pop ballad that brings me back to the best moments of her 2013 debut album, “True Romance.” If “Brat” wasn’t your thing, give this one (and what I hear as its companion piece, her great 2011 single “Stay Away”) a try. (Lindsay Zoladz)
Mutton ChopsNo, but seriously. If you haven't seen the trailer for Wuthering Heights, you might not know where we're coming from. If you have seen the trailer for Wuthering Heights, which drops in February 2026, hear us out. In it Jacob Elordi has 17th Century mutton chops. Big, ol' side burns and a shaggy head of hair up top. All his own. Grown out especially for the film, sure, but we weren't mad at him for sporting them throughout 2024. "You'll want long, squared sideburns below the jawline with a soft and natural length on top," says Mills. "Keep it loose, romantic, and slightly wild." (Zak Maoui)
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Thursday 27 November 2025 at 6:30PMHoughton Library, 74 Newbottle Street. Houghton-le-SpringCulture House Sunderland is delighted to host a conversation with author Karen Powell about her fascinating historical novel, Fifteen Wild Decembers.Karen is an author living in North Yorkshire. She read English Literature at Cambridge University as a mature student and now writes full-time. She is currently working on a new novel set in Italy.Fifteen Wild Decembers is a creative re-imagining of the short life of Emily Brontë, one of England’s greatest writers.Isolated from society, the Brontë children spend all their time inventing elaborate fictional realms or roaming the wild moors above their family home in Yorkshire. Emily appears taciturn and unexceptional; but beneath the surface her mind is in a creative ferment, ready to burst forth to create a masterpiece that will change the literary world forever.
