Friday, March 27, 2015

SuperJane

Readers planning Easter activities may be interested to know that, as Keighley News reports, Heathcliff is still adrift at the Brontë Parsonage Museum.

The contemporary arts programme at the Brontë Parsonage incorporates an exhibition currently running at the museum.
Heathcliff Adrift, which ends on June 8, showcases a series of narrative poems by writer Benjamin Myers, conceived while walking the moors of the West Riding.
Myers explores what happened to Heathcliff in his ‘missing’ three years in Emily Brontë’s novel Wuthering Heights.
The work runs alongside stunning landscape photographs taken by Nick Small, on the South Pennine moorland between Calderdale and Haworth.
The exhibition is free with admission to the museum.
The arts programme will also include the fifth Brontë Festival of Women’s Writing, running from September 4 to 6.
The festival will showcase contemporary women’s writing, and includes creative writing workshops, family events, and visits by both emerging and high-profile writers. (David Knights)
Another local activity includes The Black Bull, which is the starting point of this 'idiot-proof guide to an epic British pub crawl' in the New York Post.
I decided to start my pub crawl in Haworth, home of the Brontë sisters in the mid-19th century. Charlotte, Emily and Anne, the three daughters of the village parson, were immensely talented writers, best known for Wuthering Heights (Emily), Jane Eyre (Charlotte), and Emma (Charlotte).
They originally wrote under male pen names, as Currer, Ellis and Acton Bell, but won such fame that they were finally able to publish under their own names. Their unfortunate brother, Branwell, was also said to be a talented artist, but he was much overshadowed by his sisters’ fame.
He resorted to drinking and drugging his way through life before dying of (severe) alcoholism at the ripe old age of 31.
So, after visiting the Brontë house, strolling across the moors that inspired the sisters’ books, make your first stop:
The Black Bull, Haworth
119 Main St., Haworth, Keighley, West Yorkshire, BD22 8DP, United Kingdom
This is the pub where Branwell drank himself to death. In a lovely macabre English twist, they have kept his favorite stool in perfect condition. The pub is conveniently located across the street from the village apothecary, where Branwel would get his opium before stumbling back across to the bar.
Haworth Old Hall
Sun Street, Haworth, Keighley, West Yorkshire, BD22 8BP, United Kingdom
Located in one of the oldest buildings in the village, Haworth Old Hall has been standing since the 16th century. These days it’s not just a pub, it’s a gastro pub, with locally sourced farm-to-table food.
It also has a ghost that wanders around after dark. Not kidding. Just ask Alan, the manager — he’s seen her. (Paula Froelich)
The introduction to the Brontës and their work (Charlotte is famous because of her hardly-even-begun novel Emma? Really? And no novel by Anne, yet their three pseudonyms are there) does seem to have written at the end of the pub crawl.

York Press features clarinet player Emma Johnson and highlights the fact that
She lives in London with her double bass-playing husband, Chris West, and their daughter Georgina, but travels regularly to Yorkshire, particularly to Haworth. Chris's family is from Halifax and his ancestors were christened by Patrick Bronte at Haworth and buried in the graveyard there. (Charles Hutchinson)
The Independent reviews Caryl Phillips's The Lost Child.
Caryl Phillips's new novel continues his preoccupation with themes of origins, belonging and exclusion, by setting up a dialogue with one of the classics of English Literature – Wuthering Heights. The Lost Child tells the story of Monica Johnson, a promising student who drops out of Oxford in the 1950s to marry Julius Wilson, an overseas research student. It parallels the story of Heathcliff – the "dark-skinned gypsy" of Emily Brontë's novel, here imagined as the orphan of a freed slave – and also that of his creator.
What results is an intricately layered novel that opens up the notion of Englishness, taking the off-stage colonial element of Wuthering Heights and using it to test the resilience of relationships in a much more recent age, that of post-war, post-austerity Britain. (Gerard Woodward) (Read more)
Diss Express reviews Blue Orange's stage production of Jane Eyre.
Pre-feminist and post-Gothic, Charlotte Bronte’s novel has elements of both.
A young woman rises to independence from an unhappy childhood. The man she loves ends up damaged and married to her.
The Gothic shows in elemental names, Eyre, Rivers, Burns and Pilot the dog, with Mr Rochester as a fire figure.
There is much fire imagery and many instances of ‘wandering’. Feminism is more easily shown, especially with a quality actress like Lorna Rose Harris.
Her Jane is still, decent, passionate, quirky and bold when roused. Her eyes swim with tears at one point.
The adaptation, by Eric Gracey, only begins with Jane leaving Lowood. So you miss her sad childhood and ten chapters of the novel. The set design by Mark Webster suggests a B&Q garden fence. Thus the Gothic elements suffer somewhat in Rebecca Gadsby’s production.
But there are moments between Jane and Rochester (Graham Hill) when you are aware of “infinite passion and the pain of finite hearts that yearn”. (Basil Abbott)
More on Kazuo Ishiguro's admiration for the novel and Charlotte Brontë in Michigan Daily.
When asked to name authors and works that have been most influential to him, Ishiguro noted Charlotte Brontë and Marcel Proust. Brontë’s narration style in particular, Ishiguro said, has influenced his own writing to the point when he mimicked a scene from her novel, “Jane Eyre,” in one of his works.
“I do love (her) and I hadn’t realized how much she had influenced me in my writing,” Ishiguro said. “I read ‘Jane Eyre’ a few years ago and there are all these things I’ve ripped off from it. There’s a particular way her narrator appears to confide in the reader.” (Tanya Madhani)
Business Standard reports that according to a recent study, 'women are gaining equality in superhero fiction' but doesn't forget that
outside the superhero genre, there have long been strong heroines in fiction who have embraced both passion and integrity, such as writer Charlotte Bronte's 'Jane Eyre' or Jane Austen's 'Pride and Prejudice' character, Elizabeth Bennett.
Washington University in St. Louis announces a forthcoming discussion on the 'Legacy of pioneering A.I.R. Gallery':
In 1972, a group of 20 New York artists founded the A.I.R. Gallery — the first nonprofit cooperative exhibition space for women artists in the United States. (The name was a punning reference to the phrase “artist in residence” and the book “Jane Eyre.”)

Devils, Belongings and Pure Love

Some scholar works from very different places of the world:

Heathcliff in Emily Brontë's Wuthering Heights: Devil or a Wronged HeroRishav Jamwal,  Department of CSE, Baddi University Baddi, Himachal Pradesh, India
International Journal of English Language, Literature and Translation Studies, Vol.2.Issue.1.,2015

Heathcliff has been a point of debate and discussion since its oeuvre, however, none has come forward with a satisfactory explanation of his persona. The question of Heathcliff being a wronged hero or a character with sinister and sadistic overtones remains unanswered till today. The present paper portrays the character of Heathcliff as a symbolic representation of society corrupting the natural goodness in humans . His character is a manifestation of a staunch portrayal of love, a cut- throat criticism of society and a perceptive and trenchant exploration of humanity.
Jane Eyre searching for belongingGalal Suliman
International Journal of English and Literature, Vol.6(2), pp. 23-30 , February 2015

This paper tackles Jane Eyre's journey to get belonging. This journey passes five phases. The paper is not going to focus on these chronological phases in details or highlight on them. The major task of the researcher is to discuss two major points: Jane's consistent endeavors to have belonging and the moral stance of Jane to achieve this purpose. These two points will give the researcher a convenient chance to manipulate such characters as Rochester and Bertha. The researcher will try to expose Charlotte Brontë's conventionality, which is so obvious in tacking many crucial situations, particularly among Jane, Bertha and Rochester. The researcher’s interest is to show which goal Jane dreams to achieve: love or autonomy? That is why he is not going to defend Bronte as a feminist. Yes, she tried to expose the social diseases in her nineteenth- century British society. But the problem is with Brontë herself, for she has no rebellious character. It is left for the reader to decide which character is Charlotte Brontë: a feminist or a traditional writer?
The Depiction of True and Pure Love in Charlotte Brontë’s Jane EyreAli Albashir Mohammed Al-Haj
English Language and Literature Studies, Vol 5, No 1 (2015)

The current study aims at studying true and pure love in Jane Eyre. Charlotte never underestimates the power of love. In all her novels, it overcomes formidable barriers of wealth and rank, and endures through hopelessness and pain. In this story, the writer’s idea about true and pure love expressed as an independent woman who needs to be loved by a companionate couple, with some kind of’ equality between the ideal couples. Love in Charlotte’s concept is pure, perfect and true and cannot be measured by jewels, riches, wealth, or position. Also, in this story the writer attempts a more ideal scheme of marriage which without love is lifeless, hence Jane rebuffs and rejects any proposal except that of her beloved lover, Mr. Rochester.

Thursday, March 26, 2015

The power of Emily Brontë's whisper

AnOther interviews fashion designer Véronique Branquinho and asks her about her Emily Brontë sweaters.

Veronique Branquinho's long-standing career has often flown under the radar of mainstream fashion press, leaving the Belgian designer with an aura of mystery that was elegantly mirrored in her A/W15 collection. Emily Brontë's poetry was subtly incorporated into knitted sweaters while leather was paired with tweeds for a modern romanticism expressing "the power of a whisper," the epithet that has come to define her woman. [...]
On Emily Brontë…
"The A/W15 invitation was a poem by Emily Brontë… in fact, all of the poetry in the collection was. I took it from a really beautiful book I have called Poems of Solitude. I think that is part of my women; they’re independent and strong, but at the same time they’re fragile and I can imagine they get lost in romantic fantasies of solitude. I think that the hair and makeup was the most dark-romantic part, very Emily Brontë. It’s a little bit like an image of a haunted woman in the forest, running away from something. I can imagine that the hair gets loose like that, tree branches getting the hair and making it messy; they were like little birds escaping and dreaming away." (Olivia Singer)
Buzzfeed shares the lessons its community members have learned from books.
4. From Pride and Prejudice by Jane Austen and Jane Eyre by Charlotte Brontë:
“Don’t be scared because you don’t have all the answers right away. You will learn through your experiences and find your own way to happiness. Don’t rely on others to tell you how to be happy or what makes a good life. It’s up to you to follow your heart and find happiness from there.”
Suggested by Caitlin R., via Facebook [...]
22. From Jane Eyre by Charlotte Brontë:
“Listen to your conscience and do the right thing, no matter the cost. You can’t put a price on self-respect. Follow your heart. Things may not always work out the way you’d like, but if you live according to your principles, they will work out.”
Suggested by Lynn M., via Facebook [...]
39. From Wuthering Heights by Emily Brontë:
“Love not in spite of, but BECAUSE of flaws (which applies both to loving yourself and others).”
Suggested by Samantha P., via Facebook (Jarry Lee)
A London Review of Books columnist says that,
I’ve always longed to be behind those deep red velvet curtains where Jane Eyre sits on the window seat, leafing through Bewick’s History of British Birds. (Jenny Diski)
BBC's  Ariel celebrates BBC Films' 25th birthday and recalls that.
Moira Buffini also did an incredible job with Jane Eyre. She was a playwright who hadn't done an enormous amount at that time, but the structural approach she took to Charlotte Brontë's novel got that script to the attention of several of the biggest players in the business. She's now one of the most sought after screenwriters working in the UK. (Claire Barrett)
The Millions discusses fanfiction in the classroom.
To some extent, fanfiction has always had a place in the English classroom. The history of literature is one of reworking and retelling stories, especially prior to our modern conception of authorship. Popular media narratives often portray fan fiction — using someone else’s books, TV shows, films, or real-life personas, among other things, as the starting point for original fiction — as cringe-worthy scenes of sentimentality and/or sex between superheroes or vampires or all five members of a certain floppy-haired boy band. I and plenty of others have worked to ground the historically marginalized practice in “literary” precedent — favorite examples of authors explicitly refashioning others’ works include Jean Rhys’s Wide Sargasso Sea and Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, both of which I first studied in a classroom.
covercoverBut fanfiction as we conceive of it today isn’t quite the same as Rhys tilting the focus of Jane Eyre to the “madwoman in the attic.” Modern fanfic practices are communal, with roots in mid-20th century sci-fi magazines. They’ve grown up through paper zines and collating parties to message boards and digital archives, fanfiction.net and LiveJournal, Archive of Our Own (AO3) and Tumblr and Wattpad. (Elizabeth Minkel)

Free Jane in Greenville

In Greenville,South Carolina:

The Film House Greenville
Jane Eyre (1944)
Free Screening

March 26, 2015 @ 6:00 PM
Greenville County Library- Hughes Branch
25 Heritage Green Place, Greenville, SC 29601

Wednesday, March 25, 2015

The scribbling Brontë sisters

The Huddersfield Daily Examiner reports that a first edition of Anne Brontë's The Tenant of Wildfell Hall is going under the hammer today at Bonham's as part of The Library of the late Hugh Selbourne, MD.

A rare first edition copy of The Tenant of Wildfell Hall by former Mirfield governess, Anne Bronte is set to fetch around £7,000 when it comes up for auction.
The book, originally published in three volumes in June 1848 under Anne Bronte’s pseudonym Acton Bell, is expected to sell for between £6,000 and £8,000 at Bonhams in London on Wednesday.
It is part of a £1m library lovingly assembled over a lifetime by the late Hugh Selbourne, a Manchester physician. (Neil Atkinson)
EDIT: Sold for £9,375 (€12,729) inc. premium.

The Houston Chronicle highlights the Brontëite in writer Kazuo Ishiguro.
Although born in Japan, and influenced by samurai culture in interesting ways, Ishiguro has lived in England since 1960, when he was five, and comes across as thoroughly English. Even before he spoke English, he enjoyed Westerns on television, and later, was hugely influenced by the novels of Charlotte Brontë, particularly Jane Eyre and Villette. (Doni M. Wilson)
Playbill has a 'Cue & A' with musical theatre actress Ciara Renée:
Last book you read: Jane Eyre.” I've got like 5 other books I've just started or I'm half-way through. (Matthew Blank)
Bustle recommends 'The 14 Best Books To Read On Spring Break' and one of them is
Wildalone by Krassi Zourkova
In a statement juxtaposing some of the most different works of literature in existence, Wildalone has been called a “bewitching blend of Twilight, The Secret History, Jane Eyre, and A Discovery of Witches.” Which is to say there is romance, mystery, and of course some magic, along with both Greek and Bulgarian mythology all wrapped up in this novel. Thea Slavin traveled from Eastern Europe to attend college at Princeton, and once there she falls into a love triangle with two brothers and discovers a family secret. (Caitlin White)
IndieWire looks at '7 Clips That Define 'Mad Men,' And What the Cast Has to Say About Them'.
What happens in the clip: Considered three seasons in the making, Betty finally confronts Don about his deeply-buried secrets -- all while his mistress, Suzanne Farrell (Abigail Spencer), is waiting outside for him. It's a tense, revelatory scene that marks the end of the Draper marriage and the first of many wake-up calls for Don. [...]
Weiner, meanwhile, explained how the scene exemplifies the series' core concern with class: [...]
Why did he want to be Don Draper? Because he got to put on that suit of armor. Why did she marry a man that she knew nothing about? Because he was that guy. Here, you strip it all away and you're from rural poverty. You're beneath me. You will never marry me and get into my class. Her aspirations are that, she feels incredibly duped. It's like 'Wuthering Heights' to me. We don’t have a lot of this in America, or we deny it. January knew right away that Betty was a snob, and that she was aspirational and a daddy’s girl, a little bit of a brat, and had been valued for her beauty. She brings that to it. (David Canfield)
PBS Newshour has an article on tuberculosis and defines it as
 the disease that carried away the poet John Keats and the scribbling Brontë sisters. (Dr Howard Markel)
Well, probably not Charlotte.

Take a look at March in the Brontë Parsonage garden on the Brontë Society website. And look at local artist Kate Lycett's view of the Parsonage on the Society's Facebook page. Jo ReadsBooks reviews Jane Eyre.

An Eyre Journal

If you are trying to find a gift for your Jane Eyre-fan friend, this can be what you are looking for:
A Novel Journal: Jane Eyreby Charlotte Brontë
Flexibound
Publisher: Canterbury Classics; Jou edition (March 17, 2015)
ISBN-13: 978-1626863408

Jane Eyre, Charlotte Brontë’s tale of an orphan-turned-governess who falls in love with her employer, is a classic work of literature that has been a favorite since its publication in 1847. Full of tragedy, passion, and even hints of the supernatural, Jane’s story is a captivating social commentary on gender and class in the Victorian era.

A Novel Journal: Jane Eyre will delight fans of this literary staple. With pages lined by tiny text containing the entire novel, new writers can draw inspiration from this classic work. Perfect for daily journaling or drafting the next classic, this homage to Brontë’s masterpiece adds an element of excitement to any writing project.

Packaged in a luxurious heat-burnished cover with illustrated endpapers and a colored elastic band to close pages tight, this book is a great gift or collectible for fans of Jane Eyre.

Tuesday, March 24, 2015

Meeting Ellen Nussey

If you'd like to meet Ellen Nussey or Tabby, then do visit the Brontë Parsonage Museum over the Easter holidays. As Keighley News reports,

Charlotte Brontë’s friend Ellen Nussey will meet visitors to a Haworth museum during the Easter holidays.
Ellen has decided to visit the Brontë Parsonage Museum because was dismayed to hear that Charlotte was about to get married.
The Brontës’ much-loved servant Tabby Aykroyd will also be at the museum to reminiscence about the famous siblings’ childhood days.
Ellen will be at the museum on March 30, April 7 and April 10 from 1pm to 3pm, while Tabby will be in residence on Good Friday, April 3 and Easter Monday.
Visitors can join a guided walk around Haworth on March 31 and hear a talk about the Brontës’ famous ‘little books’on April 1, both from 2pm.
Visitors can make a miniature garden with local artist Rachel Lee on April 2, and handle items from the museum’s collection of domestic artefacts on April 8 and 9, from 1pm to 3pm.
The museum is also hosting a new exhibition, The Brontës, War and Waterloo.
All events are free with admission to the museum. Visit bronte.org.uk for further information. (David Knights)
Bustle has an article on the #womeninfiction hashtag.
Jane Eyre. Kamala Khan. Jo March. Hermione Granger. These are just a handful of the incredible female characters celebrated in the trending #WomenInFiction hashtag. It started quite on accident, as many amazing things do, when Preeti Chhibber, a marketing manager for HarperCollins Children’s Books, started tweeting out the names of some female characters that have inspired her over the years. When her followers, and their followers followers started joining in, the idea exploded into one of the biggest trending hashtags of the weekend. (Caitlin White)
Cricket Country has an obituary on Bob Appleyard, whose autobiography is named after a poem by Emily Brontë.
However, then Appleyard thought of Emily Brontë, that sterling Yorkshirewoman, the author of Wuthering Heights. The lady who had created Heathcliff had contracted tuberculosis in the days when there was no cure. She had written these lines, because people of that era found their hope in religion:
“No coward soul is mine, No trembler in the world’s storm-troubled sphere; I see Heaven’s glories shine, And faith shines equal, arming me from fear.”
Hence, the book was called No Coward Soul. Appleyard had played much of his cricket with the undiagnosed tuberculosis infested in and gnawing away at his lung. For two years he had tussled with death and despair, at mercy of fate and physicians. And he had returned to conquer county cricket and taste success in Tests after losing half a lung. (Arunabha Sengupta)
While Thomson Reuters Foundations reminds us of some other famous people who died of TB, including Emily Brontë, of course.

The News doesn't think Portsmouth is the right city for the padlock-on-bridge tradition.
Young women then started to attach a padlock to the bridge where she used to meet her lover.
Ah, the romance of it. The story could be right out of a Brontë novel.
It conjures up visions of the cities of love such as Paris, Rome, Venice.
But not Portsmouth.
We don't think it's out of place in Portsmouth. It's actually just silly anywhere and everywhere and certainly not straight out of a Brontë novel.

Book Perfume's literary hunk of February was no other than Edward Rochester.


Erotic Delights in the Grey Sargasso Sea

We thought these erotic retellings à la Grey (with a Sargasso twist) were (thankfully) over... but we were wrong:

Jane
Vanessa de Sade
Published By: Andrews UK Ltd
Published: Mar 17, 2015
ISBN # 9781785381515

A feast of erotic delights awaits you in the balmy sugar fields of Thornfield Plantation in this bold reimagining of Charlotte Brontë's classic novel set in the Trinidad of 1847, as Jane journeys forth from Southampton to enter the employ of the brooding Mister Rochester, abolitionist ex-slave and now master of his own estate.

There are steamy bathhouse encounters with Mama Fairfax the voluptuous Cajun housekeeper; sadomasochistic assignations with an inky black Grace Poole; and deliciously hot tropical nights in the arms of the doll-like Blanche Pang – but all Jane hungers for as she stalks Thornfield's whispering halls of secrets is the dusky Rochester, detached and alone in his chamber at the end of the passage…


Monday, March 23, 2015

Being miserable with Jane Eyre

The Gay UK reviews Northern Ballet's Wuthering Heights giving it 4 stars.

Wuthering Heights is perhaps best known as a story about love and passion, but it is also very much a story which has a sinister undertone about manipulation and revenge. David Nixon’s choreography reflects both aspects of the piece, and picks up on the key plot points of the book, focussing the ballet into an agreeable lighter version of the story which establishes the relevant narrative and characterisations, but neither spoon feeds nor over faces the audience.
Amongst the cast, two particular performances stood out. Kevin Poeung, fresh from his Emerging Artist nomination, was excellent as the young Heathcliff. But the commanding performance by Mlindi Kulashe as Hindley Earnshaw made the most impact and was performed with such conviction. I found myself utterly absorbed in the music, with the score by Claude-Michel Schὂnberg being a sweeping epic, reflective of the Yorkshire Moors themselves, and filled at different times with playfulness, passion and drama, but also harbouring a very dark undertone; which was most noticeable in the second act, as Heathcliff begins to take his revenge. The highlight of the choreography was the opening to the second act, as Emily and Linton are married, the piece being filled with joy and happiness, swishing gowns and a tightly timed ensemble which contrasted with the passion and dramatics of the final meeting of Heathcliff and Cathy on the moors. (Paul Szabo)
Aftenposten (Norway) reviews the play Fugletribunalet.
Fugletribunalet inneholder en subtil kritikk av den romantiske kjærligheten, som ikke fanges opp av dramatiseringen. For Agnes Ravatn har begått kunststykket å skrive en roman i et spenningsfelt mellom Jane Eyre, og en nærmest Priklopil og Kamputsch-aktig psykothriller. Den romantiske kjærlighetsmyten dreier seg jo ikke bare om idealiseringen av kjærligheten – paret skal også isolere seg og dyrke forholdet. På Det Norske forkleines karakterene. Men som kritikk av unge kvinners evne til å umyndiggjøre seg selv fungerer det som vellykket satire. (Therese Bjørneboe) (Translation)
The Guardian interviews children's literature writer Jenny McLachlan:
Do you have a favourite book? Of all time? I think, probably my favourite book of all time is Jane Eyre. I remember when I read it, it was a college night, and I stayed up all night reading it so I really shouldn’t have done that! I’ve always loved romances. (Scouting for Books)
Vivek Tejuja writes on Scroll (India) about how books saved his life.
I realised I was gay when I was ten. I did not know how to deal with it. There was nothing I could do.. The feeling that I might be taunted or worse ridiculed. I could not even tell anyone. I come from a Sindhi-Punjabi family, where the only exposure to “being gay” had come to my family through movies and that too at a very superficial or humorous level. I knew how my family would make fun of me, plus I was ten. I thought things would change. I turned thirteen. Things remained the same. I liked boys more than I liked girls. I could not tell anyone. I read.
Reading provided the much needed solace. Reading was a balm to all my aches. Books transported me, took me away from reality. I did not know want to face reality. Why should I? I thought to myself, when I could be lost in the lands of Oz and travel with Gulliver and be miserable with Jane Eyre. Nothing was of consequence, but the authors and the books I read.
Salon replies to David Brooks's recent article The Cost of Relativism.
Brooks starts his column by decrying what he sees as our banes — single motherhood, slack parenting, a fall in church attendance, what once was called “juvenile delinquency,” and even clubbing and sex, all of which lead, as he puts it, to an “anarchy of intimate life” and “family breakdown.” [...]
Such rectitudinous generalizations hardly warrant a response, but those familiar with Brooks’ work understand what the provenance of the aforementioned morality is likely to be, and that does deserve rebuttal.  He hints at it, reminding us of times of “moral revival” when “behavior was tightened and norms reasserted.”  He has in mind, he says, “England in the 1830s and . . . the U.S. amid economic stress in the 1930s.”  He suggests we engage in an “organic communal effort, with voices from everywhere saying gently: This we praise.  This we don’t.” [...]
But what of “England in the 1830s”?  The badass sensualist poet Lord Byron and his fellow atheist versifier Percy Bysshe Shelley had just tragically departed this world for the Eternal Void.  The novelists Charlotte, Emily and Anne Brontë were coming of age, and would produce such wonders as “Jane Eyre,” “Wuthering Heights” and “The Tenant of Wildfell Hall.”  Samuel Butler, author of “The Way of All Flesh” (a moving, must-read semi-autobiographical account of a journey from religious belief to atheism), was born.
None of this sounds very Brooksian either. (Jeffrey Tayler)
Médiapart (France) has a piece of advice:
Une fois dans votre vie, poussez jusqu’au petit village de Haworth, celui des sœurs Brontë, à quelques encablures de Leeds, où le vent des Hauts de Hurlevent souffle directement depuis l’Oural et vient se fracasser sur la maison sinistre qui surplombe le cimetière du village où furent rédigés les chefs-d'œuvre que l'on sait. (Bernard Gensane) (Translation) 

Perceptual Experience, Character, Settings

New scholar Brontë-related papers:

Adapting with the Senses - Wuthering Heights as a Perceptual Experience
Luis Rocha Antunes
The Victorian,  Vol 3, No 1 (2015)

This essay examines the adaptation of Emily Brontë’s novel Wuthering Heights (1847) by film director Andrea Arnold (Wuthering Heights, 2011). My main goal is to characterize the film style of this adaptation within the frame of a tendency in contemporary cinema in which the haptic and phenomenal appeal of human bodies and the landscape provide a new configuration of the materiality of the story world through the senses and experiential immersion of film spectators.
Characters, Settings and Theme in Wuthering Heights
Jingrui Hui
Canadian Social Science, Vol 11, No 2 (2015)

This paper rereads Wuthering Heights and analyzes the characters, settings and the relation between these elements and the theme. The paper points out that the greatness of the novel lies in that Emily Brontë picks up a broader theme, that is, human nature to deal with.

Sunday, March 22, 2015

The Brontë home is a fantastic museum

The Yorkshire Post says something we, the readers of this blog, know for sure: that the Parsonage Museum is a fantastic place:
The Brontë home is a fantastic museum full of fascinating displays and insights into the lives of the three sisters, from their early life right up to when they were shaping the future of English literature.
Theparsonage is pretty much completely open to visitors, with each room kept true to how it would have looked in the nineteenth century.
Step into each room, and you get a sense of the story that the Brontë home has to tell. Tales of sisterhood, a troubled brother, and a father outliving his children, to name just three.
The Parsonage also hosts rolling exhibitions, including their new showing, The Brontës, War and Waterloo, which looks at how violence and brutality comes through in the work of the sisters. It may not be the most uplifting of subject matter, but it certainly is interesting!
An once you’ve digested the lives and times of three trailblazing female writers, the village of Haworth has everything else you need for a great day out, including the scene of one of the pictures of last year’s Grand Départ of the Tour de France, as the peloton made its way up the village’s cobbled high street. Plus, there are brilliant cafes and restaurants everywhere!
The Boston Globe reviews Caryl Phillips's The Lost Child:
Best known for meditations on the legacy of slavery and colonialism such as “Cambridge” and “A Distant Shore,” Caryl Phillips challenges our expectations by linking his latest novel to “Wuthering Heights,” a tale so intimately embedded in the Yorkshire moors it’s hard to imagine the characters having any relationship with the outside world. His riff on Emily Brontë’s masterpiece is like a jazz improvisation: Phillips plucks the themes that resonate most deeply with him and transposes them into a polyphonic narrative set mostly in mid-20th-century England.
His imagined prehistory of Heathcliff frames the modern story. A formerly enslaved woman from the Congo has fetched up in 18th-century Liverpool; destitute and dying, stigmatized as “Crazy Woman,” she remembers the liaison with a married white man that produced the 7-year-old boy who anxiously stands over her. Written in the elegant, faintly antiquated prose familiar to readers of Phillips’s historical fiction, this prologue takes as a given the speculation of “Wuthering Heights” scholars that Heathcliff is Mr. Earnshaw’s illegitimate son and refashions the black-haired gypsy boy described by Brontë into an interracial by-product of Liverpool’s bustling slave trade.
It’s a jolt when Phillips jumps ahead to the year 1957 in Oxford, where Ronald Johnson is disowning his 20-year-old daughter Monica for her relationship with Julius Wilson, a graduate student from the West Indies. Serious, rather stodgy Julius is no Heathcliff, nor does the couple’s rocky marriage bear any resemblance to the apocalyptic romance depicted by Brontë. Only after Monica leaves him and takes their two sons to Leeds do we begin to discern connections, not yet with “Wuthering Heights,” but with the drama of female desperation and madness sketched in the opening chapter. (Read more) (Wendy Smith)
WPSU interviews the author himself:
[Scott] SIMON: And what made you decide to weave scenes from "Wuthering Heights" or transpose "Wuthering Heights" into Monica Johnson's more contemporary story?
PHILLIPS: Well, the Brontë factor, I should say, came into view because I grew up in a city that is 10-15 miles away from where the Brontës were. You know, there's always been a mystery about the relationship of this fictional character Heathcliff to the family that eventually took him in. So the question of parentage, the question of belonging, is very central to "Wuthering Heights." And some of those echoes in that novel obviously began to resonate with me when I was thinking about the more contemporary story.
SIMON: And how did you come up Monica Johnson?
PHILLIPS: Well, I began to think about a young woman who perhaps felt somewhat disaffected with her belonging where she was. And, in many ways, her story echoed that of Emily Brontë, who was a young woman who felt very at odds with her upbringing and her background. So I was, in a sense, looking for a more contemporary version of an Emily Brontë figure.
Jeffrey Tayler in Salon replies to a very controversial article by David Brooks in the New York Times:
Such rectitudinous generalizations hardly warrant a response, but those familiar with Brooks’ work understand what the provenance of the aforementioned morality is likely to be, and that does deserve rebuttal. He hints at it, reminding us of times of “moral revival” when “behavior was tightened and norms reasserted.” He has in mind, he says, “England in the 1830s and . . . the U.S. amid economic stress in the 1930s.” He suggests we engage in an “organic communal effort, with voices from everywhere saying gently: This we praise. This we don’t.” (...)
But what of “England in the 1830s”? The badass sensualist poet Lord Byron and his fellow atheist versifier Percy Bysshe Shelley had just tragically departed this world for the Eternal Void. The novelists Charlotte, Emily and Anne Brontë were coming of age, and would produce such wonders as “Jane Eyre,” “Wuthering Heights” and “The Tenant of Wildfell Hall.” Samuel Butler, author of “The Way of All Flesh” (a moving, must-read semi-autobiographical account of a journey from religious belief to atheism), was born.
#WomeninFiction on Mashable:
Superheroes, wizards, teachers, troublemakers and ordinary girls — book lovers honored them all on Saturday in a spontaneous celebration via the hashtag #WomenInFiction.
The hashtag appeared to originate Saturday afternoon when Preeti Chhibber, a marketing manager for HarperCollins Children's Books, began tweeting about strong women writers and beloved women characters. (Kate Sommers-Dawers)
Some of examples of Jane Eyre tweets here.

Vita di Coppia (Italy) vindicates the poetry of Emily Brontë:
Le poesie d'amore di Emily Brontë sono romantiche e struggenti, la scrittrice e poetessa inglese famosa per il suo unico romanzo “Cime tempestose” è una delle donne più amate e apprezzate della letteratura britannica. La produzione di Emily Bronte consiste in un romanzo e duecento poesie scritte in anonimi quadernetti. Emily rimasta orfana di madre da bambina ad appena due anni e, poco dopo, perse anche tre sorelle a causa della tisi, queste perdite hanno influenzato la sua vita donandole un carattere schivo e sensibile ed una predisposizione a mettere in versi quello che i suoi occhi ed il suo cuore riuscivano a cogliere. (Serena Vasta) (Translation)
bitlanders reviews Jane Eyre.

Shifting Focus

A new scholar book with Brontë content:

Shifting Focus
Strangers and Strangeness in Literature and Education
Edited by Peter Roberts
978-1-13-885282-2
Routledge
February 25th 2015

There is a long history of interest in ‘strangers’ and ‘strangeness’ in the West. Literature lends itself particularly well to
an exploration of the strange in its richly varied forms, having often contained portraits of outsiders. These portraits depict people who are strange in their unusual appearance or demeanour, their out-of-the-ordinary actions or attitudes, their defiance of convention, their marginalisation from society, or their resistance to dominant structures and practices, as well as those who come from strange worlds.
Each contribution in this collection focuses on a novel, story or play. The essays engage works by Shelley, Dickens, Charlotte Brontë, Dostoevsky, Conrad, Grazia Deledda, Kafka, Beckett, and Camus, all of whom have much to offer the central theme of ‘strangers and strangeness’. This book demonstrates that there is considerable value in encountering, experiencing and reflecting upon that which is strange. Education is, amongst other things, a process of learning to see the world otherwise, and literature has the capacity to promote this form of human development. This book allows readers to re-experience the ordinary, and to learn that what at first seems strange is rather closer to us than we had previously imagined.
Includes:  Spectral Strangers: Charlotte Brontë’s teachers by Nesta Devine.

Saturday, March 21, 2015

The Question of Belonging

The Seattle Times tries to find the Wuthering Heights in Caryl Phillips's The Lost Child:

The Lost Child” does indeed delve into the story of Brontë’s mysterious outsider Heathcliff before he was brought to Wuthering Heights (the isolated home of the Earnshaw family in the wilds of Yorkshire). But those chapters occupy only 30 pages in Phillips’ 260-page novel.
One short additional chapter envisages Brontë on her deathbed, and the rest of the book is devoted to the mid-20th-century story of Monica Johnson, a drab, abrupt, depression-prone young Yorkshire woman who, after a brief marriage to an aspiring Caribbean revolutionary-politician, returns with her two sons to Yorkshire and ekes out a living as a librarian.
Monica’s story unfolds in urban settings — dreary flats in London and Leeds — rather than the ravishing, windswept moorlands that play a central role in Brontë’s novel. And where Brontë’s prose and characters are served up with an almost macabre glee, Phillips’ smoothly written account of Monica’s troubles is unfailingly downbeat and dispirited.
Appalling things happen to Monica and her children, who are just as lost, in their way, as Heathcliff. But the perverse gothic gusto of “Wuthering Heights” finds no counterpart or echo here. Indeed, it’s difficult to see what Phillips is responding to in Brontë’s novel, since it’s not its setting, its atmosphere or, in any significant way, its headstrong, larger-than-life characters.
There’s not even a similarity in narrative strategies. “The Lost Child” is fragmented and collagelike in its storytelling, though never much varied in its tone. “Wuthering Heights,” by contrast, is a fluid marvel of intricately layered flashbacks, with outrageous incidents filtered through the eyes of oddly stoic, sardonic or accepting witnesses, allowing Brontë to strike droll and savage notes simultaneously. (...)
Still, all the characters in Monica’s story seem to abdicate their relationships rather than engage in open confrontation, and their actions are recounted with a staid, chilled detachment that, in contrast to Brontë’s approach, fails to pull you viscerally into their world. (Michael Upchurch)
NPR interviews the author:
Phillips was born on St. Kitts, an island in the West Indies. But he grew up in England, just few miles away from where the literary Brontë family lived. He says that his proximity to the Brontës influenced his latest novel,The Lost Child — which brings Emily Brontë's 19th-century Wuthering Heights into modern times. The Lost Child follows a young woman as she drops out of Oxford to marry a Caribbean man. She winds up as a single mother with two young boys.
"The question of parentage, the question of belonging, is very central to Wuthering Heights," Phillips says. "And some of those echoes in that novel obviously began to resonate with me when I was thinking about the more contemporary story."
The Times reviews the novel:
What do the following have in common: Cliff Richard, Laurence Olivier, a famous cartoon cat and Caryl Phillips’s tenth novel?
Heathcliff.
Cliff and Larry played the brute hero in stage and film versions of Wuthering Heights. Heathcliff the cat was the beloved comic-strip creation of George Gately. And The Lost Child has, at its core, a range of familiar Heathcliff mysteries.
How did a parson's daughter in remote Yorksire create Heathcliff? Emily Brontë wrote just the one novel before the family disease, TB, carried her off to a premature grave. She'd seen virtually nothing of the world beyond the parsonage. She died, we can be sure, a virgin. (...) (John Sutherland)
Check also The Guardian for an article about Kazuo Ishiguro and Caryl Phillips long friendship.

The Washington Post interviews Maureen Corrigan who is presenting her new book So We Read On. How The Great Gatsby Came to Be and Why it Endures:
Q: If you had to do a similar book about a different novel, which one would it be? Let’s just imagine you’re not the world’s biggest “Gatsby” fan. What other book deserves this kind of treatment? (Joel Achenbach)
Corrigan: Oh, that’s a tough question. I think “Moby Dick” deserves the kind of intense — some might say obsessive — attention I’ve given to “Gatsby”; also “Jane Eyre” and “Wuthering Heights” (although Sandra Gilbert and Susan Gubar in their classic critical work, “The Madwoman in the Attic” did a pretty fantastic job of close reading for those novels). Willa Cather’s “My Antonia” is a gorgeous American classic that deserves more attention.
The Public Reviews posts about the Sheffield performances of the Wuthering Heights ballet revival by the Northern Ballet:
All this is stunningly and evocatively realised by Northern Ballet in a production that does not fail to move and stir the emotions. Premier dancers Martha Leebolt and Tobias Batley as Cathy and Heathcliff bring everything you would expect to their roles – and more. Their many pas de deux are so passionate and intense, that even the hardest of hearts would be moved. From his first entrance as the tormented and raging Heathcliff out on the moors on a stormy night, haunted by thoughts of Cathy, Batley sets the tone as an animalistic and agile figure dominating the stage with long black flowing locks and brooding menace. This is contrasted with his final scene back on the moors again, now an old man desperate to embrace death and be reunited with Cathy.  He falls to his knees with his head to the heavens as snow begins to fall – a wonderful and still image. Leebolt has to portray all the conflicts  within Cathy as her love for Heathcliff competes with her attraction to the lifestyle offered by the Lintons and this she does with consummate skill. Extremely agile and expressive throughout, she is a joy to watch.
Lara Rutherford-Morrison lists 8 Things You'll Only Realize When You Read 'Jane Eyre' A Second Time in Bustle:
 “I am no bird; and no net ensnares me; I am a free human being with an independent will…” So asserts the titular heroine of Jane Eyre. Has there ever been a better declaration of female independence? When Charlotte Brontë published Jane Eyre in 1847, it was an instant, though controversial, bestseller. Some critics praised the work for its intensity and vigor, “a book to make the pulses gallop and the heart beat, and to fill the eyes with tears.” But even as the novel garnered huge popularity, it evoked controversy by bucking Victorian ideals of domesticity and delicacy; one critic described it as “one of the coarsest books which we ever perused,” while another dubbed it a wholly “anti-Christian composition.” People had a lot of feelings about this book, is the point.
More than 150 years later, Jane Eyre is still the object of intense readerly devotion (though few complain now about its “coarseness”). It is a work that deserves to be read a second time (and a third and a fourth…), and as you reread it, your perceptions of it will change: At times, you’ll read it as a romance novel, and then, as a coming-of-age story, and later still, as a gothic thriller—It is all of these things. It speaks to the power of Brontë’s writing that, to this day, the story remains immediate and addictive (and it certainly brings the drama—who needs soaps when you’ve got Jane Eyre?) Below, I’ve listed eight things you might notice as you delve into the novel again.  (Read more)
The Globe and Mail interviews the writer Beth Powning:
What’s the best romance in literature, and why?
Of course one of fiction’s great romances (and I love it) is that of Heathcliff and Cathy in Wuthering Heights. Recently, I found the relationship of Theo and Pippa in The Goldfinch [by Donna Tartt] to be a moving iteration of the same story – the power and purity of first love, and its tragic, perhaps inevitable, foundering. Both romances are based on the lovely child-companionship that occasionally precedes love, and (sometimes) survives it.
The Blackburn Citizen gives a few more details of the upcoming Pennine Way BBC documentary:
In the first episode Paul [Rose] will travel from Edale to Calderdale. He will tell the story of Tom Stephenson, the man who fought landowners and governments to win public access to the full length of the route. Stephenson’s friend Sylvia Franks talks about his battle.
Paul will also meet author and director Barrie Rutter who recalls some of the literary greats who have lived near the route including Ted Hughes and the Brontës. (...)
The series starts on April 10. (Jessica Cree)
Kent Online talks about the actress Charlie Brooks:
Best known as EastEnders’ scheming Janine Butcher, bringing drama to Albert Square with a medley of cocaine addition, murder and prostitution, in reality Charlie Brooks likes nothing more than curling up with a good book by one of the Brontë sisters. (Jo Roberts)
The Scotsman talks about pseudonyms as a backstory of the Grant Shapps/Michael Green affair:
A few authors want to conceal their gender, in fear of putting off prospective readers. While in the 1800s, female authors were forced to do this to have their work taken seriously – Charlotte, Emily and Anne Brontë published as Currer, Ellis and Acton Bell – the tide has now turned, with some male authors writing about women worried that their gender would deter female readers. They may use initials instead of a forename, while author biographies would probably be quite vague and without a photograph. Of course, a quick google would probably reveal the truth, but can the average reader be bothered? And should they know who is writing their books? Does it matter? (Jane Bradley)
Tiffany Murray is reading Jean Rhys and tells it to The Daily Star:
I'm reading Jean Rhys.
I discovered her thin blue-spined Penguin editions here in the labyrinth of stacks.
I've worked my way through the Paris novels (though my favourite is and always will be the more “London After Leaving Mr Mackenzie”).
Because it's not all 'Wide Saragasso Sea' with Jean. It's not all about her declaiming Charlotte Brontë's 'paper tiger lunatic' (Bertha Rochester). It's even more than the myth (or truth?) of Jean.
The Marion Star ends an article about spring and allergies with
Let me leave you with this quotation by Charlotte Brontë: “Spring drew on..and a greenness grew over those brown beds, which, freshening daily, suggested the thought that Hope traversed them at night, and left each morning brighter traces of her steps.” (Brenda Donegan)
According to the Belfast Telegraph, Colin Firth's wet shirt Pride and Prejudice moment has a successor:
Last Sunday night, when viewers caught a glimpse of Poldark's pert posterior as he skinny-dipped in the sea, Twitter almost exploded. The scene eclipsed that famous Darcy moment when Colin Firth emerged from the water in a wet shirt in a television adaptation of Pride and Prejudice.
And that's why women love Aidan Turner as Poldark. He's a ravishing mix of every Byronic hero in literature - Darcy, Heathcliff, Rochester. Even his flaws, like the scar on his face, are attractive.
The daughter of this columnist of The Grand Island Independent is a British fan:
It’s no surprise that Brenna is a fan of all things British. To describe her surroundings, she uses romantic terms such as “heather.”
Brenna discusses authors such as Thomas Hardy, George Eliot and Emily Brontë. She’s not, though, a huge fan of Jane Austen. (Jeff Bahr)
This other columnist in The Age has a problem with calm and small things:
But now, things are going to be different. I am going to be like Jane Bennett (not Elizabeth); like Edgar Linton (not Heathcliff) (even though I quite hate Edgar). I'm going to be methodical and deliberate, and I am going to keep track of my keys. Specifically, I am going to put them inside my bag each night. I'm even going to put them in the same section of my bag, so that they are easy to see. (Amanda Hooton)
Médéa Azouri's column in L'Orient Le Jour contains a Brontë mention:
Parce que nos épaules sont trop frêles, notre cœur pas assez solide, et la chair trop vulnérable.
Alors on a décidé d'avorter cette histoire embryonnaire avant de faire une fausse couche. On a fui. Nous ne sommes pas des héros ni des héroïnes de Pouchkine, d'Emily Brontë, de Stendhal ou de Walter Scott. Nous ne sommes pas enclins à se laisser aller, à braver les circonstances, nos statements, nos craintes. (Translation)
Il Quotidiano (Italy) has a curious story bringing together Justice and romanticism:
Di fatto, è stata presa di petto un’urgenza mondiale: tutti hanno problemi d’amore, tutti hanno un romanzo dentro al telefonino e la tentazione di leggerlo potrebbe portare alla guerra fra bande. Ma la cosa veramente sorprendente che ci regalano i giudici è la lettura romantica dell’articolo 2 della Costituzione: il principio più bello e profondo sul primato dell’individuo e il diritto a sviluppare la propria personalità viene spinto fino alle vette delle sorelle Brontë. (Viviana Ponchia) (Translation)
Le Devoir (France) is not a fan of Anna Todd:
Il semble un peu vain, en réalité, de discuter des mérites littéraires d’After. Sa seule qualité « littéraire » est peut-être indirecte : nourrir la probabilité que de jeunes lectrices ouvrent un jour Les hauts de Hurlevent (Livre de poche). Une question s’impose surtout, adressée aux lecteurs séduits ou excités par la hauteur des piles : pourquoi ? POURQUOI ? ! (Christian Desmeules) (Translation)
The Staffordshire Newsletter confirms that an extra performance has been added due to demand to see the Blue Orange Theatre Jane Eyre production in Lichfield.

Cottage Poems

A new paperback edition of Patrick Bronté's Cottage Poems:
Cottage Poems
by Patrick Brontë
Paperback: 76 pages
Publisher: Leopold Classic Library (March 20, 2015)

Leopold Classic Library is delighted to publish this classic book as part of our extensive collection. As part of our on-going commitment to delivering value to the reader, we have also provided you with a link to a website, where you may download a digital version of this work for free. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. Whilst the books in this collection have not been hand curated, an aim of our publishing program is to facilitate rapid access to this vast reservoir of literature. As a result of this book being first published many decades ago, it may have occasional imperfections. These imperfections may include poor picture quality, blurred or missing text. While some of these imperfections may have appeared in the original work, others may have resulted from the scanning process that has been applied. However, our view is that this is a significant literary work, which deserves to be brought back into print after many decades. While some publishers have applied optical character recognition (OCR), this approach has its own drawbacks, which include formatting errors, misspelt words, or the presence of inappropriate characters. Our philosophy has been guided by a desire to provide the reader with an experience that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic book, and that the occasional imperfection that it might contain will not detract from the experience.

Friday, March 20, 2015

"Charlotte Brontë’s insane source material deserves some credit"

The Telegraph and Argus looks at what the first Literature Festival to be held at Bradford (May 15-24) will include.

The first Bradford Literature Festival, from May 15-24, features a range of events - including digital storyboarding, a Brontë-themed afternoon tea, Indian poetry and Jewish storytelling. [...]
The district's literary heritage is explored in Brontë-themed events - including a discussion of race and gender in their writing and a Brontë quiz - and a panel examining the lasting impact of JB Priestley's writing. (Emma Clayton)
Wales Online has three generations share their favourite books ahead of Cardiff Children's Literature Festival.
Sandra Whitfield is a 72-year-old retired English teacher: [...]
“My mum and wonderful Aunt Kath used to read to me and I’ve still got The Puppy That Lost Its Wag, which was one of my first books. My first ‘real’ book was Jane Eyre, which Aunt Kath bought me. As an English teacher, I love the classics – Jane Austen, Dickens and Hardy but I’m also a great Susan Hill fan and like Graham Greene, Hemingway and modern novelists Anita Shrieve and Maggie O’Farrell – I wait for their books to come out."
A.V. Club has a daily feature which
offers staff recommendations inspired by a new movie coming out that week. This week: With Jessica Hausner’s peculiar period piece Amour Fou coming to theaters, we extend our hand to other 19th-century romances.
Such as Jane Eyre 1944:
Beyond Welles, Charlotte Brontë’s insane source material deserves some credit for the greatness of this adaptation. Little Jane has a nightmarish childhood, with an unfeeling aunt and a miserable girls’ school (where a very young Elizabeth Taylor is her only friend). By the time Welles shows up about a half-hour in, the viewer is grateful for the surge of dynamism he provides, personifying Brontë’s magnetic beast. What could have been a traditional governess/benefactor romance is heightened by Brontë-inspired elements, including Nosferatu-worthy stairways, omnipresent shadows, a series of fires, and oh yes, what Rochester has hidden away in the attic. But Welles sells this torture so well, and Fontaine possesses a quiet strength. A scene of the two leads shaking hands is hotter than anything in Fifty Shades. (Gwen Ihnat)
Don't forget that the film is leaving Netflix this month. We think Harper's Bazaar has got it wrong when it lists Franco Zeffirelli's Jane Eyre among other films leaving Netflix too. Speaking of that film, though, this is what Tribune News Service has to say about Charlotte Gainsbourg:
Charlotte Gainsbourg has always had a flinch in her acting, a twitch that suggests she's bracing for that next blow - physical or psychological.
It made her the perfect Jane Eyre, perfect as Sean Penn's I-know-he'll-leave-me wife in "21 Grams," and well-suited to Sylvie, the morose, can't-get-a-break lover in "3 Hearts." (Roger Moore)
Hamburger Abendblatt interviews Sophie Rois, who reads for audiobooks.
Haben Sie durch diese Leseaufträge Literatur entdeckt?
Rois: Ja, "Jane Eyre" von Charlotte Brontë zum Beispiel. Das hätte ich nicht gelesen. Es hat mich vorher nie interessiert. Das las sich wie selbstverständlich, es hat einen tollen Rhythmus und Aufbau und bewegt sich dankbarerweise in Höhen und Tiefen. Oftmals ist es so, dass ich Bücher, die ich gut finde, den Verlagen anbiete. (Heinrich Oehmsen) (Translation)
Bustle lists '11 Kate Bush Songs That Will Either Get You Obsessed For The First Time, Or Remind You Why You've Always Loved Her'. First on the list is obviously
1. “Wuthering Heights” (1978)
Written when Bush was only a teenager, “Wuthering Heights” launched the musician’s career, becoming a #1 hit on the UK singles chart in 1978. Inspired by Emily Brontë’s novel of the same name, Bush’s song takes on the perspective of Catherine Earnshaw’s ghost, clamoring at Heathcliff’s window. Although Bush had apparently never read the book when she wrote the song, she perfectly captures the novel’s gothic creepiness: [...]
Also, this video. I love it so hard. Bush is famous for the over-the-top theatricality of her music videos. As you’ll see, her songs are usually accompanied by elaborate dance sequences. (Lara Rutherford-Morrison)
According to this interview from Vogue (Italy) is is also model Eliza Thomas's favourite song.

A.V Club also reviews the film Growing Up And Other Lies and concludes that,
nobody goes to indie films to hear a reference to Heathcliff and Cathy followed by “I was always more of a Garfield man, myself.” (Mike D'Angelo)
If you are looking for a remote (in all senses of the word) Brontë-related locations, you might be interested in this tidbit from GMA News:
Some places in the remote islands are already becoming known as tourist attractions.
Alapad Hills—which first caught the attention of the rest of the Philippines in the 90s film "Hihintayin Kita sa Langit," an adaptation of Emily Brontë's "Wuthering Heights" that starred Richard Gomez and Dawn Zulueta—is known for rock formations hewn by storms over millennia, and an unobstructed view of the sea from the top of its cliffs. (Trisha Macas)