Sunday, March 18, 2018

Graves and Pubs

On Sunday, March 18, 2018 at 11:32 am by M. in , , , , , ,    No comments
The Telegraph & Argus informs of a new shop front in Thornton:
A new micropub could soon open in Thornton if new plans to convert a hair salon are approved.
Jane Jackson has applied for permission to convert 1 West Lane, currently a hairdressers with a flat above it, into a bar, spread out over both floors.
The building is in a conservation area, and is just a short distance from the building the Brontë sisters were born in, which is now a cafe. (Chris Young)
The revamping of Chatsworth House in Brinkwire:
Apart from Pride And Prejudice, it was the backdrop for a horror film, The Wolfman, starring Anthony Hopkins; The Duchess, with Keira Knightley playing Georgiana, wife of the 5th Duke of Devonshire and an ancestor of Princess Diana; and a BBC adaptation of Jane Eyre.
Diastixo (in Greek) talks about Thackeray and Charlotte Brontë's meeting in London:
Υπάρχει ένα περιστατικό το οποίο περιγράφει ο Τζορτζ Σμιθ, γνωστός εκδότης του Λονδίνου, στα μέσα του 19ου αιώνα. Στις 30 Μαΐου του 1851, έμπαινε σπίτι του επιστρέφοντας από τον εκδοτικό οίκο, όταν άκουσε φωνές και θόρυβο από τη μεριά του γραφείου του. Άνοιξε την πόρτα και έμεινε άναυδος από το θέαμα που αντίκρισε.
Η μικροκαμωμένη Σαρλότ Μπροντέ τα είχε βάλει με τον μεγαλόσωμο συγγραφέα του Vanity Fair Ουίλιαμ Θάκερι. Ήταν έξαλλη με τον τρόπο που εκείνος είχε επιλέξει να τη συστήσει στη μητέρα του, παρουσία μάλιστα και άλλων. Θέλοντας να σπάσει τον πάγο εκείνος, την είχε αποκαλέσει: «Τζέιν Έιρ».
Ο Σμιθ μπήκε στο γραφείο την ώρα που η συγγραφέας ρωτούσε με θυμό πώς θα του φαινόταν του Θάκερι αν τον σύστηνε σε κάποιους χρησιμοποιώντας το όνομα ενός από τους ήρωές του. (Read more) ( Πέτρος Γκάτζιας) (Translation)
Sevilla Info (Spain) talks about the first novel by Soledad Román, No es Tiempo Para Sueños:
La protagonista es la joven Concha y otras dos mujeres de edades diferentes, aunque quiso señalar que no hay ningún sesgo feminista en el relato. “Me interesaba el devenir del individuo, en este caso una mujer, más que incidir en un status discriminatorio”. Para Isabel Cañelles (author of the prologue) “Concha es un personaje hecho y derecho como Jane Eyre de Charlotte Brontë o la Emma de Austen” . (Translation)
Excélsior (México) reviews the film Lady Macbeth:
Esta película de William Oldroyd con guión de Alice Birch ubica la acción lejos de Rusia, en la campiña inglesa del siglo XIX, lo que recuerda mucho a Cumbres borrascosas, mientras vemos a la apasionada protagonista correr por los desolados páramos sintiendo el fuerte golpe del viento.
La historia gira en torno a Katherine (como la heroína de la novela de Emily Brontë), quien ha sido comprada por su esposo, que no la ama ni la desea. (Lucero Solórzano) (Translation)
Moviestruckers (Italy) reviews the film My Cousin Rachel 2017:
Atmosfere che riecheggiano Jane Eyre, Cime Tempestose, Giro di Vite e Ritratto di Signora; suspense e tensione sottile dal sapore hitchcockiano, dubbi che si insinuano nello spettatore man mano che si azzera la distanza di sicurezza tra i personaggi. (Ludovica Ottaviani) (Translation)
The Book Addicts Guide to MBTI explores Jane Eyre as an ISFP type (Introversion, Sensing, Feeling, Perception). The Brontë Babe Blog explores Matthew Arnold's poem Haworth Churchyard.

Finally, a post by the Reverend Peter Mullins (the rector of the Haworth Parish Church) carefully locates the place where the Brontë graves may be located at Haworth Church:
We have frequent requests to identify the exact position of the Brontë grave(s) in St Michael’s, Haworth. Indeed, we are often pressed for access to what enquiries incorrectly assume (and often state definitively that they know) is a crypt.
The answer isn’t fundamentally difficult to work out – and may well have been worked out by others in the past – because the application for formal permission to build the present church in 1880 includes a plan which clearly shows the footprints of the old existing church and the proposed new church imposed upon one another, a plan which outlines a number of graves which might be disturbed during the building work including a neighbouring pair in the part of the church where we know the Brontë graves to be.
12:30 am by M. in , ,    No comments
A new book with Brontë-related content:
The Victorian Era in Twenty-First Century Children’s and Adolescent Literature and CultureEdited by Sonya Sawyer Fritz, Sara K. Day
ISBN: 9781138551206
February 2018

Victorian literature for audiences of all ages provides a broad foundation upon which to explore complex and evolving ideas about young people. In turn, this collection argues, contemporary works for young people that draw on Victorian literature and culture ultimately reflect our own disruptions and upheavals, particularly as they relate to child and adolescent readers and our experiences of them. The essays therein suggest that we struggle now, as the Victorians did then, to assert a cohesive understanding of young readers, and that this lack of cohesion is a result of or a parallel to the disruptions taking place on a larger (even global) scale.
The book contains the chapters:
Chapter 9. Intertextuality, Adaptation or Fanfiction? April Lindner and the Brontë Sisters by Nicole L. Wilson

Chapter 10. Growing Up Empowered by Jane: An Examination of Jane Eyre in Twenty-First Century Children's and Young Adult Literature by Anah-Jayne Markland.

Saturday, March 17, 2018

First of all, today is Saint Patrick's Day, which means that Patrick Brontë (or rather one Patrick Brunty or Prunty), father of the Brontës, was born in a small cottage in Ireland 241 years ago. On Twitter, Hilary Robinson refers to him as being her 'favourite Patrick'.

Yorkshire Post features author Michael Stewart, who will be in Haworth later today.
So, what exactly did Heathcliff get up to during that three-year absence? It is a question that Bradford-based author Michael Stewart has been pondering for some time and he provides a beautifully written, thrilling answer in his new novel Ill Will, published later this month. Publication was timed to coincide with the bicentenary this year of Emily Brontë’s birth, but it is a measure of the interest in Heathcliff’s story that the film rights have already been snapped up by Kudos, the production company behind a number of top-quality television dramas including Broadchurch, Gunpowder and Apple Tree Yard. Stewart’s own fascination with Wuthering Heights goes back a long way. It began as a child when he first heard Kate Bush’s hit song which was at the top of the UK charts for several weeks in 1978. Stewart, who was just seven years old at the time, was captivated. “There was something about the lyrics, I had no idea it was based on a book, and I became obsessed by it,” he says. “I taped it from the radio on my little cassette recorder and just listened to it over and over.” His mother, who by coincidence was studying Wuthering Heights as part of a course at night school at the time, explained the story to him but told him to wait a while to read it because he was still too young. He eventually read it for himself and loved it. Then much later, in 1995, he came across an essay by the academic and author John Sutherland entitled ‘Is Heathcliff a Murderer?’ which speculates on that intriguing period of exile. “In the opening lines he writes ‘when Heathcliff returns to Wuthering Heights… he has become someone very cruel. He left an uncouth but essentially humane stable-lad. He returns a gentleman psychopath,’” says Stewart. “That phrase ‘gentleman psychopath’ just lodged in my brain. I kept thinking about Heathcliff and who he was – there have been various theories about his ethnicity and origins.” [...]
“I wondered why Mr Earnshaw had gone to Liverpool,” he says. “Why would he, a farmer, go to a place where there was no farmers’ market? And why would he go in the summer which is the busiest time of year for a farmer? And why on foot? There was a carriage from Keighley to Liverpool and he himself had at least two horses. Was he going there incognito? I also thought about the fact that Liverpool at that point in history was the biggest slave port in Europe, so maybe he was going there to find a slave? And if he was: why? Did he need someone to help work on the farm? Then there is the fact that Mrs Earnshaw is very hostile towards Heathcliff and that fits in with the back story I have for him.” Without giving too much away, Stewart’s novel brilliantly incorporates ‘the facts’ of Brontë’s original, expertly filling in the gaps in a way which makes perfect sense. Stewart also forcefully foreshadows the unremitting brutality that we see from Heathcliff when he returns. “When he comes back he has a very routine attitude towards violence – he rapes Isabella, I think he probably killed Hindley, he hangs Isabella’s pet dog and he does all that without any regret or remorse. How has he got to that level of psychopathy?” When Wuthering Heights first appeared it, people were shocked by it. It was reviled by many reviewers at the time who talked about its savagery and violence. One memorably described it as ‘a compound of vulgar depravity and unnatural horrors’. “I wanted to restore the coarseness of the original book,” says Stewart. “What shocked the Victorian reader wouldn’t necessarily shock the contemporary reader, so it was about finding the equivalent for the modern reader.” [...]
“My book is about answering the questions that surround Heathcliff – you get an explanation. He is no longer a mystery character, he is a character with psychology,” says Stewart. “So, I suppose I feel differently about him now in that I feel like I know what makes him tick, but my feelings about Wuthering Heights remain the same – it has always been one of my favourite novels of all time and it will continue to be. I get something out of it every time I read it.” (Yvette Huddleston)
The Yorkshire Post also mentions HRH The Duchess of Cornwall's enthusiasm for the Brontës, particularly after her recent visit to Haworth.
She is a self-proclaimed Brontë addict, an avid reader and patron of several literary charities.
Artist Celia Paul writes about her work for Financial Times and brings to our attention a lovely painting.
Another painting, “The Brontë Parsonage (with Charlotte’s Pine and Emily’s Path to the Moors)”, relates back to the time before my father died, when he was Bishop of Bradford. The bishop’s house looked towards Bradford from one side and the other faced towards the Yorkshire Moors and Haworth where the Brontës lived. My father used to drive my mother, Kate and me out to Haworth on a Sunday afternoon and we would walk to Top Withens (the abandoned farmhouse that is said to have inspired Wuthering Heights).
I went back to the parsonage in February last year to make studies for a painting. I’ve always felt a special bond with the Brontës (as all my sisters do) because of belonging to a family of creative sisters, daughters of a clergyman also. When I visited it, the boughs of the great trees in the garden were leafless and echoing with the cawing of rooks. It was very silent and felt haunted. It was easy to imagine Charlotte looking out of her window towards the gravestones in the churchyard and the clock on the church tower: constant reminders of the brevity of life and the immortality of the soul. I sensed her longing and the huge pine trees in the churchyard seemed connected to her “pining”. Behind the parsonage is a glistening pathway to the moors: this was Emily’s escape route towards inspiration, “a chainless soul”.
The Irish Times has published an obituary for author Val Mulkerns.
She had a much happier experience in the lavender-waxed halls of the Dominican College on Eccles Street. She fostered her love of reading in its junior library, encountering books such as Jane Eyre and Wuthering Heights for the first time.
The Chatanoogan tells a funny anecdote about writer Madeleine L'Engle.
At the time, she was working on her 18th book, “A Wind in the Door,” which was evidently inspired by the growing dependence of man on computers. She apparently did not like how at places like banks, names were being replaced with numbers.
So, as a protest, she said that she had been signing checks with such famous literary names as “Emily Bronte” and “Jane Austen” and found they were still clearing the bank. (John Shearer)
Bustle recommends Jane Eyre as one of '21 Classic Books That You Can Read For Free Online'.
Jane Eyre is a great book to read if you're considering getting married to your boss, but you haven't yet checked his attic for any lurking ex-wives. It's a classic coming of age tale, a Gothic romance, and a surprisingly modern take on being a young, independent woman. (Charlotte Ahlin)
And now for some music: The Belfast Telegraph features Kate Bush and of course her Wuthering Heights is an unavoidable mention. The Irish Times has an article on the duo Ships:
When I listen to Ships, my imagination takes me to misty moors, with songs like None of It Real and All Will Be encouraging me to find my way to my metaphorical Heathcliff. In this case, the metaphorical Heathcliff is the darkened dance floor. (Louise Bruton)
Le Devoir (France) mentions that writer Sarah Perry is a Brontëite. The Pine-Scented Chronicles posts about Wuthering Heights.
An alert from the Brontë Parsonage Museum:
Brontë 200: 
Ill Will: Heathcliff and His Story
An afternoon with Michael Stewart
March 17th 2018 02:30pm - 04:00pm

Author Michael Stewart visits Haworth to discuss  the research for his new novel, Ill Will, which recounts Heathcliff’s lost years. In Wuthering Heights, Emily deftly creates a close and claustrophobic world with great  skill. But what of the world outside? It is 1780 when Heathcliff runs off in the storm. The north of England is going through radical change – from a rural community, to the industrial revolution, from a wild world where highwaymen and robbers terrorise the coach roads, to one of turnpikes and canals and from one where slavery is acceptable, to the beginnings of abolitionism.
Michael Stewart is a multi-award winning writer, born and brought up in Salford, who moved to Yorkshire in 1995 and is now based in Bradford. He has written several full length stage plays, one of which, Karry Owky, was joint winner of the King’s Cross Award for New Writing. His debut novel, King Crow, was published in 2011 and won The Guardian’s Not-the-Booker Award. He is senior lecturer in Creative Writing at the University of Huddersfield, where he is the director of the Huddersfield Literature Festival.
Further information in Keighley News.

Friday, March 16, 2018

The Telegraph and Argus reports that Emily Brontë's bicentenary will be part of the Great Exhibition of the North.
Emily Brontë’s bicentenary will feature in the district’s contribution to the Great Exhibition of the North.
The Brontë Parsonage Museum is planning four days of linked activities in July to tie in with Emily Brontë’s birthday weekend.
Brontë Society staff are currently working on the weekend as part of the July-December part of this year’s programme of events marking Emily’s 200th anniversary year.
The Great Exhibition of the North – which will run in several regions of Northern England – will also draw in Bradford Literature Festival, Bradford Festival, Bradford Science Festival and the city’s Big Party weekend.
Bradford Council was shortlisted to host the Great Exhibition but lost out to Newcastle-Gateshead.
Bradford went on to work with Newcastle-Gateshead to plan a programme of complementary and connected activity is due to run between June 22 and September 8.
The Bradford programme is supported by £50,000 of Leeds City Region pool funding, which is raised through the business rates.
Buildings and other spaces around Bradford will be transformed into venues for activities showcasing the district’s cultural creativity.
Art, design, innovation and playfulness are the central themes of the Great Exhibition and the aim is to support creative/cultural industries, celebrate creativity, raise the district’s confidence and aspiration.
Organisers also hope to inspire future generations and encourage Bradfordians to get involved with the Great Exhibition.
The business rates pool enables councils in the Leeds City Region to retain and invest the proceeds of growth in business rates.
It has supported investments with a value of more than £11 million since it was created in 2014.
Cllr Sarah Ferriby, Bradford Council’s Executive Member for Environment, Sport and Culture, said that joining forces in such a way with other councils in the Leeds City Region meant it could re-invest in cultural activities such as the Great Exhibition of the North. (Jim Seton)
Yesterday was the first day of York's Literature Festival and The Yorkshire Post featured it.
It will celebrate the renowned Yorkshire authors such as W.H. Auden and the Brontë Sisters, alongside Charles Dickens and Wilkie Collins, who regularly visited the city of York. (Helen Johnson)
Daily Mail reviews the book The Two Houses by Fran Cooper.
This everyday story of country folk is superbly written, utterly gripping and has more than a touch of Wuthering Heights and Rebecca. Its poetic, forensically-detailed descriptions of the countryside reminded me of Jon McGregor’s brilliant Reservoir 13. (Wendy Holden)
The Telegraph (India) discusses animals in literature.
At other times, it is horses that act as the carriers of death. The poisoned, rotting horse covered with flies in Wide Sargasso Sea or the two equines in Riders to the Sea are signs that the protagonists will be visited by death. (Srimoyee Bagchi)
Financial Times has a podcast on Kate Bush's Wuthering Heights. Entertainment Weekly reports that Jane Eyre 2011 will be available on Hulu in April. Finally a tweet by journalist Joe Crowley:
12:30 am by M. in ,    No comments
An alert for today, March 16, in Sassuolo, Italy:
Metti un pomeriggio con anniversari: Cime Tempestose di Emily Brontë
Hosted by Biblioteca Cionini Sassuolo
Saturday, March 3 at 4 PM - 6 PM
Biblioteca Cionini Sassuolo
Via Rocca 19, 41049 Sassuolo

Sabato 3 Marzo vi aspettiamo all' appuntamento dedicato al romanzo "Cime Tempestose" di Emily Brontë, 200 anni dalla nascita dell'autrice.
Un viaggio nel romanzo con letture, musiche, immagini  a cura di Viviana Romanori.

Intervengono i lettori Cristina Ravazzini, Luciana Ravazzini, Laura Roversi, Giacomo Nicastro, Angelo Borghi e gli studenti Matteo Botti, Gloria Manfredini.
Interventi musicali a cura della Scuola Comunale di Musica “O.Pistoni”. (Via Sassuolo Oggi)

Thursday, March 15, 2018

Northern Soul reviews Emily's bicentenary exhibition, Making Thunder Roar, at the Brontë Parsonage Museum.
The exhibition space is small and unassuming. A collection of Emily’s belongings, writing and artwork is displayed in glass cases, accompanied by contributions from well-known writers, actors and public figures, each responding to the question, ‘What does Emily Brontë mean to me?’
There are crowd-pleasers, such as Judi Dench and Maxine Peake, but several lesser-known voices too, each singular and thought-provoking. Stand-outs are Rosie Garland’s fiery poem, which perfectly captures Emily’s small world and her all-consuming creative drive, and a piece by Benjamin Myers that recognises Emily’s complex relationship with the Yorkshire landscape, reminiscent of Myers’ own lyrical work in his recent novel, The Gallows Pole.
I was struck too by Kei Miller’s audio contribution, acknowledging a late-flowering identification with Wuthering Heights. A new manuscript of that novel, penned by more than 10,000 members of the public during 2017 and now on display in the main museum, emphasises the enduring and universal appeal of Emily’s work.
Making Thunder Roar won’t be for everyone. During my visit, several gave only a cursory glance, but for those with the time and inclination, there is plenty here to provoke personal response. Postcards are provided should you wish to add your tuppence-worth.
This quiet, reflective exhibition is in sharp contrast to ‘Branwell’s studio’, a staged space representing the chaos and dissipation of that troubled soul. The room’s untidy, tactile props and lack of hushed, reverential atmosphere make its human subject seem more tangible. In comparison, Emily’s real possessions stay behind glass.
Perhaps that’s apt. Emily remains as inaccessible and enigmatic as ever, a figure we can only guess at, and who means different things to different people. Her unique voice, passion and spirit live on best in her writing, her most lasting legacy. (Katherine Clements)
And Northern Soul also reviews Northern Ballet's Jane Eyre, giving it 5 stars.
The opulence of The Grand makes the perfect stage for this mesmerising production and is matched only by the calibre of the dance skills of the troupe of ballet dancers. Simplistic in set design, Patrick Kinmonth allows the dancers to take centre stage, leaving the audience to be captured by the passionate movement and complete consumption of the performances.
I’ll confess, I’m no Bob Fosse and and wouldn’t know a plié if it came and bopped me on the nose. But through Cathy Marston’s choreographic brilliance and the breathtaking abilities of the performers, Jane Eyre proves to be one hell of a show. From the lead dancers (Dreda Blow and Javier Torres) whose chemistry as the two leads (the vulnerable yet strong Jane and the mysterious and somewhat exotic Edward Rochester) ignites a metaphorical fire to match that set alight by the deranged Bertha (played to perfection by first soloist Victoria Sibson) to the junior members of the company, it’s a tour de force. Of the junior cast, Rachael Gillespie is notable as Adele, bringing a youthful vigour and delight to the performance evocative of the printed novel.
Philip Feeney’s spellbinding musical score is brought to life by the sublime orchestra with Geoffrey Allan at the helm. As I sat in my plush red velvet seat, I noted how every element of the performance magically connected to produce a thoroughly bewitching experience.
I wholeheartedly encourage you to catch this production. If you miss it, you’ll lose the opportunity to see one of the UK’s leading ballet companies in all its splendour. Who knows? It might even prove to be as much of an eye-opener to the mesmerising world of ballet as it was to me. (Sarah Clapperton)
China Daily shows a picture of the manuscript of Jane Eyre in Shanghai.
Original manuscripts by five acclaimed British authors, including Jane Eyre by Charlotte Bronte and The Pickwick Papers by Charles Dickens, are currently on display at Shanghai Library for a month.
The exhibition, titled “Where Great writers gather: Treasures from the British Library”, kicked off on March 15. Admission is free.
In addition to Brontë and Dickens, manuscripts and letters by three other heavyweights in the English literature world – D.H. Lawrence, Percy Bysshe Shelley and T.S. Eliot – are on display. Chinese translations, adaptations and responses to their works can also be found at the exhibition. (Zhang Kun)
And so does Ecns.

The New York Times' Insider comments on the newspaper's initiative to finally write the well-deserved obituaries of famous women. Here's something funny (and by funny we mean sad):
Then there is Charlotte Brontë, the author of “Jane Eyre,” whose 1855 death did not receive a mention in our pages.
The Times did cover the death, a half-century later, of the Rev. Arthur Bell Nichols. The headline: “Charlotte Brontë’s Husband Dead.” (Albert Sun)
Los Angeles Review of Books explores pain in literature.
Writing about pain can be an afflictive undertaking unto itself. In her poem “The Glass Essay,” which explores the end of a relationship as well as various dynamics between the Brontë sisters, Anne Carson writes:
It pains me to record this,
I am not a melodramatic person. (Emily Wells)
Literary Sofa reviews A Secret Sisterhood by Emily Midorikawa and Emma Claire Sweeney.
An alert for today, March 15, in Omaha, NE:
The As the Worm Turns Book Group will discuss “The Tenant of Wildfell Hall” by Anne Bronte, 6:30 p.m. Thursday, The Bookworm.

The Bookworm, Inc.Loveland Centre
90th & Center Streets
2501 South 90th Street, Suite 111
Omaha, NE 68124
(Via Omaha World-Herald)

Wednesday, March 14, 2018

Wednesday, March 14, 2018 7:30 am by Cristina in , , , ,    No comments
The 'magic' of number three on Soundblab:
With the notable exception of the Godfather trilogy, three seems to be a magic number.
Consider the evidence: Goldilocks and the three bears; the three Billy Goats Gruff; three blind mice; the three little pigs; three little kittens that lost their mittens; the three wise monkeys; the three wise men; the Three Musketeers; three Brontë sisters; three coins in a fountain; the three Rs; Newton’s three Laws of Motion; three cheers; three strikes and you're out; three Life-lines on ‘Who Wants to be a Millionaire’; Faith, Hope and Charity; Rock, Paper, Scissors; The Lion, the Witch and the Wardrobe; The Good, the Bad and the Ugly; Snap, Crackle and Pop; Rumplestiltskin giving the miller's daughter three days to guess his name; the three times Peter denied Christ; Jesus rising on the third day; the three witches in Macbeth; the Third Man; the Three Stooges; Shadrach, Meshach, and Abednego; Harry, Hermione and Ron; and so the list goes on. (John Plowright)
República (Spain) has selected the 10 best fictional love stories, including
3) Jane Eyre
Uno de los libros de amor más leídos por las feministas, nacido a mediados del Siglo XIX, más específicamente en el año 1847, Jane Eyre cuenta la historia de una mujer maltratada por la vida, queriendo buscar ser alguien en la vida. Por esta razón, es que a pesar de los casi 200 años de publicada, sigue transcendiendo en las sociedades inconformistas con la vida.
El libro fue publicado por Charlotto Brönte (sic), quien debido a la persecución que había contra las mujeres escritoras, decidió utilizar un pseudónimo (Currer Bell) para ocultar su identidad y poder publicar este libro. Años más tarde, se dejó de ocultar y se pudo conocer el verdadero nombre de la escritora, lo que creó una corriente feminista que se consolidó en el Siglo XX.
4) Cumbres Borrascosas
Si de libros de amor se trata, este es un ejemplar que no puede faltar en ningún listado, escrito por Emily Brönte (sic) en el año 1847, Cumbres Borrascosas fue rechazada en su momento por ser una historia inmadura, sin embargo, el tiempo demostraría que la historia va dirigida a un público femenino juvenil.
En esta novela nos encontramos con un interesante niño llamado Heathcliff quien llega al hogar de los Earnshaw, donde se enamora de Catherine, pero el camino de la vida no les permite estar juntos. Debido a esto, en el libro podrás encontrarte con historias de venganza, odio y amores oscuros que llamarán tu atención. (Ariadna Resua) (Translation)
iLeón (Spain) features writer Joana Arteaga, who is a Brontëite.
Aparte de clásicos como Dickens, Jane Austen o las hermanas Brontë, o bien escritores latinoamericanos como García Márquez, Isabel Allende o Bryce Echenique, siente devoción por autores nacionales como Almudena Grandes, Carmen Amoraga, María Dueñas o Javier Marías. O nuevas voces con nombre de mujer, como Anna Gavalda o Margaret Mazzantini. (Manuel Cuenya) (Translation)
The Kent County Daily Times features a local woman who found a secret room in her attic.
Dumas says she had heard of such places but always considered them to be a myth. In the 1847 novel Jane Eyre, one of the main characters, Edward Rochester, keeps his wife, Bertha, who is said to have gone mad, in a third floor room at their estate. (Kendra Port)
The Brontë Babe posts about The Politics of Verdopolis by Branwell Brontë.
Tomorrow, March 15, at the Huddersfield Literary Festival:
Launch: Ill Will by Michael Stewart
Date: Thursday 15 March, 7.15-8pm
Venue: Small Seeds, 120 New Street

Join us for the launch of Michael Stewart’s new novel Ill Will. After leaving Wuthering Heights, Heathcliff travels across the moors to Liverpool, saving a highwayman’s daughter on the way – in search of his past and the fortune that will eventually lead him back to Cathy.

Michael Stewart is an award-winning novelist, short story writer, poet and stage/radio dramatist, and Head of Creative Writing at the University of Huddersfield.

Tuesday, March 13, 2018

Tuesday, March 13, 2018 10:43 am by Cristina in , , , ,    No comments
Irish writer Val Mulkerns died on March 10 and The Irish Times has asked other fellow writers to write a short piece about her.
My aunt had a secret identity known only to children. She was Fairy Book Mother to a generation of adoring small readers whose lives she transformed by the gift of wonderful, perfectly chosen books. Christmas and birthdays were not quite complete until the opening of a little parcel from Auntie Val, beautifully wrapped, with a meticulously-written dedication. [...]
There would be a knowing smile when you opened your parcel. What larks! I remember the moment I actually thrilled to an opening paragraph that contained no less than 60 words, beginning: “There was no possibility of taking a walk that day …” With that sentence, I was introduced to Jane Eyre and changed from child to young adult reader, embracing a new era of many more great books until I read her own. There, I found a familiar world that I think, for its time, was rarely depicted, and certainly never so well.
In her last book, a lovely memoir, I learned that Jane Eyre was her favourite too. For the gift of all those books and then her own, and apart from the wonder of having a strong, inspiring role model in my nascent years, it was indeed a magical thing to have an aunt like Val. (Helena Mulkerns)
A contributor to The Washington Post discusses the impact that children may or may not have on a (woman) writer's career and recalls the fact that
Many female writers I admire, including Virginia Woolf, the Brontë sisters and Jane Austen, were childless. (Joy Lanzendorfer)
USA Today's Happy Ever After interviews Passionflix co-founders Tosca Musk and Jina Panebianco.
What was the first romance book you read? Tosca: Pride and Prejudice. (I still have my copy from when I was 10!)
Jina: Wuthering Heights. (I remember it was sitting on a shelf at my aunt’s house and I just picked it up.) (Jessie Potts)
An American in Singapore asks The New York Times' Match Book for reading suggestions for a feminist book club there.
The domestic bonds that doom the female characters in the classics of the Western feminist cannon — from “The Yellow Wallpaper,” by Charlotte Perkins Gilman, to “Wide Sargasso Sea,” by Jean Rhys — find echoes in two arresting novels by Asian writers. “The Waiting Years,” Fumiko Enchi’s psychologically astute 1957 novel of stifled emotions, traces the protracted humiliation of Tomo, a 19th-century Japanese wife obliged to procure a series of mistresses for her husband over the course of their marriage. (Nicole Lamy)
Another bookish enquiry in the Sheffield Telegraph:
Clare says: I’m from Yorkshire, and my husband is from Scotland. It’s easy to get children’s books that are set in Scotland or about Scottish characters, but what children’s books are there set in Yorkshire? I have tried to get hold of the old James Herriot children’s stories, but they’re difficult to find.
Anna says: I put a call out on Twitter for ideas for you, realising that giving children Wuthering Heights and Jane Eyre to read might not be the best idea. I read the Brontës at a young age, understood less than half of what was going on, and was left with nightmares about burning beds and a belief that ideal love is when he digs up your coffin to embrace your 20-year- old corpse, neither of which I’ve ever been able to entirely shake. (Anna Caig)
My Olivine posts about Jane Eyre.
An alert from the Headingley LitFest:
Living with Emily Brontë
Tuesday 13 March
7.30pm Leeds Library,
Commercial Street

An illustrated talk by Ann Dinsdale, Principal Curator of the Brontë Parsonage Museum in Haworth, to mark the bicentenary of the birth of Emily Brontë, the author of Wuthering Heights, who spent nearly all her life at the Parsonage. The talk draws on a curator’s experience of working at the Museum, and looks at items in its collection which help illustrate Emily’s life.

Ann is pictured with Nero, a merlin hawk rescued from the moors by Emily and painted by her in October 1841. ‘And like myself lone, wholly lone,’ she wrote in a poem about it. The bird was given away, never to be seen again, while she was at a boarding school in Brussels in 1842.

Monday, March 12, 2018

Monday, March 12, 2018 7:42 am by Cristina in , ,    No comments
Written on International Women's Day though published yesterday, this column from the Faribault County Register reads like a thank-you letter to many women.
Thank you Sylvia Plath, Emily Dickinson, Maya Angelou, Emily Brontë, Lucille Clifton, Sappho, Margaret Atwood, Mary Oliver and so many other authors for sharing your vulnerability through your words and stories. (Katie Mullaly)
El Tiempo (Colombia) interviews writer Juan Gabriel Vásquez.
Si pudiera invitar a dos personajes literarios a tomar una copa o un café, ¿a quiénes elegiría? A Jane Eyre, de la novela del mismo nombre, y a Karen Blixen, la narradora de Fuera de África. La segunda es un personaje literario, aunque no sea ficticio. (Translation)
In the same newspaper, an article mentions Virginia Woolf's A Room of One's Own.
Volvemos a tomar ese pequeño manifiesto que nos fuimos pasando unas a otras, de mano en mano. Y en esa habitación propia donde Woolf había citado, junto con Jane Austen, George Elliot y las Brontë, “una acumulación de vidas sin contar”, (vidas de mujeres que, a pesar de compartir apellidos o talentos con los varones de sus casas, no fueron a la escuela ni a la universidad ni trabajaron), se van reuniendo más voces, de antes y de ahora. (Yolanda Reyes) (Translaion)
The Telegraph and Argus features a picture of a suffragette meeting in Keighley which was
supplied by Mrs Mary Woolridge, of Penzance, who used to work at the Brontë Parsonage. (Jim Seton)
AnneBrontë.org has compiled an 'Anne Brontë’s Guide To Being A Mother'.
Emily Brontë features in many different books:
Literary Witches
A Celebration of Magical Women Writers
by Taisia Kitaiskaia
Illustrated by Katy Horan
Foreword by Pam Grossman
Seal Press
ISBN: 9781580056748

Celebrate the witchiest women writers with beautiful illustrations and imaginative vignettes.

Literary Witches draws a connection between witches and visionary writers: both are figures of formidable creativity, empowerment, and general badassery. Through poetic portraits, Taisia Kitaiskaia and Katy Horan honor the witchy qualities of well-known and obscure authors alike, including Virginia Woolf, Mira Bai, Toni Morrison, Emily Dickinson, Octavia E. Butler, Sandra Cisneros, and many more.
Perfect for both book lovers and coven members, Literary Witches is a treasure and a source of inspiration. Kitaiskaia and Horan bring fresh insights on your most beloved authors, suggest enchanting new writers, and invite you to rediscover the magic of literature.
The first literary witch in the book is Emily Brontë: Emily Brontë: watcher off the moors, fantasy, and cruel romance. The Katy Horan illustration seems to us more Charlotte-like than Emily, though:

Sunday, March 11, 2018

Sunday, March 11, 2018 11:36 am by M. in , , , , ,    No comments
The Westmoreland Gazette reports that Whernside Manor in Dent is on the market:
A gentleman's residence in the Yorkshire Dales that may have helped to inspire Emily Brontë's Wuthering Heights is for sale.
Whernside Manor, at Dent, has nine bedrooms and more than four acres of grounds. On the market with agents Richard Turner & Son for £665,000, the colonial-style Grade II-listed house was home to the wealthy Sill family in the 18th century. They had large plantations on the Caribbean island of Jamaica, and folklore has it they brought slaves back to Dentdale as servants.
With its sweeping Georgian staircase, beautiful fireplaces and wine cellar, the property dates back to the 17th century and was formerly called West House.
Legend has it Emily Brontë based the character of Heathcliff, in her classic Wuthering Heights, on real events in Dentdale overheard while she was a pupil at school in Cowan Bridge.
The story goes that Mr and Mrs Sill adopted an orphan, Richard Sutton, but he was kept with their servants, rather than with their children. Both Richard and the fictional Heathcliff were taken in by well-off families and poorly treated, and Emily Brontë may also have intertwined another legend about the Sills' daughter falling in love with a black coachman. (Rachel Garnett)
The claims were substantiated by Kim Lyon in a 1979 article in Dalesman Annual (pp 76-82)  and later in her book The Dentdale Brontë (1985).

The Independent and the evolution of feminist fiction:
Women’s writing has long been a thorn in the side of the male literary establishment. From fears in the late 18th century that reading novels – particularly written by women – would be emotionally and physically dangerous for women, to the Brontë sisters publishing initially under male pseudonyms, to the dismissal of the genre of romance fiction as beyond the critical pale, there has been a dominant culture which finds the association of women and writing to be dangerous. It has long been something to be controlled, managed and dismissed. (Stacy Gills)
The Irish Independent celebrates the music of Kate Bush:
Few songs as special have been inspired as clearly by one of the great works of literature. Bush was honest enough to admit that she had initially been turned on by a TV film version of Emily Brontë's only novel, but when she knuckled down to write a song from the point of view of the heroine, Cathy Earnshaw, she read the book for "research purposes".
If 'Wuthering Heights' and the pair of esoteric videos she made for it demonstrated how different she was from her peers, the album itself didn't disappoint either. (John Meager)
Also on Chemartaco (in Spanish).

The Daily Telegraph on the attraction of bad boys:
I despair at the stupid choices I made. It never occurred to me that someone’s jacket or reading material could easily be changed, but their soul could not. Teenage girls think it’s the passion of Heathcliff they want, but their mothers would take nice Edgar Linton any day. (Kerry Parnell)
Trouw (in Dutch) on the film vs novel eternal controversy:
Omgezet in mijn eigen ervaringen zou ik zeggen, inderdaad: een Jane-Eyre-verfilming kan heel bevredigend zijn, maar op de gedachten en gevoelens van de heldin biedt ze maar beperkt zicht. En omdat je Jane op het doek ziet, van buitenaf, als het negentiende-eeuwse meisje dat je zelf als 21ste-eeuwse niet bent, leer je haar niet zo intiem kennen als de lezer. Je leeft wel mee, maar je bént haar niet. Je stapt haar hoofd niet binnen. (Leonie Breebart) (Translation)
NLCafé (in Hungarian) on the 'history' of black dresses:
Az egyedülálló, munkát vállaló ifjú hölgyek immár nem sajnálatra méltó, Jane Eyre-szerű karakterek voltak, sokkal inkább erős, független személyiségek, akik azért arra is nyitottak voltak, hogy egy úriember megmentse őket. (Benecz Judit) (Translation)
Purepeople (Brazil) recommends Wuthering Heights:
Morro Dos Ventos Uivantes
Lançado em 1847 por Emily Brönte (sic), o romance mostra como o amor pode ser violento e a vingança, ultrapassar todos os limites. Uma história de interesse, ganância e ódio mostra o amor de uma menina com o seu irmão adotivo, mas separados pelas idas e vindas de um sentimento amargo e pela conveniência de uma vida mais oportuna. Trazendo um lado obscuro da paixão, Heathcliff, o personagem principal da trama, volta a encontrar seus irmãos adotivos e decide se vingar de todos que considera responsáveis pela separação de seu verdadeiro amor. O livro mostra que o amor ultrapassa a vida e continua depois da morte. (Ana Maria Braga) (Translation)
Zibeline (France) reviews a recent reading session celebrated in Marseille:
Il commence, par une lecture de Chômage monstre, paru il y a un an. Un texte poétique à la langue osée, incandescente, musicale, qu’il lit en faisant entendre ses rythmes. Un texte qui dit le refus du travail, de l’aliénation du smicard, « le travail est un mensonge » qui lui fait perdre jusqu’à ses mots, et qu’il décide de fuir pour retrouver sa langue, et sa réalité. Claudine Galéa lit à son tour, une pièce radiophonique en cours d’écriture pour France Culture, un texte choral qui dit sa fascination pour Les Hauts de Hurlevent, Emily Brontë et ses personnages, la lande, le rude, la violence des passions. On entend les voix de Catherine, de Heathcliff, de Nelly Dean la narratrice, d’Emily Brontë, et surtout de Claudine Galéa écrivant, admirant, fascinée, incarnant tous ces personnages en changeant légèrement de voix et en levant la main pour indiquer à quel niveau de mise en abyme elle nous entraîne. (Agnes Freschel) (Translation)
The Sunday Times's critical list for the week includes the Northern Ballet's performances of Jane Eyre. Sisterly love phrases in Lifestar (Italy). La Opinión de Málaga (Spain) reminds us how the Brontës had to use pseudonyms. Smart Bitches, Trashy Books posts about Mary Taylor and reviews her novel Miss Miles.
12:30 am by M. in ,    No comments
Today, March 11, a new chance to see a Montenegrin adaptation of Wuthering Heights in Cetinje, Montenegro:
Orkanski Visovi
Directed by Dora Ruždjak Podolski
Written by Stela Mišković

Zetski dom, Cetinje
October 24, 25 at 20.00 h

Miloš Pejović (Hitklif), Ana Vučković (Keti), Dejan Ivanić (Hindli), Katarina Krek (Neli), Emir Ćatović (Edgar), Jelena Simić (Izabela), Branka Stanić (Frensis), Simo Trebješanin Ernso) and Ognjen Raičević (Herton).
Further information on Vijesti.
12:30 am by M. in ,    No comments
A thesis:
"I Hate it, but i can's top": The romanticization of intimate partner abuse in young adult retellings of Wuthering Heights
Brianna R. Zgodinsk

In recent years, there has been a trent. In the following study, I trace the factors that contribute to Catherine’s rejection of Heathclid in young adult adaptations of Wuthering Heights to amend the plot so that Catherine Earnshaw chooses to have a romantic relationship with Heathcliff, when in Brontë’s novel she decides against iff as a romantic partner in the original text. Many critics have argued that her motives are primarily Machiavellian since she chooses a suitor with more wealth and familial connections than Heathcliff. These are indeed factors; however, by engaging with contemporary research on adolescent development, I show that the primary reason she rejects Heathcliff is because he has exhibited a propensity for violence and other abusive behaviors. I also analyze the consequences of reversing her decision in the updated young adult versions, which include the made-for-television film MTV’s Wuthering Heights (2003), the Lifetime original film Wuthering High (2012), and the novel Catherine (2013). The most significant consequence of this change is that in order to make Heathcliff a “chooseable,” twenty-first century hero, the writers of these works have to romanticize his violent tendencies through the perspectives of their female protagonists. When the young women begin to question how secure they are around their partners, they ultimately decide that fidelity to their “soulmate” relationship is more important than safety or autonomy, with the writers using Catherine Earnshaw’s famous “I am Heathcliff” speech to support their protagonists’ conclusions. I argue, though, that while Catherine does allude to the type of otherworldly love these young women are venerating, Brontë uses her speech to confront the limitations of that love, not to hold it up as an ideal.
And a paper:
Giovanna Buonnano
Exploring literary voices in 'The lost child'
Commonwealth Essays and Studies
Volume 40 Issue 1 (Autumn 2017)

Abstract: In The Lost Child (2015) Phillips weaves an intricate web of multiple stories that move in time from post-war Britain to the nineteenth-century Yorkshire setting of Emily Brontë's Wuthering Heights, which is here imaginatively reworked. In this novel, it is also possible to trace the influence of the Caribbean writer Jean Rhys and references to aspects of Phillips's autobiography. This article discusses intertextuality in the novel and argues that literary refractions and the ensuing polyphony contribute to Phillips's ongoing project of critically engaging with the English cultural and literary heritage.

Saturday, March 10, 2018

Saturday, March 10, 2018 9:29 am by Cristina in , , , , , ,    No comments
The Yorkshire Post reviews Northern Ballet's Jane Eyre.
There are 183,858 words in the novel Jane Eyre (I didn’t count them, a Brontë superfan did the hard work). There isn’t one in Northern Ballet’s version, but every nuanced detail of the original is there. [...]
Thankfully, Northern Ballet has done the decent thing and brought it back. Marston’s master-stroke is in finding a fresh way to tell a familiar story and one that unashamedly puts the female characters centre stage. Rochester is there too, brought to life by a brooding Javier Torres, but this is definitely and defiantly Jane’s story, danced with beautiful strength and vulnerability by Dreda Blow. More flimsy adaptations might have demoted Rochester’s insane wife to a bit part, but not here. Victoria Sibson’s Bertha is wild, highly sexualised and a reminder that Jane Eyre is not a simple love story. While Marston packs an emotional punch, there is light and shade here, with Pippa Moore’s desperate-to-please housekeeper Mrs Fairfax and Rachael Gillespie’s flighty young Adele responsible for creating much of the former. Much praise too for Patrick Kinmonth’s set design which is a thing of beauty in its own right. Designed as a series of foils, the moors, painted in broad brush strokes, capture Brontë country perfectly. Jane Eyre has been reimagined a thousand times before, but maybe never quite so perfectly as this production by Northern Ballet. See it while you can. (Sarah Freeman)
The Australian reviews a couple of recent Brontë releases: Sarah Shoemaker's Mr Rochester and Emily Midorikawa and Emma Claire Sweeney's A Secret Sisterhood: The Hidden Friendships of Austen, Brontë, Eliot and Woolf.
In Mr Rochester, debut American novelist Sarah Shoemaker gives us Rochester’s history and voice. His lonely childhood after his mother’s death is nothing like Jane’s: ‘‘though I lacked for love, I was never actually mistreated’’. His butterfly-spearing brother is their frosty father’s favourite and Edward is sent to school in the unpromisingly named Black Hill. There he makes friends and learns about Jam­aica, where his father and brother are pursuing business prospects.
Working in the counting house of a worsted mill, he meets young women, creepily accosting a young employee, reflecting later that it was wrong to ‘‘take advantage of a girl whose living depends” on him. Later, he goes on a “date” with a Miss Kent. Since “dating” wasn’t a thing until the 1880s and Jane Eyre was published in 1847, this feels a bit odd, as does the ensuing intimacy­ when Miss Kent curls up in his lap during their unchaperoned picnic.
On travelling to Jamaica and encountering the dazzling, libidinous and scantily clad Bertha Mason, surrounded by an aphrodisiacal haze of ‘‘distance and mystery’’, he marries in haste. Mr Rochester’s readers probably know Jane Eyre, so the novel’s energy lies in Shoemaker filling in the history of Edward’s circumstances.
Jane is often uncertain about Rochester’s thoughts. As Michigan-based Shoemaker has it, she isn’t missing much, as his thinking is fairly pedestrian. He muses that ‘‘as with many marriages­ … a person could manage more or less with a sham’’, asking, ‘‘what sort of man would I be if I did not keep my vows?’’ Encountering Jane (a ‘‘ray of light’’), he tends towards sentimentality, noting: ‘‘As her eyes studied mine, I felt myself falling into a dream.’’
This doesn’t always mesh with Jane’s words, which are as Brontë wrote them: quiet, bold and thrumming with restrained ardour. Woolf ­suggests that whatever we might imagine — the drawing room, the moor, the ‘‘general blending of snow and fire’’ — ‘‘what is that all except Jane Eyre?’’. ‘‘Think of Rochester,’’ she writes, ‘‘and we have to think of Jane Eyre.’’ Mr Rochester is good fun for Eyre-ites, but likely to send us back to Brontë and to Jane, which is no bad thing. [...]
In their study of the friendships of four women writers — Jane Austen, Charlotte Brontë, George Eliot and Virginia Woolf — English academics and writers Emily Midorikawa and Emma Claire Sweeney portray each in the context­ of ‘‘hidden alliances that were sometimes illicit, scandalous and volatile; sometimes supportive, radical or inspiring, but, until now, tantalisingly consigned to the shadows’’. [...]
The Brontë sisters’ lot is similarly awful. Charlotte endures the deaths of her sisters Maria and Elizabeth at boarding school, going on to study at a second school with a view to earning a living as a schoolmistress. Her triang­ular friendship with schoolmates Ellen Nussey and Mary Taylor — the latter ‘‘too pretty to be alive’’, according to their teacher (though consumption appears to have endangered more lives) — is often prickly, sometimes passionate.
As a governess, shortsighted Charlotte is ‘‘starved almost to breaking point by her job’s restrictions on her writing and thinking time’’. When she eventually publishes Jane Eyre, pol­itically minded Mary writes in reproach­: ‘‘Has the world gone so well with you that you have no protest to make against its absurdities?’’ [...]
The vivifying spark of affinity — fictive or biographical, expanding into erotic­ism or dim­inished by competition, flickering or flaring — lights up both books. ‘‘It is my spirit that addresses your spirit,’’ Jane tells Rochester, evoking a radical equality, harmony and friendship that underpins their legendary love, central to the novel’s endurance and exhilaration. (Felicity Plunkett)
Playground (Spain) recommends Jane Eyre as one of 150 books to read after International Women's Day.
89. Jane Eyre, de Charlotte Brönte [sic]. Porque retrata una protagonista independiente, que no soporta la injusticia y se enfrenta a las desigualdades de género y de clase en una sociedad opresora como la Inglaterra victoriana, de la que sale victoriosa sin renunciar a sus principios. (Translation)
A columnist from The Mount Airy News disagrees with the concept of young adults' literature.
It boggles my mind that back in the 60s, when we as children were far more sheltered than kids of today, we were allowed to read anything as soon as we had the skill to sound out the words, and kids today, who watch porn before puberty, require special age-appropriate literature.
I chose “Jane Eyre” that first week out, mainly because it was the fattest book I could find. I also chose it the second, third and fourth weeks because it took me a solid month to read that sucker. My name took up about half of the little card in the back of the book that I signed again each week when I renewed the book. That was embarrassing. Now that libraries are computerized, kids don’t have to endure that kind of shame, not that they would, since they’re all reading titles directed especially to their non-fully-formed ‘young adult’ brains.
When I finally finished “Jane Eyre” a month later, I had enjoyed it enough to pick the book next to it on the shelf “Wuthering Heights,” whose author shared a last name. Turns out they were sisters, but I didn’t know that at the time. I did not enjoy it nearly as much, it seemed kind of silly. Later on, I saw a film version in high school and liked it enough to re-read the book. Liked it much better after the hormones had kickeb in. God alone knows what those Brontë sisters were up to out there on the moors to get their material. (Bill Colvard)
In Questemberg  (France):
La Fabrique de l'image - Photographie au CinémaDu 10/03/2018 au 11/03/2018
Carte Blanche au realisaeur et chef operateur Guillaume Kozakiewiez
Les hauts de Hurlevent2011. GB. 2h08. Drame, romance de Andrea Arnold (Fish tank, American honey) avec Kaya  Scodelario, James Howson… VOSTF
12:30 am by M. in ,    No comments
Last chance to see this amateur production of Jane Eyre:
Breffni Players presents
Jane Eyre
Directed by Angus Dunne
Adapted by Charles Vance
The Dock, Carrick-on-Shannon, Leitrim, Ireland.
Tue 6 March - Sat 10 March, 8:30pm

Breffni Players celebrate 75 years of producing top notch theatre with a staging of the classic Jane Eyre directed by Angus Dunne.
Jane Eyre  is one of the most loved novels in the English language and this version, adapted from Charlotte Brontë’s novel by Claude (?) Vance,  remains true to the essence of the novel while focussing on the love story of Jane and Rochester. The play begins in 1846 as Jane arrives at Thornfield Hall to take up the post of governess to Rochester’s ward Adèle. She and Rochester fall in love but is their happiness to be jeopardised by a terrible secret? The production by Breffni Players is by kind permission of Samuel French Ltd London and it will be an exciting night of theatre not to be missed.
The Leitrim Observer has further information:
Louise Maloney as Jane, the governess, beautifully captures the innocence and quiet strength inherent in that character. Jane is upright and moral and never wavers from the correct path, Laws and principles are not for times when there is no temptation, she cautions Rochester.
Rochester begins to admire her because she is outspoken and honest, unlike his posh suitor, Blanche Ingram, played by Edwina McNulty, who injects just the right amount of iciness into her performance.
Noel O’Callaghan is totally convincing as the troubled Rochester, a man with the weight of the world on his shoulders, a troubled soul battling between what he strongly desires and how he knows he should behave.

Friday, March 09, 2018

Friday, March 09, 2018 11:34 am by Cristina in , , , , ,    No comments
Leeds List reviews Northern Ballet's Jane Eyre.
Jane Eyre is a tale of grief, passion and jealousy, but here, it’s also very much a story of growing up. Marston shines a light on ‘Young Jane’, telling her story in pinpoint detail through her choreography. After her parents die, she goes to live with her aunt, a prim and proper woman who’s all elegance and pointework – Jane, in contrast, is frenetic and chaotic, her movements almost jarring.
She fights with her cousins, she rebels against Reverend Brocklehurst’s strict rule and in the midsts of the conformity of the orphanage, she stands out as someone who doesn’t quite fit in. Her friend, Helen Burns, seems to calm her soul, but when she dies, Jane goes right back to her unruly, energetic style. For me, this was the highlight of the ballet – Antoinette Brooks-Daw’s frenzied, kinetic movements were mesmerising and it felt a million miles away from that stereotypical ‘idea’ of the ballet we all have in our heads.
It’s all change as she moves from orphan to governess though – Brooks-Daw trades places with Dreda Blow, but it’s not just the dancer that changes, it’s the choreography too. Gone is the wildness of her youth, replaced instead by a graceful woman who’s almost timid.
Marston tells the story through her characters. They each have their unique style of movement that gives you a glimpse into their inner psyche. Adele Varens is a young and bubbly child who never stops moving, something that comes across best as she sits in amongst the dancers, bouncing in excitement. Mrs Fairfax is a ditzy housekeeper who’s easily carried away and never stops faffing.
Rochester is dark and brooding – with a pointed toe he demands that Jane stay put, but despite his arrogance and the fact that he goes all out to make Jane jealous, he’s not the kind of character you dislike. Javier Torres was the perfect choice for this role – he’s at his best in these dark, complex roles.
But, and I say this with heavy heart, Bertha Mason didn’t quite meet expectations. Marston set the bar so high with Young Jane that I expected Rochester’s deranged wife to be a whirlwind of spasmodic limbs, and in a way she was. The problem came from her dress – it gave you an instant image of a fallen woman, but it also covered too much of her body, hiding the beauty of her movements, so Victoria Sibson’s footwork was lost on us.
That was the only real disappointment in this ballet though. The time positively flew by and it’s fair to say there was never a dull moment – which was partly down to the fact that the ghosts of Jane’s childhood followed her everywhere she went. The dancers became physical representations of her past, and these scenes, as Jane moved from one lift to the next in quick succession, changing partners at every turn, were some of the best in the entire ballet. Here it wasn’t so much about characters, as emotion, and it was beautiful to watch.
Marston has done a very good job of capturing the complex characters and emotions from Brontë’s classic, so if you’re a die-hard fan of the book, go see the ballet, you might be surprised at just how much they manage to say through dance. (Ali Turner)
On Yorkshire Magazine reviews it too:
Cathy Marston’s adaptation is as true as it gets to the story of love, cruelty and passion that we know so well. Jane is exquisitely danced by Dreda Blow, and her love for Rochester is apparent in her every step and movement.
Rochester’s agony also is felt and portrayed by Javier Torres, in particular at the ball at Thornfield as socialite Blanche Ingrams ingratiates herself perfectly with him, thanks to a beautiful and effective piece of dancing by Abigail Prudames.
The great skill – and indeed intent – of ballet is to effectively portray a story with movement but no words, and this ballet is the epitome of how to do just that. Not only is the story followed in outline, but the numerous small incidentals which pepper the novel are also shown in dance.
The taunting of Jane by her cousins in infancy, her rescue of Rochester as his bed is burning, and the wonderful performance by Sean Bates as Jane’s erstwhile suitor, the Reverend St John Rivers, is a beautiful understatement that shouts aloud Rivers’ haughty and demanding love of his calling. Sean Bates has progressed through the ranks of Northern Ballet and gets better with each performance, and this one is a little gem.
The settings and the costumes are absolutely right in their bleakness, and the one flash of beauty at the ball is a feast for the eyes before the utility existence returns. The bright stab of red in the dress of Rochester’s mad wife, Bertha, as she bursts on the scene is also a shocking and brilliant addition to the action, and intensifies the drama.
I found the music unmemorable, even the more gentle pieces as Jane and Rochester declare their love, but somehow the understatement of the music seems right and unobtrusive, as a suitable companion to the high drama of the story.
This ballet holds little in the way of surprises, but that is no bad thing. The story is so well known that the outcome is expected and welcomed, and Northern Ballet’s reputation is such that we would be astonished if it gave a poor performance. It delivers on every aspect of Charlotte Brontë’s novel, and indeed, even adds depth to it.
Northern Ballet is riding high at the moment, and its inclusion as one of only three ballet companies chosen to feature in the Tribute to Sir Kenneth MacMillan at the Royal Opera House in London recently solidified their place as a top class company. Their breathtaking performances of three of MacMillan’s short ballets were received with optimum and triumphant praise, and the company’s Jane Eyre has followed that lead. (Sandra Callard)
Many, many sites praise The New York Times' initiative to publish the overdue obituaries of remarkable women who never got one at the time of their deaths in the newspaper: CBS NewsGlamour, Legacy, Newser, etc.

The Telegraph (India) looks back on the history of women.
Earlier, however, women struggling to remain respectable but occasionally 'falling', as did Ruth in Mrs Gaskell's eponymous novel, appeared to have more drama in their lives. Mary Barton, another of her working heroines, was pretty as well. Was Jane Eyre pretty? She did have a tough time as governess, which was one of the few 'honourable' jobs for poor, genteel women in England and America at one time, but her story could well provide the deep structure of dark, rich, silent heroes and struggling young heroines of later popular romance. (Bhaswati Chakravorty)
Task and Purpose discusses surveillance through the reading of novels, including Jane Eyre.
Of course, there are plenty of times when people in novels do watch, look, observe and examine. Jane Eyre may be the poor relation in a brutally unfair household, but Charlotte Brontë creates a character that knows how to keep her eyes open. It’s through Jane that other characters, events, and settings come into view. When she and her spoiled cousin stand face to face in the opening scene of the book Brontë has Jane report, “John Reed was a schoolboy of fourteen years old; four years older than I, for I was but ten; large and stout for his age, with a dingy and unwholesome skin; thick lineaments in a spacious visage, heavy limbs and large extremities.” Through Jane’s eyes, the reader sees John Reed in all his grimy pudginess. (Katherine Voyles)
A contributor to The John Hopkins News-Letter admits to not always enjoying reading classic literature.
I never really enjoyed reading Pride and Prejudice or Wuthering Heights in high school, which wasn’t great because we had at least an entire year’s worth of English dedicated to British literature.
I found it difficult to be engaged in the writing itself, let alone to feel sympathy for the sheer number of characters in each novel, each with their own significant challenges to keep track of. (Bessie Liu)
Rowlett Lakeshore Times interviews writer Laura Hartley.
Do you have a favorite book genre and author? If so, what are they? I really enjoy reading Christian romance and women’s fiction, whether it’s contemporary or historical. My very favorite book is 'Jane Eyre' by Charlotte Brontë. 
Tempo (Italy) interviews writer Sandy Ballestra.
Qual è il libro del tuo cuore?Cime tempestose della Brontë, lo lessi da adolescente, durante le vacanze estive e ricordo che mentre lo leggevo, mi divertiva ascoltare la canzone che Kate Bush aveva dedicato alla vicenda. Per me, un libro dovrebbe essere letto in compagnia di una canzone che lo identifichi in un qualche modo, lo aiuta a dargli un taglio più nitido e per far sì che possa essere ricordato nel tempo con maggior vigore, è per questo che nel mio libro ho inserito alcune tracce, sono quelle che mi hanno ispirata mentre scrivevo”. (Jessica Bianchi) (Translation)
Shock (Colombia) interviews writer Amalia Andrade (we hope the blunder was just a misunderstanding on the journalist's part).
Como la cultura pop, ¿no? Usted siempre está metiendo a personajes famosos en sus ejemplos y dibujos. ¿Cuáles son los que más la inspiran? De Hillary Clinton soy muy fan. Tal vez las personas que están más presentes en mis libros y en mi trabajo en general son Shakira, Selena y Juan Gabriel. Son mi santa trinidad del amor y la sabiduría emocional. Pero mira que con este libro me pasó algo muy interesante y es que quedé un poco saturada de todas las cosas digitales y por eso sentí que tenía que volver a lo clásico. No sé si tenga algún sentido. Pero volví a ir mucho a los museos, a leer literatura, a Jane Eyre, Jane Austen, las hermanas Brontë. Son cosas que me inspiraron mucho y encontré una cosa que está en la mitad: Google Art, y es muy chévere porque es una aplicación que tiene todos los museos del mundo en tu celular y de ahí fue que saqué un poco la paleta de colores del libro. (Juan Pablo Castiblanco Ricaurte) (Translation)
Yellow Spring News reports that a local bookshop, Blue Jacket Books, is closing.
He said he hopes to continue selling some books online. Books are a lifelong passion for [owner Lawrence Hammar], so much so that even as he is closing out Blue Jacket’s inventory, he continues to acquire new volumes. For example, he’s visited Acorn Bookshop several times during its closing sale.
“I bought books there yesterday — for beauty,” he confessed during last week’s interview.
One book, a gorgeous calfbound first edition of Charlotte Brontë’s poetry, found an immediate buyer, Tom Miller, of Oakwood.
Miller stopped by Blue Jacket last week to examine the Brontë book, chagrined that he had missed it on Acorn’s shelves during his own recent visit to the store.
A 19th-century literature enthusiast, Miller has been one of Blue Jacket’s best customers, according to Hammar. (Audrey Hackett)
Varsity reviews the play What Would Harold Pinter Think.
Joe, played by Tom Turtle, is an onstage audience to Eleanor and Robert’s fights, and is compellingly awkward in his reaction to them. At one point he puts on Wuthering Heights by Kate Bush, prompting a comically irritated reaction from Robert but encouraging Eleanor to kick off her shoes and dance. Colenutt performs enchanting choreography alongside PiB, played by Imane Bou-Saboun. PiB seems to be a sort of shadow of Robert slinking around the stage, interjecting with visual (and occasionally verbal) comedy.
Morgenbladet (Norway) has an article on the Brontës. Actualidad literaria (Spain) selected 17 memorable quotes by female characters for International Women's Day, including one from Jane Eyre. The Independent features Kate Bush and obviously mentions her Wuthering HeightsMusings of a Random Mind posts about Haworth and the Brontë Parsonage Museum.  AnneBrontë.org celebrates Anne Brontë as a 'fitting icon for International Women’s Day 2018'.