by Emily BrontëBritish Library PublishingISBN: 9780712369015September 17, 2026Wuthering Heights First Edition Facsimile (1847) in a two-volume edition, with Poems by Currer, Ellis and Acton Bell (1846)Step into the wild, windswept world of the Yorkshire moors with this exquisite first edition facsimile of Wuthering Heights, faithfully reproduced from the British Library’s original 1847 copy of Emily Brontë’s enduring masterpiece.Published under the pseudonym Ellis Bell, Wuthering Heights is one of the most powerful and unconventional novels in English literature — a haunting tale of passion, obsession and revenge that has captivated readers for nearly two centuries. This sumptuous facsimile captures the novel as it was first presented to Victorian readers, preserving the typography, layout and character of the historic two-volume edition.Housed in a luxurious foiled cloth-bound clamshell presentation box, this collector’s set brings together:
- A two-volume first edition facsimile of Wuthering Heights (1847), with covers typical of the era
- A first edition facsimile of Emily Brontë’s own copy of Poems (1846), the ground-breaking poetry collection she published alongside her sisters Charlotte and Anne, prior to the success of Wuthering Heights, reproduced with handwritten notes and signed and dated by her on the title page. Emily’s copy was rebound by a later owner and bears the date of 1864 on the spine. As this edition is intended to be a faithful facsimile, we have reproduced the book exactly as it survives today, including this historical peculiarity.
- Facsimile looseleaf pages from Emily’s two manuscript poetry notebooks (also held in the Library collections) that show earlier versions of a couple of poems that appear in Poems.
- The set is completed with an introductory booklet by two lead curators at the British Library.
Brontë fans will now be able to own facsimile first editions of the two creative works Emily published during her short life – in effect her complete works – presented together in a gorgeous box with gold foil details. Each element has been created directly from the originals held in the British Library’s collections, ensuring exceptional fidelity to the source material.An essential acquisition for Brontë enthusiasts, collectors of classic literature, scholars, and lovers of fine bookmaking, this facsimile set is as striking on the shelf as it is moving to read.
Nestled within the Yorkshire countryside, Haworth was the former residence of the Brontë sisters: Charlotte, Emily and Anne, whose surrounding moorlands provided inspiration for Emily's novel Wuthering Heights. Their ancestral home has been converted into a museum, cementing Haworth's status as an essential stop for enthusiasts of English literature. (Christopher Megrath)
4. HathersageHathersage has strong literary connections - having inspired Charlotte Brontë while she was writing Jane Eyre. The nearby North Lees Hall (pictured here) also became the main inspiration for Thornfield Hall. (Tom Hardwick)
Where did this book even come from? “The novel started out as my thesis during my MFA at Cornell,” the author explains. “I had this idea of a girl and her brother, this sibling relationship, which is at the heart of the novel. The dynamics of this family and the relationship between the siblings, and the roots of all of that, was also something I was interested in very early on. I read Jane Eyre for the first time in graduate school (late, I know!) and soon after that I read Rebecca by Daphne du Maurier, and I was mind-blown. The Gothic as a vehicle for the story of this family started to appeal to me early on, this picture of a house that’s no longer able to hold its secrets, and the novel grew from there.“Jane Eyre and Rebecca both play with things that are revealed and the things that are kept hidden, both from the characters and from the reader. I was also very fascinated by black Gothic, with books like Toni Morrison’s Beloved and Octavia Butler’s Kindred, and a lot of Buchi Emecheta’s work, like Second Class Citizen, which plays with the idea of not just physical confinement but psychological confinement within systems. Add to that the burden of innocence on a character when human beings and circumstances conspire to paint you guilty or deprive you of a voice.” (Neil Nyren)
Swift subverts the classic "scorned woman" trope by recounting these wrongs, not with vengeful rage, but with calm, chilling clarity. "When the fever turns a dreamer into a pathetic ghost / If he's killing you, I see you, I was patient zero," she sings in the song's final lines.She's like Bertha Mason in the attic, warning Jane Eyre of Mr. Rochester's evil, or Rebecca, hovering like a wraith over her murderous husband's estate; she's the woman who haunts the narrative long after she's gone. (Callie Ahlgrim)
The Old School Room in Haworth, whose original section was constructed in 1832 by the Rev. Patrick Brontë, has had five windows on its north-facing wall replaced as part of essential restoration work.Averil Kenyon, chairman of The Brontë Spirit, the charity that maintains the building, said: "The south wall windows were replaced back in 2012, and it has taken us 14 years to raise sufficient funds to undertake the restoration of the north-facing windows."We’re delighted with the result because the new windows have been designed to match the style of the windows that were originally part of the building."The project cost £24,000 and was supported by grants from the Bernard Sunley Foundation and The Pilgrim Trust. (Harry Williams)
A powerful new stage adaptation of Charlotte Brontë's classic Jane Eyre arrives at Storyhouse this autumn.Directed by Lily Dyble, Jane Eyre will run at the Chester venue from Tuesday 10 November to Saturday 21 November. [...]"Charlotte Brontë's revolutionary masterpiece Jane Eyre remains as potent today as it did when it was written in 1847, said Storyhouse creative director Suzie Henderson."This dynamic and imaginative new stage adaptation promises to present it in visceral and powerful fashion."I'm delighted to be able to reveal such an exciting cast of talented actors who are working with Lily Dyble in the rehearsal room to bring her thrilling storytelling vision to life for our audiences here at Chester."The role of Jane will be played by Olivia Marcus, while Gabriel Akuwudike will appear as Edward Rochester. The cast also includes Oscar Adams, Aamira Challenger, Millie Faraway, Andrea Gatchalian, Kate Kordel, Robyn Rose-Li and Leo Wan.Jane Eyre is a Storyhouse, Mercury Theatre Colchester, and Rose Theatre co-production, in association with Northern Stage, supported by a grant from the Royal Theatrical Support Trust (RTST).The production is based on Sally Cookson, Mike Akers and the original company's acclaimed adaptation of Charlotte Brontë's groundbreaking novel.Set designer is Anna Yates, costume designer is Khadija Raza, lighting design is by Lucia Sanches Roldan, and Joseff Harris is sound designer and composer. Movement director is Natasha Harrison, Fight director is Rachid Sabitri and intimacy director is Haruka Kuroda. Casting is by Helena Palmer. (Dherran Titherington)
The 135-minute show is punctuated by eight musical numbers and, though it is now almost obligatory for classic literature to be sung and danced (the most recent victim Jane Eyre), this is a logical candidate. (Mark Lawson)
Things are moody and at times almost Brontë-esque thanks to Arnaud Potier’s autumnal cinematography and the rolling, rain-lashed hills. (Hannah Pettit)
Aïllada al poble diminut de les muntanyes pirinenques on ella i en Sebastià van anar a raure, en bona part perquè era el lloc on vivia un amic comú —que a l’inici de la novel·la es converteix en la nova parella de la protagonista—, la Jara sembla una reencarnació del Heathcliff de Cims borrascosos (una de les citacions que encapçalen la novel·la és d’Emily Brontë), com si perseguint-lo i invocant-lo en tot moment tingués també la prerrogativa de fer-lo present: inquieta i nerviosa, el busca pels paisatges que recorrien o al riu on es banyaven, acariciant els guants de llana que li havia regalat, o en les tres ratlles horitzontals —“una de ben recta que separa el cel gris clar del mar gris fosc, i una de desdibuixada que separa el mar gris fosc del prat mig gris”— de la fotografia que hi ha penjada al menjador. (Ponç Puigdevall) (Translation)
Heathcliff and Catherine’s doomed romance has always carried more than a hint of the macabre, but Wuthering Heights: The House of the Damned is taking that darkness much further. The new British horror reworking of Emily Brontë’s classic novel transforms Catherine into a vengeful ghost and Heathcliff into a man prepared to kill in order to bring her back.Directed by Rebecca J Matthews, the film will be released to own next month through Signature Entertainment, offering a supernatural reinterpretation of one of literature’s most famously destructive relationships.The story begins after Catherine’s death, with her spirit haunting the halls of Wuthering Heights and terrorising those who remain there. Heathcliff, consumed by grief and obsession, becomes convinced that her continued presence depends on bloodshed and begins carrying out sacrifices in the hope that Catherine might eventually possess a living body.That arrangement is disrupted by the arrival of Mr Lockwood, a new tenant at a neighbouring property whose curiosity draws him into the increasingly dangerous affairs of the house. As his health deteriorates and his grip on reality begins to falter, Lockwood encounters Catherine’s tortured apparition while gradually discovering just how far Heathcliff is willing to go.Liana Failla wrote the screenplay, drawing on Brontë’s 1847 novel while pushing the material firmly into supernatural horror. Rather than treating Catherine’s presence as an ambiguous gothic element, the film makes her ghost central to the action, with Heathcliff’s grief transformed into a murderous devotion.Filming took place in Brechin, Scotland, giving the production a suitably remote backdrop for its reimagining of the isolated Yorkshire estate.The project joins a long line of screen adaptations inspired by Wuthering Heights, although its emphasis on possession, sacrifice and explicitly supernatural violence takes the material in a markedly different direction from the more traditional romantic and period-drama interpretations. The House of the Damned recasts Catherine and Heathcliff’s relationship as something much more dangerous, turning romantic obsession into the engine for a full gothic horror story. (Emily Bennett)
In which case, you really have to applaud whoever came up with the idea of Wuthering Heights: The House of the Damned. Available on digital platforms in three short weeks (on 19 October in fact), it is a remake of Emily Brontë’s classic novel, only scarier. In the film, as far as I am able to tell, Cathy has died and her ghost starts haunting Heathcliff to the point that he starts murdering everyone. Is it any good? All signs point to not really, especially since the trailer contains a shot where Cathy seems to become a zombie so that she can punch through a window and strangle someone to death. But will I watch it? Oh God, try to stop me.You can see what’s happening here, can’t you? Emerald Fennell made a Wuthering Heights film this year and it was wildly successful, currently the 19th biggest film of 2026. But Wuthering Heights was published 179 years ago, so anyone can do whatever they want with it. Fennell’s film proved this all too well, with its rubbing and squishing and skin-coloured rooms. But it also means that someone else can hop on the back of it and turn it into a hammy horror about a zombie in a bridal gown. It’s not like the Brontës are around to sue, is it? (Stuart Heritage)
Rain came in with the wind and I got absolutely drenched on the final approach to Haworth. But soon after, I was entering Bradford’s prettiest township and thinking about coffee and cake. The walk officially ends at Penistone Hill country park, but after taking walking therapy a few years ago, I am no longer a completist – and was satisfied with my walk and mini achievement. I bowed out on Haworth high street, without so much as a glance at the Brontë Parsonage Museum. (Chris Moss)
Cobbled streets, vintage shops, pubs with roaring fires all surrounded by rolling countryside hills – you’ll find it all in this Yorkshire village.There’s no better time to visit than autumn, as the whole village gets a seasonal overhaul with huge shop displays and twinkling lights for the dark evenings.The West Yorkshire village called Haworth has absolutely everything associated with autumn from cobbled streets to charming cottages and cosy cafes. [...]The town has literature connections too as it was home of the Brontë sisters, who between them wrote books like Wuthering Heights and Jane Eyre.Yorkshire.com explained: “Home of the famous Brontë sisters, Haworth is an undisputed literary mecca, attracting visitors from all around the world." (Alice Penwill)
From the Brontës' Haworth to Jane Austen's Bath, Wordsworth's Lake District and Thomas Hardy's Dorset, literary places continue to exert a powerful hold over readers.Literary tourism appears to be enjoying renewed popularity, from visits inspired by classic novels to the TikTok trend of turning books into travel itineraries. But what exactly are literary tourists hoping to find when they get there? The answer is more complicated than it might seem.Haworth, Bath and Dorset all exist, obviously. They can be found on a map and visited. But the Brontë moors, Austen's Bath, Wordsworth's Lakes and Hardy's Wessex are also literary reimaginings of those places. They may never have existed in quite the form readers imagine.Our fascination with literary places has a long history. Literary geography, which combines physical geography with literary studies, emerged in the late 19th century as the novel grew in popularity and, in many ways, developed alongside literary tourism.In 1899, William Lyon Phelps created his Literary Map of England, marking locations associated with authors and literary works. A few years later, William Sharp's Literary Geography (1904) mapped regions such as "Dickens land," "the Brontë country" and the literary geography of the English lakes.These early literary maps invited readers to see where fictional and geographical worlds appeared to overlap. More than a century later, readers are still seeking those points of intersection. [...]When visitors reach Haworth, Grasmere or Dorset, they are not encountering those places for the first time. They have already visited them in their imagination. Their version of the landscape has been assembled from books, films, photographs, places they have visited and other cultural references. When they arrive, they compare the physical location with that imagined one. [...]At Haworth, visitors move through domestic spaces associated with the Brontë family while simultaneously encountering the imaginative worlds of Jane Eyre and Wuthering Heights.The Brontë Parsonage Museum in Haworth derives much of its power from bringing biography, landscape, family tragedy and fiction together in one place. [...]From the earliest maps of Dickens land and Brontë country to today’s literary pilgrimages, the goal has remained remarkably consistent: to find the point at which real and fictional worlds collide. Literary geography suggests that this point may never quite be reachable. Perhaps that is precisely why readers keep looking for it. (Rebecca Hutcheon)
There was a time when putting Jane Eyre on a school reading list would have been regarded as a fairly ordinary educational decision. A teacher might have thought that young readers could benefit from encountering a spirited orphan, a brooding gentleman, a Gothic mansion and a complex moral journey. CNN, however, has discovered that the matter may be considerably more sinister. The appearance of Charlotte Brontë's novel on a Chinese reading list, it suggests, is evidence of something called ideology.This is an impressive burden to place on a book. A novel that has survived Victorian moralists, modern feminists, postcolonial critics, film directors, television producers and generations of adolescent readers must now also survive the investigative imagination of cable news.According to CNN, the Chinese authorities see Jane Eyre as a corrective to the superficial romantic fantasies of the social-media age. That interpretation is not especially difficult to understand. The novel does, after all, present a young woman who values dignity, independence and moral self-respect more than money or social position. Jane refuses to become Rochester's mistress even though she loves him. She rejects St John's proposal because it offers duty without affection. Her famous declaration — "I care for myself" — is hardly a ringing endorsement of passive obedience.Yet CNN appears determined to treat the inclusion of an extracurricular classic as a coded ideological communique. One begins to wonder whether every alteration to a school reading list must now be examined for signs of a change in the authority's philosophical weather. If a book is added, it is a signal. If a book is removed, it is another signal. If a book remains where it was, perhaps that is the most ominous signal of all.There is, of course, a legitimate discussion to be had about Jane Eyre. The novel was published in London in 1847, and its treatment of Bertha Mason, the "mad woman in the attic", has rightly attracted criticism. Its depiction of colonialism, race and imperial wealth deserves scrutiny. Rochester's conduct, too, may strike contemporary readers as less than an ideal model of romantic behaviour. But literary criticism requires a modest acquaintance with history. Brontë was writing in the nineteenth century, not drafting a relationship guide for the year 2026. To read an old novel critically is sensible; to demand that it conform entirely to present-day moral vocabulary is to confuse literature with an updated terms-of-service agreement.A classic's value does not depend on its being ideologically spotless. Jane Eyre has generated a vast critical literature, inspired countless adaptations for stage and screen, and remained influential across cultures for nearly two centuries. Its endurance is not proof that every idea in it is beyond question. It is proof that the novel contains enough artistic power, psychological complexity and unresolved contradiction to keep readers arguing. [...]A reading list is usually a reading list. Sometimes a book is chosen because it is good, sometimes because it is available, and occasionally because someone has actually read it. That last possibility may be less dramatic than ideological intrigue, but it is probably worth considering. (Li Yang)
In the fall semester of 2026, the British literary classic Jane Eyre was included in the ninth-grade Chinese language curriculum as part of the "whole-book reading" list. CNN reported on the news, but described China's textbooks as being "tightly curated by the state," claiming that the inclusion of such a British romantic classic was "surprising."But what is so "surprising" about Jane Eyre being included in Chinese middle school curriculum?Thornfield Hall, Rochester, the secret in the attic, and Jane Eyre herself - a petite woman of plain appearance who refuses to yield to fate - have long been part of the shared literary memory of generations of Chinese readers. As early as 1917, "A Sketch of Western Women Novelists" published in Women's Magazine, a magazine founded in Shanghai in 1915, introduced Charlotte Brontë and Jane Eyre. In July 1925, Zhou Shoujuan's translation Chong Guang Ji is believed to be the earliest Chinese translation of the novel. In 1979, the film Jane Eyre was released in China. In 1980, the Shanghai Translation Publishing House published Zhu Qingying's translation, with an initial print run of about 270,000 copies.How could it be "surprising" that a work read in China for over a century - given its immense popularity - has become part of the required reading list for Chinese students? Is it that CNN's understanding of China is too outdated, or that it simply refuses to take off its colored glasses?The Chinese Ministry of Education has clearly stated that Chinese language textbooks include "a wide range of classical and contemporary works from both China and abroad." Many foreign literary classics such as Resurrection, One Hundred Years of Solitude, Hamlet, and To the Skylark have already been included in Chinese language textbooks. CNN's reporters may not even be aware that former US president Abraham Lincoln's Gettysburg Address has also been included in the People's Education Press high school elective curriculum.What is even more puzzling is that in its report, CNN specifically interviewed several Chinese parents and scholars who opposed the inclusion of Jane Eyre, citing concerns that the book might "teach girls in class that their brain should being wrongly ruled by love." While questioning whether it helps adolescents develop "healthy values," it made no mention of the broad public appreciation for the novel in China. When quoting coverage from the Beijing Daily, CNN also selectively omitted student reflections from a Jane Eyre reading session - insights that touched on core themes of love, respect, growth, and emotional resonance with remarkable precision.Great literature transcends language, nationality, and time. The enduring resonance of Jane Eyre among Chinese readers is a testament to the success of cultural exchange between China and the world. The CNN report, which repeatedly emphasized "surprise," does not appear to be an attempt to challenge stereotypes about China, but rather to reinforce them under a different guise.
Part III is the most original in the book. Entitled “The Unlucky Book” (1855-60), its chapters chart the story of Elizabeth’s research for The Life of Charlotte Brontë and the several libel cases that followed its too hasty publication. Vivid vignettes abound, as when Elizabeth and Catherine Winkworth travel to Haworth by train to find the parsonage still deep in mourning and both clergymen breaking down in tears, and when the biographer enlists the help of her daughters and some of her many visitors in copying Brontë letters. Her rash comments on Lydia Robinson, Branwell Brontë’s femme fatale (literally), and Cowan Bridge School got her into even more trouble than had Mary Barton and Ruth. Changes were made in a later edition, and Elizabeth swore never to write another biography.Religion shaped these writers’ lives but is ignored here. The book contains many typos and is printed on inferior paper. Nevertheless, it remains a page-turner. (Dr Michael Wheeler)
Located in Thornton, Bradford, the birthplace of the famous literary family welcomed more than 100 visitors during a special open day held on Sunday, September 13, as part of a scheme of free heritage open days.The exhibition, titled From Butcher's Shop to Birthplace: The Story of the Brontë Birthplace, focused on the building’s transformation after the Brontë family left Thornton.Thomas Haigh, vice chair of the Brontë Birthplace, said: "Visitors loved the exhibition, and it was really nice to see the Brontë Birthplace attracting new audiences who aren't necessarily Brontë fans."One visitor said the exhibition was so informative, and it was a wonderful experience to learn about the butcher’s shop as well as the Brontës history."The building is so iconic because it is the birthplace of the famous Brontë authors."The Brontës lived in Thornton for five years before moving to Haworth.The exhibition traced the building’s later life, including its time as a butcher’s shop run by Reg Lovette for more than 40 years.Mr Haigh said the highlight of the day was their VIP guests Barbara, the daughter of Mr Lovette and her husband Alan."Barbara was there throughout the day sharing more memories and greeting visitors as they came to learn more about one of Thornton's Master Butchers." (Amelia Short)
Bonnie Greer was a joiner. She was on the board of everything, from the Women’s prize for fiction to the British Museum, she was president of the Brontë society – she got stuck in. (Zoe Williams)
Role in the Brontë SocietyA lifelong admirer of literature, Greer brought a fresh perspective to the organisation, which is dedicated to preserving the legacy of sisters Charlotte, Emily and Anne Brontë and operates the famous Brontë Parsonage Museum in Haworth.During her presidency, Greer championed efforts to broaden the appeal of the Brontës’ work and attract more diverse audiences.She argued that the Brontës belonged to the world rather than a narrow literary elite and wanted the society to connect with younger people and communities across Yorkshire, including Bradford’s large and varied population.After several months of internal disagreements, she resigned as president in June 2015. (Amelia Short)
When teenagers went back to school in China earlier this month, one book on their new mandatory reading list stood out: the 19th century English novel “Jane Eyre.”The literary classic, originally considered a trailblazing tale of female empowerment, might seem a surprising choice in a country where textbooks are tightly curated by the state to ensure ideological conformity.But Beijing sees another message in Charlotte Brontë’s work –– the value of finding true love.The story presents a counterbalance to the “superficial notions about appearance and wealth” of the social media age, according to the state-run Beijing Daily newspaper.In recent years, online novels and micro dramas featuring outlandish plots of wealth flaunting, wronged lovers, brooding billionaires and ill-fated mistresses plotting revenge have become mainstream entertainment. And that’s attracted the attention of China’s censors.In June, the broadcasting regulator launched a campaign to crack down on “harmful and lowbrow” content seen as promoting “distorted” views on relationships and marriage.But reading the story of Jane Eyre –– an orphan girl who finds her independence while suffering a series of hardships and eventually falls in love with her wealthy employer –– will help China’s 14-year-olds “develop sounder values,” said Beijing Daily.“When children are first beginning to experience romantic feelings and are still naive and inexperienced, it is a crucial stage for developing a healthy character,” it said.The coming-of-age story has been wildly popular in China since it first arrived in the country in 1925 and has been translated, published and adapted into theatre and screen productions countless times. A British film even made its way to Chinese theatres in 1979, following the country’s turbulent Cultural Revolution.Jane Eyre –– who famously says to her future husband “do you think, because I am poor, obscure, plain and little, I am soulless and heartless? You think wrong” –– has long been seen as an anti-repression heroine by the working class in China. And the book has long been accepted by China’s ruling communist party.But its inclusion in the curriculum is striking at a time when other forms of feminist discussion and activism have increasingly come under scrutiny in China.And some parents have questioned whether modern day Chinese youths who have been raised in a relatively comfortable environment, could understand or relate to the deep and complicated love story portrayed in the novel.One parent said that her son had asked whether reading Jane Eyre was “teaching girls in (his) class that their brain should being wrongly ruled by love.”The parent, writing on social media platform Xiaohongshu, said that her son couldn’t understand why Jane chooses to marry a man who was blind, and the whole thing looked like a bad deal.Qin Shiwen, a recent Chinese literature graduate in Beijing told CNN that including a classic like Jane Eyre into primary education “is very necessary.”“China’s basic education system places a heavy emphasis on academic knowledge and high achievement, but very, very little focus on love or character development,” said Shiwen.But the book, first published in 1847, has in recent years been criticized for its treatment of a character Brontë often describes as a ‘mad woman.”“The more I think about it, the more problematic I find it,” said Yan Hairong, a sociology scholar at Beijing’s Tsinghua University, pointing to the portrayal of the “mad woman in the attic” and the book’s “underlying themes of colonialism.”Yan has doubts whether the novel will help Chinese teenagers build up healthy values, saying some students may just absorb it “without critically examining the problematic ideas embedded within it.”“I have some concerns about teaching the novel at the middle-school level, particularly if it is presented as a textbook or as an example of profound romantic love,” Yan told CNN. (Sylvie Zhuang)
Beijing, however, sees a message about the importance of true love in the novel. According to the state-run Beijing Daily newspaper, the book offers a counterbalance to the “superficial notions about appearance and wealth” that have become widespread in the social media age.In recent years, online novels and short dramas featuring plots about flaunting wealth, unrequited love, billionaires and revenge have become popular entertainment. In June, China’s regulator launched a campaign against “harmful and lowbrow” content, including material portraying “distorted” views of marriage and relationships.According to Beijing Daily, the story of Jane Eyre – an orphan who goes through a series of hardships, asserts her independence and falls in love with her wealthy employer – could help 14-year-old students develop “sounder values.”“When children are first beginning to experience romantic feelings and are still naive and inexperienced, it is a crucial stage for developing a healthy character,” the publication said.The novel has been popular in China since 1925 and has been translated, published and adapted for the stage and screen many times. Jane Eyre has long been seen in the country as a heroine who stands against oppression, and the novel has also been accepted by China’s ruling Communist Party. Its inclusion in the curriculum, however, comes at a time when feminist debate and activism in China have come under increased scrutiny.
a windswept soundtrack that more or less saved the otherwise dreadful Wuthering Heights (Adrian Horton)
Quick lightning round! Tell us:The [book] that made you want to become an author: Wuthering Heights by Emily Brontë (Elise Dumpleton)
like a cross between Jane Eyre and an especially nasty slasher movie. (Luc Haasbroek)
André AcimanTranslated by Julia Osuna AguilarEdiciones AlfaguaraSeptember 2026En estas cuatro novelas cortas, André Aciman explora las incertidumbres, los deseos y los equívocos del amor. En «El caballero del Perú», unos amigos conocen en un hotel de la costa amalfitana a un misterioso huésped cuya presencia lo cambia todo. «Habitación frente al mar» narra el diálogo entre dos desconocidos que se encuentran en un juicio y comienzan una relación ambigua. «Mariana» reimagina un célebre relato del siglo XVII sobre la pasión entre una monja y un aristócrata inconstante. En «Polizones», un correo inesperado revela a Julian la existencia de una vida y un amor secretos que ignoraba por completo.Sutil, melancólico y profundamente conmovedor, Idilio ilumina ese espacio incierto donde conviven el amor, el recuerdo y la esperanza. Una celebración de los encuentros que nos transforman y de las emociones que persisten mucho después de que todo haya terminado.
Un abogado, una psicóloga y una larga espera para saber si son elegidos para formar parte de un jurado popular. No se conocen de nada, pero un ejemplar de 'Cumbres borrascosas' les sirve para romper el hielo. Comienzan a hablar para matar el tiempo y descubren todo aquello que tienen en común. En ambos casos, una pareja con la que llevan años y cuya relación muestra claros síntomas de erosión. Así que, encontrarse con alguien con quien estás cómodo y que te invita a hablar y a escuchar es quizá lo mejor que te puede suceder cuando no te queda otro remedio que esperar durante largas horas (días) hasta que otros tomen la decisión. 'Habitación frente al mar' es uno de los cuatro relatos que forman parte de 'Idilio', volumen en el que André Aciman describe otras tantas historias de amores imposibles y relaciones que se afianzan. (Victor Vela) (Translation)
by Charlotte BrontëTranslated by Núria Molines GalarzaEdiciones Invisibles. Colección VictoriaISBN: 9791399083491May 2026Un clásico imprescindible, un canto a la libertad de la mujer en la sociedad victoriana, una historia de pasiónJane Eyre es una niña pobre, huérfana y poco agraciada que vive con su tía, la miserable señora Reed, quien se muestra siempre cruel e insensible con su sobrina. A raíz de un ataque de rebeldía de la pequeña Jane, la envía a la escuela Lowood, un internado donde la niña crece a base de humillaciones y malos tratos, hasta que, tras superar los años de escuela, decide marcharse para trabajar como institutriz. El destino la lleva a Thornfield Hall, una enorme y misteriosa mansión en la que es responsable de la educación de la hija natural del propietario, el señor Rochester. Todo comienza a cambiar cuando el dueño de la mansión, de carácter seco, áspero y atormentado por el pasado, descubre inesperadamente el placer de conversar cada noche con Jane, hechizado por el ingenio de ella y por su espíritu decidido.
Antes de traducir un clásico hay que decidir también qué hacer con quienes lo habitaron previamente. La mayoría de profesionales prefieren no mirar demasiado atrás, trabajar a solas con el original y dejar las versiones anteriores para el final. Con Jane Eyre, Molines se fue “directa al texto para intentar no contaminarme. Si no, puedes tener la tentación de dejarte condicionar por esas decisiones. Cuando ya tenía la traducción terminada, eché un vistazo para ver cómo había resuelto algunas cosas que me generaban curiosidad”. Y como conocía la obra con anterioridad, sabía que había cuestiones en las que quería marcar la diferencia: “en inglés la narradora dice reader, y lo habitual ha sido traducirlo en masculino. Yo lo he desdoblado y hablo de lector y lectora. También por el contexto de la época, cuando las grandes lectoras de novela en ese momento eran mujeres”.Al releer Cumbres Borrascosas en inglés, Rovira se sorprendió por la dureza y sobriedad de la novela, que no recordaba de sus lecturas anteriores: “Ese lenguaje refleja mucho aquel paisaje seco, oscuro, ventoso, húmedo en el que tiene lugar la novela. Por eso quise evitar embellecerlo o dulcificarlo, también en los diálogos en los que los personajes llegan a ser muy crueles. Mi principal aportación ha sido respetar esa aridez y esa aspereza del original”. (...)Trabajar con una obra inédita ofrece al traductor algo parecido a atracar en un territorio virgen. Un clásico, en cambio, llega lleno de huellas. Para Molines, el primer caso implica, por una parte, “abrir tu propio camino, pero también vas a ciegas en muchas cosas”. Mientras que, cuando te zambulles en un clásico, “suele haber muchos estudios que analizan intertextualidades, metáforas y otros aspectos del texto. Todo eso ayuda a afinar cuestiones que pueden pasar más desapercibidas. Por ejemplo, en Jane Eyre hay muchísima terminología relacionada con el orientalismo, muchos referentes de la India y esto se ha estudiado desde los estudios poscoloniales. Tiene un peso importante en la novela. Si acudes a traducciones antiguas, esa vertiente suele neutralizarse y desaparecer, porque quizá el traductor pensaba que en España no se iba a entender”. (Lucía Márquez) (Translation)
by Claudine GaleaL'Arche Éditeur (Des Écrits pour la Parole)ISBN: 9782381980997February 2026Des fleurs plus brillantes plus féroces que la rose poussent sur la plusnoire des landes. Je suis la plus noire des landes tu es la plus noire demes fleurs. Viens Cathy approche n’aie pas peur.Romance hantée par ses propres personnages, Hurlevent carcasse est un récit choral, qui amplifie le livre d’Emily Brontë pour faire retentir sa puissante modernité. Ouvrage majeur de la littérature du XIXe siècle, écrit sous pseudonyme masculin, Les Hauts de Hurvelent s’est imposé comme texte canonique sur la passion amoureuse, la vengeance et la folie, un roman furieux et cruel.Claudine Galea plonge dans cette matière, entrelace des voix dans un corps-à-corps effréné et aiguise à l’os le récit d’amour fusionnel et de haine fatale. Explorant toutes les formes de domination à l’oeuvre, elle révèle le fondement colonial de cette histoire de passion, de mépris de classe et de haine de soi, au sein d’une société victorienne en pleine expansion capitaliste.
by Kate GreenwoodHarperNorthISBN:August 27, 2026A beautiful collection of daily quotes from the Brontës.From the wild, windswept moors of Yorkshire emerged three sisters whose writing would change the literary world: Charlotte, Emily and Anne Brontë. Fearless in their vision, they gave us some of the most passionately feminist and deliciously gothic literature ever written – works that continue to captivate, challenge and inspire.This charming collection gathers their most enduring words across novels, poems and letters, offering 365 daily reflections on love, life and literature.Complete with an illustration for each month, this is the perfect gift to add a touch of Brontë brilliance to each day.
by Lilia HassaineÉditions Gallimard. Collection BlancheISBN 9782073099945August 20, 2026« — Que savez-vous de la beauté, Antoinette ?Il se tourna vers moi, suspendu à ma réponse.— Pas grand-chose. Mais je sais la reconnaître quand elle est là.— Eh bien moi, chaque fois que je la vois, elle me blesse.Quand je vois votre visage, par exemple, quelque chose en moi se trouve comme ébranlé. »Île de la Jamaïque, 1831. Antoinette Cosway, créole de bonne famille, s’éprend d’Edward Rochester, un Anglais aussi impénétrable que fascinant. Mais à la séduction enflammée succèdent rapidement des scènes vénéneuses, où les baisers sont des blessures, où toute une société livre la jeune femme à son bourreau.Des années plus tard, Antoinette tente de conquérir sa propre histoire.JE se situe à mi-chemin entre roman victorien et thriller intimiste contemporain. Lilia Hassaine s’est inspirée du personnage de la première femme de Rochester dans Jane Eyre, le roman culte de Charlotte Brontë. Elle a choisi de lui donner une voix, un corps, une destinée.
Dans La Prisonnière des Sargasses (1966), la romancière Jean Rhys remontait aux origines de cette folie en retraçant l’enfance créole de Bertha qui, avant d’être rebaptisée par Rochester « comme on change le nom d’une bête à l’achat ou l’étiquette d’une malle », se prénommait Antoinette. C’est dans la lignée de ces deux précédents romans que Lilia Hassaine inscrit le sien, Je, imaginant cette « histoire pas encore entendue » de la rencontre entre Antoinette et Rochester, de leur mariage et de leur départ de la Jamaïque pour l’Angleterre. Une histoire que l’autrice rend à son héroïne après qu’elle lui a été méthodiquement confisquée, en la faisant s’exprimer à la première personne. (...)Assumant un regard post-Me Too, l’écrivaine démontre, à l’instar de ses précédents romans, combien l’intime est politique et révèle la structure sous-jacente de sociétés qui, plutôt que de protéger les victimes, participent à leur enfermement. Beau et glaçant à la fois, Je est de ces livres précieux qui dessillent et invitent à regarder ce qu’on tentait d’ignorer. (Laetitia Favro)
Dans “Je”, l’écrivaine revisite le roman de Charlotte Brontë en donnant voix à l’épouse séquestrée d’Edward Rochester. À travers sa version de l’histoire se dessine une évocation subtile du gaslighting et des violences faites aux femmes. (...)Dans Je, Lilia Hassaine — dont c’est le quatrième opus, après L’Œil du paon, Soleil amer et Panorama — se saisit aujourd’hui à son tour du personnage de Bertha, née Mason — la première épouse, réputée « démente » et enragée, d’Edward Rochester, qui la maintenait enfermée dans le grenier du manoir de Thornfield Hall —, pour en faire la narratrice de son roman. Lui redonnant son prénom de jeune fille, Antoinette — et le patronyme que lui avait choisi Jean Rhys, à savoir Cosway. Surtout, lui rendant une voix et une subjectivité : c’est elle qui dit « je », d’un bout à l’autre de cette confession — dont on ne connaîtra qu’aux ultimes pages du livre le destinataire. (Nathalie Crom)
Marie-Laure Delorme: Quel est votre rapport à “Jane Eyre”, de Charlotte Brontë ?L.H.: Quand j’ai découvert “Jane Eyre”, à l’adolescence, j’ai lu exactement ce que je devais lire : une histoire romantique et gothique entre une gouvernante et un homme plus âgé. Jane Eyre va découvrir qu’Edward Rochester est déjà marié et que son épouse, Antoinette Cosway, est enfermée au grenier depuis dix ans. À l’époque, je trouvais ces personnages ténébreux et tumultueux. Je me disais : qui ne possède pas ses zones d’ombre ? Je n’avais pas vu la violence des situations. On est au début du XIXe siècle. Antoinette Cosway n’est pas soignée dans un asile, mais enfermée chez un homme. Il y a peu de temps, j’ai relu le roman. J’ai alors retrouvé avec Edward Rochester des événements que j’avais déjà personnellement vécus, et le destin d’Antoinette Cosway a pris toute la place. (...)ML.D.:“JE” n’est-il pas aussi un roman sur le langage ?L.H.: Au cœur de “JE”, une question : de quoi parle-t-on ? À chaque instant, l’homme utilise ce que la femme dit. Un geste ou une parole ont, selon le contexte, une portée tout à fait différente. J’ai voulu entrer dans un caractère et une maison pour montrer combien tout est subtil et ambigu. On pose un regard de biais et on voit autre chose. Le personnage d’Edward Rochester peut apparaître attirant par certains aspects. Il y a un trouble. Mais la violence est là : Edward Rochester amène Antoinette Cosway à jouer contre elle-même. J’ai terminé “JE” en me sentant physiquement mal.ML.D.: Le “JE” du titre, allusion aux initiales de “Jane Eyre”, a-t-il un double sens : Antoinette Cosway reprend la main sur son histoire et vous racontez aussi la vôtre à travers la fiction ?L.H.: Je n’écris pas pour rien. Il y a un jeu entre fiction et autofiction. Je n’aurais pas pu écrire “JE” si je n’avais pas personnellement vécu certaines des situations que je raconte. Mes romans sont toujours liés à des raisons intimes et profondes. Je me lance dans l’écriture car j’ai quelque chose à démêler en moi. “Panorama” venait de la rupture entre la société et l’institution judiciaire, et “JE” est né du silence de la société face aux violences faites aux enfants et aux femmes. Mais si j’ai choisi la forme romanesque, c’est parce que je voulais que tout se mélange : ce qui vient du réel, ce que j’ai transposé, ce que j’ai imaginé. Je ne tiens pas à ce que l’on distingue la part fictionnelle de la part autobiographique. Il y a un trouble du côté des personnages, mais aussi du côté du genre littéraire. “JE” est une fiction vraie. Je ne sépare pas le roman de la vérité. Chacun des sentiments a été éprouvé, vécu, ressenti. Il ne s’agit pas du pastiche d’un roman victorien, mais d’une histoire contemporaine. Rochester a traversé toutes les époques.
Edited by Sarah Crown, Martin Prendergast & Nicholas SerotaIllustrated by Chris RiddellComma PressISBN-13: 97819170933612026To mark 80 years of public investment in culture and creativity, we’ve published Made in England: Art and Culture in Changing Times – a collection of essays, insights and creative contributions from artists, cultural leaders and critics. The book explores the role art and culture play in England today, and looks ahead to how creativity might shape the next 80 years.Culture and creativity are at the heart of England’s story. Our artists, writers, performers, producers and creators are recognised around the world, enriching our neighbourhoods, our country, and our lives.For the past 80 years, since the Arts Council’s creation, public investment in art and culture has helped people access inspiring creative experiences, develop talent and tell their stories. It has supported education and wellbeing, strengthened communities and enabled generations of artists to thrive.On our 80th anniversary, we’re reflecting on the impact of public support of culture and creativity – and why that support matters now more than ever.As Sir Nicholas Serota says in his introduction to the collection: “In marking 80 years of sustained investment in art and culture, we celebrate a nation made richer, happier, more inventive and more successful because of it. But that is not enough. We owe it to future generations to make the case that public investment should be sustained and increased over the next 80 years. We need to argue for the art that does not yet exist.”
Ann Dinsdale, principal curator of the Brontë Parsonage Museum, reflects on a career of caring for the sisters’ home: tracing how recovered manuscripts, household relics and conservation campaigns keep the Brontës’ legacy alive, and arguing for museums’ vital role in preserving our shared cultural story.
by Anjet DaanjeTranslated from the Dutch by David McKayMacMillan PublishersISBN: 9780374620615August 2026A thrilling literary puzzle that explores the haunted life and mysterious afterlifes of a writer and her work.Who was Eliza May Drayden? Is she just the quiet, intensely private person she seems to all the world in her little village of Bridge Fowling in the shadow of the West Yorkshire hills—or is there more to her than meets the eye? It is only after her death that Haeger Mass, her one book—a dark and cryptic novel—assumes a life of its own. In each new chapter of this literary treasure hunt that spans almost three hundred years, we see the conundrum through the eyes of a new generation of characters, each providing competing and interlocking versions of the life—and cursed vision—of this Emily Brontë–like figure. Scholars immerse themselves in the mystery of her life and are led to ruin; the curse that hangs over her comes to visit a young couple; a mysterious diary emerges with her strange and indecipherable poetry and sketches. Elements and symbols repeat in relentless and varying combinations from one story to the next as the years pass: as if the truth at the center of her work is fighting to break free.The Song of Stork and Dromedary is a philosophical puzzle that unfolds with the exuberance of a historical romp, ingeniously pivoting from Gothic horror to quantum mechanics to memento mori. In this thrilling, recursive tale, Anjet Daanje gets to the frantically beating heart of why we tell stories, and how we try to create meaning with them in a world filled with brutality and death. Daanje has crafted a conundrum that is as diabolical as it is heartbreaking. When we finally open the box that contains the secret behind the life of Eliza May Drayden, what will we see there—a vision of heaven or a vision of hell?
by Catherine FriendBywater BooksISBN: 978-1612943466August 18, 2026Yorkshire, 1898.When twenty-two-year-old Lilianne Loxley is sent to Lord Bexton’s isolated estate to work off her uncle’s debts, she expects drudgery—not danger. With her gift for mimicry, she becomes Bexton’s secretary—and his reluctant forger. Soon she’s trapped in a scheme to create a “lost” novel by Emily Brontë, a deception that could make—or destroy—fortunes.The house is full of secrets: footsteps echo in empty corridors, lemon-scented ghosts haunt her sleepless nights, and a portrait seems to watch her every move. Yet it’s the living who unsettle her most—especially Wren McAllister, the sharp-tongued maid whose defiance hides a tender heart. Drawn together by loss and longing, Lily and Wren risk everything for a freedom neither has ever known.As the line between truth and invention blurs, Lily uncovers a shocking connection to the Brontë family—and to Bexton himself—that will force her to choose between love, loyalty, and the dangerous power of her own pen.Catherine Friend’s The Lost Brontë is an atmospheric gothic romantic mystery steeped in secrets, desire, and literary intrigue.
At first, the concept makes good use of actors trying to act mirthful, a feat even more difficult to pull off convincingly onstage than in real life. In time, the irony fades, and the audience—who is, for some reason, also in the void with the sisters—must endure the Brontës’ fumbling efforts to achieve a measure of self-acceptance. (...)It doesn’t help that the cast’s vain efforts to engage the audience seem pitched for a bigger space (or for overpowering the steady drone of the air-conditioning), making us feel even more like befuddled trespassers in the afterlife. Add a general grasp of character that rarely moves past stereotype and directorial composition that gets more muddled as the play gets more crowded and suddenly everything is being forced, not just the fun.Granted, [Courtney] Bailey’s script—aiming for feminist critique by way of a postmodern, madcap mash-up—gives the company many confusing cues to sift through, including when it comes to the author’s thesis. The sisters indulge their angry, mediocre brother, a poster boy for toxic masculinity if there ever was one, and yet the authors’ famous characters are there mostly to flagellate them for not writing work that was feminist enough. Internalized misogyny is at play throughout, as one character bluntly states, but that’s a hard problem to unpack thoughtfully when the sisters’ punishment already seems wildly harsh and when their salvation has a lot more to do with “being their true selves” than it does with the plight of women as a whole. (Jared Strange)
Following the acclaimed arrival of her English translation debut, The Remembered Soldier, a National Book Award finalist, Anjet Daanje’s latest novel, The Song of the Stork and Dromedary, is yet another psychological puzzle, enveloping readers in a mystifying literary haze that persists until the novel’s final pages. Drawing on the lives of the Brontë sisters, Daanje weaves macabre imagery, dubious diaries, scattered letters, and a series of vignettes into a story spanning nearly 300 years. The result is a sprawling meditation on death, sisterhood, and the mysteries that refuse to be buried.Opening the novel in late 18th-century England, Daanje wastes no time linking the novel to the esteemed Brontë sisters, primarily Emily, whose life is mirrored by the cryptic Eliza May Drayden. The Drayden sisters not only write Victorian Gothic novels but also echo the Brontës in their sisterly bonds, childhood-born imaginary worlds, and encounters with illness, all of which lie at the heart of the narrative. Blankly gazing at the corpse of yet another sister, six-year-old Eliza asks, “Is God hungry?”, initiating the novel’s lengthy exploration of death. Along this ghastly thread, readers follow eleven primary profiles—including biographer Agnes Chambers, Emery Niles, and several pairs of fated sisters—whose lives are all influenced in some manner by Eliza Drayden and her novel Haeger Mass, a heavily criticized Gothic tale in the vein of Wuthering Heights. These episodes are interspersed with diary entries, notes, and poems that gradually fill in the gaps of the enigma that surrounds Eliza far beyond the grave. (Brock Covington)
Ignore the haters – I fell in love with Scarborough all over again, from Anne Brontë’s grave to fish and chips, cheap arcades to seaside tat. (...)Standing in a quiet corner of St Mary's Church in Scarborough, I gaze at the gravestone of Anne Brontë, who died in this North Yorkshire seaside resort in 1849 aged just 29. The peaceful spot overlooks South Bay, where pavements are heaving with day trippers.Nowadays, visitors flock to Scarborough for fish and chips and, of course, the beaches.But Anne came to Scarborough when it was rising in popularity in the 1800s, although its famous spa waters were discovered earlier, in 1626, marking the creation of the UK's first seaside resort. (Alesia Fiddler)
Elizabeth is wheeled out in the backyard in a wheelchair, looking very sick and frail, but still happy to see her family. She hands her husband Ted (Max Greenfield) a copy of the book she had been reading, Jane Eyre, with a note on it to him, “You’ll have to tell me how it ends.” They both understand this to mean that Elizabeth only has a few weeks, maybe even just a few days, left to live. (Anna Menta)
Love her or hate her, Emerald Fennell can make a steamy movie. Wuthering Heights is a little more of a reimagining than an adaptation, taking quite a few liberties with the text, but It puts the romantic and sexual dynamics right at the forefront of the story.
Wuthering Heights by Emily Brontë (1847)Emerald Fennell’s 2026 adaptation has sparked outrage among the book’s lovers and (hopefully) interest among those whose introduction to Emily Brontë’s 1847 masterpiece came through the movie. The movie, with its stunning visuals and a subdued storyline, strips away much of the original story—including the entirety of the second generation of Linton, Heathcliff, and Earnshaw children—and leaves much to be discovered in the pages of the book.Brontë’s novel has romance, certainly, but also includes tension caused by race and class. Heathcliff as a character is both sympathetic and abhorrent. His status as an outsider causes him to be abused at the hands of Hindley. Yet, his own cruelty toward Isabella and toward the offspring of Edgar Linton and Hindley Earnshaw, enemies he wishes to take revenge upon, cannot be overlooked.Catherine Earnshaw, Heathcliff’s equal, also defies expectations of the heroines in most romance novels. She is cruel, selfish, and temperamental; her hold over Heathcliff, and their inability to be together, is the central conflict in the story. Cathy proclaims, “I am Heathcliff,” a statement both romantic and terrifying, inviting the reader to understand the depth of their passion for and obsession with each other. Their love is far from healthy, and that is one of the most compelling aspects of the book.Ultimately, the ‘love story’ the reader has been expecting throughout the tale happens in its third act, as the younger generation puts an end to the cycle of violence and abuse. A story centred around human emotion that does not shy away from its ugliness and destructiveness, Wuthering Heights deserves a read for both its romantic aspects and its exploration of human behaviour. (Samanata Shrestha)
The renewed fascination with dollhouses isn’t just playing out online; it’s influencing pop culture. Emerald Fennell notably added a dollhouse to her film, Wuthering Heights, a 1:12-scale replica of Thrushcross Grange (Brontë devotees will know there is no dollhouse mentioned in the 1847 novel). The scaled replica featured prominently in Architectural Digest’s tour of the film’s set with its star, Margot Robbie, and production designer, Suzie Davies, who showed viewers its perfectly scaled Regency rooms. (Madeline Weinfield)
Shanti Nilayam (1969) borrowed the unsettling mysterious elements of Charlotte Brontë’s Jane Eyre. (Suganthy Krishnamachari)
Nuestra Emily Brontë es Carmen Laforet. Voy a ir una semana a Tenerife y decido leer “La isla y los demonios” de Laforet, que se desarrolla en Gran Canaria, pero habla de Tenerife. Dice que los demonios son las pasiones humanas, que son mucho más de siete. Y las pasiones constituyen a las personas y ayudan a conocerlas. Y forman parte de su vitalidad profunda, de su abismo. Lo mismo ocurría en “Cumbres borrascosas” y en las obras de Shakespeare. (...)[Nada] tenía una fuerza sorprendente en una novelista de veinte años. Lo mismo que “Cumbres borrascosas”, de Emily Brontë, que con veinte años parecía ya haberlo vivido todo y conocido todo. (...)El mismo estilo, sin florituras, pero expresivo y certero, contribuye a esa hondura de [La Isla y los demonios], a que la vivamos con fuerza y casi miedo como la de Emily Brontë. (...)No hay nada que Carmen Laforet escribiera por escribir o por predicar algo. E incluso el catolicismo que aparece en “La mujer nueva” es el catolicismo desgarrado y vivo de Georges Bernanos, no el de las estampitas. Y sobre todo Laforet tiene novelismo, en el sentido más noble del término. El que señala un romanticismo como expresionismo, como indagación en lo que la realidad convencional esconde. Las novelas hacen eso, y las de Carmen Laforet más que las otras. Igual que las de Emily Brontë.Incluso Charlotte Brontë, la hermana, que en “Jane Eyre” habla de una institutriz en apariencia convencional, tiene sus demonios. En el desván de su amante casado está la mujer loca en el desván. Esa mujer de las Antillas que enloqueció por las frialdades del marido inglés, o más bien la consideran loca porque no sigue la frialdad del montón.Jean Rhys en “Ancho mar de los Sargazos” cuenta la historia desde el punto de vista de la loca, una mujer que vibraba en las selvas y los acantilados de la isla Dominica y llega a los estiramientos de una familia británica.Emily Brontë era británica, pero con algo de Jean Rhys y de esa loca de los Sargazos. Y Carmen Laforet es española, pero tiene esos demonios encendidos y oscuros que pone en sus novelas. (Antonio Costa Gómez) (Translation)
Ranker has a list of fictional characters named Jane, and Jane Eyre (only) gets number 8. Good Housekeeping vindicates Wuthering Heights 2009.
In May 2025, the Brontë Birthplace in Thornton reopened following a £650,000 restoration, transforming the historic building into a visitor, literary and education centre.As of June 2026 Queen Camilla stands as the centre's Royal Patron.Anna Gibson, general manager of the Brontë Birthplace, said: "Until recently, the Brontë legacy and those crucial first years of life were unknown to most of the world."Preserving any tangible part of the incredible history of the Brontë sisters is of deep emotional, cultural and historical significance."She also highlighted the importance of the site in understanding the early lives of the Brontë sisters and the history of Thornton.Ms Gibson said: "The project has shone a light not only on the sisters' early years but also the wider and fascinating history of Thornton as a village."Despite its significance, Thornton is often overshadowed by Haworth, the Brontës’ later home.Ms Gibson said: "In almost all of the Brontë biographies, Thornton is reduced to a stop on the map to Haworth."The house is called rundown and unglamorous and the landscape bleak and wild."However, to the few 'in the know' and to the people of Thornton, the Birthplace has always held a special significance and has been a fixture of Market Street."The birthplace has now become a hub for cultural activities, including a monthly speaker programme that attracts guests from across the UK and beyond.Ms Gibson said: "The talks have proved popular, giving voice to both local and international speakers on a huge range of topics."The site has also seen increased visitor numbers thanks to renewed interest in the Brontës, fuelled in part by major screen adaptations.Emerald Fennel's Wuthering Heights premiered in February of this year, remarking on the event, Ms Gibson said: "We experienced a huge uptick of visitors."It was our busiest ever month for overnight stays and one week we had all rooms occupied nearly every night."She said: "It was brilliant in that it brought in a whole new generation of Brontë fans and sparked such interesting and engaged conversations over a book published nearly 200 years ago."Ms Gibson said: "The entire West Yorkshire area has seen a massive uptick in interest, international press coverage and visitors in the last year." (Amelia Short)
Fforde used the narrative dare technique to write his 2001 debut novel, The Eyre Affair, a mind-bending adventure set in an alternate version of England, about Thursday Next, a crime-solving literary detective who must rescue Jane Eyre from a villain who has kidnapped her from the pages of Charlotte Brontë’s classic novel. The book launched Fforde’s bestselling Thursday Next series, which will come to an end this fall after 25 years.“This is the last hurrah,” Fforde says. “The Thursday Next series is a celebration of reading, writing, and novels. I think novels are the greatest art form known to humankind.” (Elaine Szewczyk)
Jane Eyre by Charlotte Bronte (1847)Often cited as an inspiration for Gothic Romance, this book is so much more. Yes, Jane Eyre does contain certain gothic elements (an old gloomy estate full of secrets, a broody handsome love interest, also full of secrets) but the strength of the novel is in singular, unforgettable character of Jane herself. Jane’s narration of her own growth from poor, unloved orphan to independent woman feels surprisingly modern. As a child she lashes out in anger at her mistreatment, as a youth she is determined to stand on her own two feet and as an adult she refuses to accept anything but full and equal love. Jane’s passion, integrity and insistence on being treated with dignity make her a very relatable and recognizable character almost two hundred years after Jane Eyre’s first publication in 1847.
Charli xcx, Wuthering HeightsLove or hate Emerald Fennell’s 2026 rendition of Wuthering Heights, one thing is certain—Charli xcx totally gets Emily Brontë’s famed gothic novel. Dare I say, it’s the best interpretation since Kate Bush’s 1978 song of the same name. Somehow, she managed to blend the alt-cyber-pop sound we’ve come to love the Brit icon for with the book’s range of then-scandalous themes. I have never—and will never—consider the gothic novel a romance (not sorry!), so much as a cautionary tale of obsession, enmeshment, and abusive cycles. Charli nails just that with viral songs like “House” (which I’d say is a spot-on song retelling of Isabella’s bait-and-switch entrapment into a marriage with Heathcliff) to upbeat bangers like “Dying for You” (remember when, in the book, Heathcliff dug up Cathy’s grave to look at her? Yikes!). Another standout, “Seeing Things,” captures the element of the spectral and ghost stories that was a key theme of the book and mostly left out of the movie. (Conçetta Ciarlo)
AnneBrontë.org shares a new video exploring how the Brontës kept cool during heatwaves.Más de uno decidió el pasado mes de febrero que este verano lo pasaría en los aislados y sombríos páramos de Yorkshire, en el norte de Inglaterra. No por refugiarse en un lugar de temperaturas menos sofocantes, sino por haber quedado anonadados tras ver a Margot Robbie y Jacob Elordi actuar en esos escenarios en la última adaptación audiovisual de Cumbres borrascosas , dirigida por Emerald Fennell. El filme desató la Brontëmanía y provocó, por un lado, que las ventas de la novela se dispararan un 504% en tan solo dos días, según datos aportados por Amazon; y, por otro, que hoteles y apartamentos turísticos de la zona notaran un notable incremento de ocupación.Mia Ferullo, responsable de la participación digital del Brontë Parsonage Museum, que se encuentra en Haworth (Inglaterra) y que conserva la antigua casa familiar así como la mayor colección mundial de manuscritos de las hermanas Emily, Charlotte y Anne, admite a La Vanguardia que existe “un auge renovado” por la vida y obra de este trío literario. Pone, además, sobre la mesa un término: las readaways , o, lo que es lo mismo, las escapadas vacacionales a las que uno llega tras leer un libro y donde muchas veces la actividad principal, además de desconectar, es leer. Una tendencia que va a más, según apunta un informe publicado a principios de verano por la plataforma de búsqueda de vuelos Skyscanner , donde se revela que el 49 % de las personas que ha reservado un viaje a lo largo de este año han considerado en algún momento hacerlo a raíz de un libro. El estudio desvela también que las reservas de hotel que utilizan el filtro “biblioteca” en su web han aumentado un 70% a nivel mundial. (Lara Gómez Ruiz) (Translation)
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