Wuthering Heights in Paris

Kader Belarbi's Hurlevent ballet - originally premiered in 2002 - returns to the Opéra de Paris, now renamed Wuthering Heights:

Wuthering Heights

Musique originale/Music Philippe Hersant

Chorégraphie et mise en scène/Choreography and direction Kader Belarbi
(Opéra national de Paris, 2002)
Adaptation Agathe Berman et Kader Belarbi

Scénographie et lumières/Scenography and Lights Peter Pabst
Costumes Elsa Pavanel

Les Étoiles, les Premiers Danseurs et le Corps de Ballet

Orchestre de l’Opéra national de Paris
Direction musicale /Musical Direction Koen Kessels

Dancers

HEATHCLIFF Nicolas Le Riche / Jérémie Bélingard
CATHERINE Marie-Agnès Gillot / Laëtitia Pujol
EDGAR Jean-Guillaume Bart / Karl Paquette
ISABELLE Nolwenn Daniel / Muriel Zusperreguy
HINDLEY Stéphane Bullion / Emmanuel Hoff
NELLY Aurélia Bellet / Amélie Amoureux
JOSEPH Jean-Marie Didière / Richard Wilk
CATHY Muriel Zusperreguy /Charlotte Ranson
LINTON Gil Isoart / Bruno Bouché

Opéra National de Paris
Palais Garnier
Première 21 sept. 2007 19h30
24, 25, 27, 30 (14h30) sept., 1st, 3, 4, 5, 6 oct. 2007 19h30

Video of the premier tableau, Act I

Categories: Dance, Wuthering Heights

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Wuthering Heights in all its forms

With one small exception today all news items are connected to Wuthering Heights.

Trespass by Valerie Martin is again reviewed by two websites: Salon.com and Chronogram, both sites highlight Chloe's work illustrating Wuthering Heights.

icWales opens an article on a football match with this hilarious start:

There was enough passion, misunderstanding and ultimate disappointment in this match to send brooding lover Heathcliff wailing and gnashing his teeth over the nearby Yorkshire moors. (Steve Tucker)

Kathy Grossman reviews the Wuthering Heights ballet in Paris. She quotes Belarbi - the choreographer:

Belarbi explains his obsession with Wuthering Heights, a book with characters unknown to most French dancers. “The adventure began nearly three years ago”, he said, “when Agathe Berman gave me a series of 16 illustrations in India ink from a 1933 edition of Wuthering Heights. They were so beautiful and so expressive that I not only read the novel, but made a trip to the north of England . . . it’s an extraordinary part of the world.

“Everything in the book still exists, as though time had stood still. I saw the withered, stunted tree that is part of the actual decor of my ballet, and although it was only early autumn, the wind was howling round my ears. The atmosphere was amazing. and the idea of an “histoire dansée” began to take hold of me. I saw I could establish a parallel between Emily Bronte’s book and the Romantic ballets, as both seemed to me pure escapist fantasy. Catherine, after she dies at the end of the first act, returns as a spirit and continues to enslave Heathcliff, making it impossible for him to live in the real world.”

Because I was seated in the fourth chair in a narrow box, I had to stand for the entire performance. I enjoyed the gorgeous dancers and the set’s windblown tree and shimmering scrims simulating a desolate moor. The final scene as Catherine and Heathcliff join for eternity was so sublime there was not a rustle, a cough, nor a shifting of legs in the entire theater. The final moments had the two dancers lying motionless on the stage with hands joined; the audience sat breathless with the romanticism of the story.“The ballet is freely adapted from the book”, Belarbi explained, “[that’s] why the work is called Hurlevent, and not Les Hauts (”the heights”) de Hurlevent, as it is really a journey through time.” It certainly reached les hauts for me.

Hell on Frisco Bay has a very interesting post on a couple of classic film adaptations of Wuthering Heights: Wuthering Heights 1939 and Abismos de Pasión. Windy Willows complements this by reviewing Wuthering Heights 1992 - in Russian.

The small exception we mentioned at the beginning of this post is the overview on the Brontë sisters and the work that Das regt mich so auf! has posted. It obviously includes Wuthering Heights as well.

Categories: Dance, Movies-DVD-TV, Wuthering Heights

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Hurlevent ballet on TV

If you live in Australia and get Ovation channel, today July 31 and tomorrow Aug 1, you have a chance to see the Hurlevent ballet, choreographed by Kader Belarbi and premiered in Paris, at the Palais Garnier in February 2002.

A ballet choreographed by Kader Belarbi from Opera National de Paris. A highly acclaimed new full-length ballet with all the stars of the Paris Opera Ballet in the well known Emily Brontë story. The cast includes Nicolas Le Riche, Jérémie Bélingard, Marie-Agnès Gillot, Laetitia Pujol, Jean-Guillaume Bart and Karl Paquette.

A complete review of the original performances (in French) and some pictures can be found on this web. The music of the ballet was composed by Philippe Hersant. Incidentally, some months ago we posted about the world premiere of an orchestral suite based on his music for this ballet.

July 31 - 08:30 PM
Aug 1 - 02:30 AM ; 08:30 AM; 02: 30 PM

The dates are available with the other weekly TV alerts on our sidebar.

Categories: Movies-DVD-TV, Dance, Wuthering_Heights

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In Present Tense

Philip Pullman criticises the (ab)use of novels written in present tense and uses examples from Jane Eyre, among others, to show a proper use (in his opinion) of the verbal tense. In the Guardian:

Like any other literary effect, the present tense is an expressive device; but expression works by contrast. Take this example from Jane Eyre: "They are making hay, too, in Thornfield meadows: or rather, the labourers are just quitting their work, and returning home with their rakes on their shoulders, now, at the hour I arrive. I have but a field or two to traverse, and then I shall cross the road and reach the gates. How full the hedges are of roses! But I have no time to gather any; I want to be at the house . . ."
That works beautifully because it emerges from the context of a narrative told in the past tense. Jane's sudden use of the present conveys as nothing else could the pressure of her feelings as she recalls the high intensity of that summer evening, of her return to the house of the man she hasn't yet admitted to herself that she loves: "I see the narrow stile with stone steps; and I see – Mr Rochester sitting there, a book and a pencil in his hand; he is writing.
"Well, he is not a ghost; yet every nerve I have is unstrung: for a moment I am beyond my own mastery."

The London Evening Standard finds traces of Jane Eyre in the film Just Wright by Sanaa Hamri:

Sanaa Hamri’s take on Jane Eyre has Queen Latifah as a lower-class woman employed by a rich man.
She is a therapist, he is a basketball star. He gets hurt and so on. Thanks to the charisma of Latifah and her leading man (singer Common), this is easy to endure. (Charlotte O'Sullivan)

The Globe and Mail reviews the latest novel by Richard B. Wright, Mr Shakespeare's Bastard:

Aerlene, however, will make good and sure she doesn’t, and turns herself, rather, into a sort of precursor to Jane Eyre, with Mr. Rochester assiduously removed from the picture. (Cynthia Macdonald)

John Henry Newman's times are described as follows in Birmingham Mail

The key to Newman’s spirit comes from the age in which he lived. Born in 1801, he died in 1890, thus his lifespan took in 53 years of Queen Victoria’s reign and his contemporaries included Abraham Lincoln, Gladstone and Disraeli, Charles Dickens, the Brontë’s [sic], Wordsworth and Tennyson. (Andy Richards)

Several Dutch news outlets mention the Gouden Krekel Awards. The Artemis Theatre/ Theater Antigone production of Wuthering Heights was nominated for the two awards: Most Impressive Production (which the production finally won, watch this clip to see the exact moment) and Most Impressive Stage Performance (Alejandra Theus for her role as Cathy in the production). More information in Seven Days and Omroep Brabant. It seems that a tour revival is being prepared for December 2011 until February 2012.

In La Nueva España (Spain) there's a mention of Jane Eyre's love for Bewick's History of British Birds:

Lo supongo en la línea de la «Historia de los pájaros ingleses», de Bewick, entre cuyas páginas Jane Eyre se sentía feliz, especialmente, según Charlotte Brönte, en «las que trataban de las guaridas de las aves marinas, de los promontorios y de las rocas habitadas únicamente por aquéllas, de la costa de Noruega, cuajada de islas desde su extremo sur, el Lindeness o Naze, hasta el Cabo Norte». (Ignacio Gracia Noriega) (Microsoft Translation)

Maryse Condé, the author of Windward Heights, is interviewed by La Ventana (Cuba):

Tu novela Windward Heights fue una liberación; ver el clásico de Emily Brontë con los ojos de un elenco de personajes negros. Desbarataste las teorías racistas que niegan la existencia de una humanidad común. ¿Fue ése tu propósito o escribiste esa novela movida por razones más personales?
—Alguien me regaló Cumbres borrascosas, de Emily Brontë, cuando tenía quince años y aún vivía en Guadalupe. Yo era muy melancólica y solitaria. Mi madre murió en mi infancia y por muchos años traté de restablecer el contacto con ella. La buscaba incesantemente en la naturaleza, por todas partes. Cuando leí Cumbres borrascosas, sentí que esa obra había sido escrita para mí. Me identifiqué totalmente con la pasión con que Heathcliff quiere encontrar a Cathy una vez muerta. Escribí mi novela para demostrar que, pese a las diferencias de época, de circunstancias y de ideas, las mujeres pueden comunicarse entre sí porque comparten ciertos deseos y experiencias. Emily Brontë podía hablar a Maryse Condé más de un siglo después porque su historia era similar a la mía. Sentí el impulso de reescribir la historia de Brontë, no para mostrar las diferencias entre las mujeres caribeñas y las inglesas, sino más bien lo que tenemos en común.
Dices al comienzo de tu libro que crees que Emily Brontë aprobaría tu interpretación de su obra maestra. ¿Ese deseo de aprobación te impuso alguna cortapisa?
—Debo confesar que olvidé totalmente a Emily Brontë cuando estaba escribiendo mi novela. Me concentré en la pasión entre Cathy y Heathcliff, el amor excesivo que unía a esos dos personajes. Pero leía la novela de Brontë con frecuencia, y la tenía abierta en mi escritorio por la página en que Cathy dice “soy Heathcliff”. Son palabras muy hermosas, reveladoras de la intensidad de la pasión posible entre dos personas. Cuando estaba terminando mi novela me pregunté qué habría pensado de ella Brontë, pero no me lo planteé realmente en serio. Nunca pretendí competir con Brontë. No fue un problema para mí. (Elizabeth Nunez) (Microsoft Translation)

Le Nouvel Observateur remembers Kader Belarbi's ballet Wuthering Heights which was on stage in Paris three years ago:

Pour ce même Ballet de l’Opéra, Kader Belarbi avait naguère monté un ouvrage occupant une soirée entière et inspiré des « Hauts de Hurlevent ». Mieux qu’un « ballet de danseur », comme on le dit de pièces créées par des danseurs qui ne s’affirmeront jamais comme chorégraphes à part entière, c’était une grande fresque bien menée, à défaut d’être d’une facture très originale, et qui se laissait voir sans ennui dans des scénographies très belles. (Raphaël de Gubernatis) (Microsoft Translation)

The internal war in the Republican Party of Florida for the primary nominations finds a Brontë echo in this letter published in the Cape Coral Daily Breeze:

Over the last few weeks I have been reading, with interest Mr. Kalfus' attacks on the GOP/RPOF. This man is so distraught! His rants have all the components of a Brontë novel. (Shirley O'Donnell)

A kitten named after Charlotte Brontë in the Kansas City Star. And Cynsations interviews first-time author Eden Maguire:

As a fantasy and paranormal romance writer, what attracted you to these literary tradition?
This has to be Emily Brontë's Wuthering Heights (1847)! It's an amazing book which expresses wild, romantic passion. It takes readers beyond the real world into territory where fierce, unbridled passion defied even death.

Экспресс газета (Russia) interviews swimmer Yuliya Yefimova (Юлия Андреевна Ефимова). A Brontëite:

В свободное время люблю почитать. Из последнего, что читала, запомнился роман Шарлотты Бронте «Джейн Эйр». (Сергей ДАДЫГИН) (Microsoft Translation)

Caustic Cover Critic presents Ruben Toledo's cover for the upcoming Penguin Classics Deluxe edition of Jane Eyre (on the right). fiftytwo reviews another edition of Jane Eyre: Dame Darcy's. Awsumgal is putting the final touches to her Rochester doll project and History and Women has a post about Charlotte Brontë. Finally, Sacred Places of Yorkshire & Derbyshire has uploaded several winter pictures of Brontë country and Top Withens.

Categories: Brontëites, Dance, Jane Eyre, References, Theatre, Wuthering Heights

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Wuthering's Pleins Feux

Next September 21, l'Opéra national de Paris ballet will premiere a new production of Kader Belarbi's Hurlevent (premiered in 2002 with music by Philippe Hersant), now renamed à l'anglaise Wuthering Heights. Today, September 8, there's a chance to see some of the dancers presenting some aspects of the piece:

Pleins Feux: Wuthering Heights
8 September

Présenté par Wilfried Romoli, danseur étoile, avec Jérémie Bélingard, danseur étoile ; Stéphane Bullion, sujet du Ballet ; Emmanuel Hoff, sujet du Ballet, et Elena Bonnay, pianiste.
Amphithéâtre Bastille - 15H-16H

Jérémie Bélingard plays Heathcliff, Stéphane Bullion and Emmanuel Hoff are the two dancers that will play Hindley.

Categories: Dance, Wuthering Heights

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On a Window Seat

The Guardian wonders whether children have lost contact with nature:

Nature, naming and dreaming are all tangled together in perhaps the most famous childhood reading scene in English literature. Jane Eyre is 10, and on the novel’s opening page she has retreated to read on the “window seat”, screened off by a heavy red curtain from the rest of the house. Seated cross-legged, she relishes the “double retirement” of her situation: behind a curtain and within a book. The book is Bewick’s History of British Birds, in which Thomas Bewick’s woodcuts of bird species are accompanied by name details and explanatory notes. As Jane turns the pages, her mind is set wandering: “Each picture told a story; mysterious often to my undeveloped understanding and imperfect feelings, yet ever profoundly interesting.” She imagines herself northwards, up into the white wastes of the Arctic, borne there on the wings of words and woodcut. “I feared,” she says wonderfully, “nothing but interruption.” (Robert Macfarlane)

Verge Campus reviews the latest film adaptation of Daphne du Maurier's My Cousin Rachel:

The “she” being scrutinized is the title Rachel (Rachel Weisz); the narrator is the square-jawed Philip (Sam Claflin), a wealthy, 25-year-old orphan who acts as the film’s protagonist. The setting is 1800s England, all mist and moors; the mood is ominous and ambiguous, the atmosphere romantically gloomy like “Jane Eyre” or “Wuthering Heights.” (Blake Peterson)

Apparently, according to Illawarra Mercury you should move to  the Southern Highlights in Australia if:

You like pie-themed events, Brontë sisters cosplay opportunities, and golf. (Nicole Frost) 

Rockingham News & Record talks about a class reunion of 1957 with this anecdote:

Fleagle recalled that when Conley was showing the movie “Jane Eyre,” for the entire school, the film kept breaking, drawing laughter from the students.
Conley warned that the next person to laugh would be punished.
Fleagle couldn’t hold in his laughter when the film broke again. “Lean over this desk,” Conley ordered. She whipped him with his own belt. (Ann Fish)

La Depêche (in French) interviews the dancer Laëtitia Pujol, who retires from the Opéra de Paris:

Quel est le rôle qui reste inscrit en vous ?
Chacun a été important, je pense à «Juliette» ou à «Giselle», bien sûr, mais même dans le contemporain j'ai eu de formidables expériences : «Fall River Legend» d'Agnès de Mille ou Catherine dans «Les Hauts de Hurlevent», de Kader Belarbi (ancien danseur étoile de l'Opéra de Paris, directeur de la danse au Capitole), j'ai créé aussi le rôle de «La petite danseuse de Degas»... (P.M.) (Translation)

Actualitté (in French) presents the Aline Brosh McKenna & Ramón K. Pérez comic adaptation, Jane:

La cocréatrice de Crazy Ex-Girlfriend, Aline Brosh McKenna, à l’humour plutôt dévastateur, s’est intéressé l’héroïne de Charlotte Brontë, Jane Eyre. Elle en a livré une adaptation particulièrement modernisée: Jane y campe une étudiante en arts, qui partage son appartement avec un colocataire gay. Et accessoirement elle joue la baby-sitter… (Florent D) (Translation)

Nic Ransome posts a Jungian interpretation of Jane Eyre.

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Wuthering Heights - the ballet - closes

The ballet Wuthering Heights, recently on stage at the Opéra de Paris, has just closed. A couple of websites talk about it.
The New York Sun:

"Wuthering Heights," by contrast, is a contemporary ballet with no additional vocal performers. There more scenery, but it is strictly modern in conception. Freestanding windowpanes are rolled around by performers, as is a group of couches. One gnarled tree implies the windy moors, and to indicate a meadow, this production uses a most startling visual effect: As Catherine (Laëtitia Pujol) and Heathcliff (Nicholas Le Riche) tumble at the center of the stage, about three dozen rubberized stones fall down from the sky. Attached are pretty colorful flowers, but the effect of the loud sound on the audience is fear, which is appropriate for the dangerous emotions ahead.
Mr. Belarbi's choreography is within the contemporary ballet idiom, which plays to the strengths of these dancers. Ms. Pujol was lusciously fluid with her upper body in the balletic passages, and unafraid of the silly, childlike running around at the introduction. Though principal dancer Jean-Guillaume Bart — in the role of Edgar (who marries Catherine, thus sparking the life-altering anger of her childhood love, Heathcliff) — was beloved by this audience, the ballet is Mr. Le Riche's. He owned the swooping ronde de jambs en l'aire, barrel jumps, and the smoldering quieter moments.
The success here lay in the swift, smooth transformation of Catherine from a playful girl into Edgar's wife. It's unclear why this happens with Heathcliff onstage wrestling around with the half-wit Hindley (Stéphane Bullion), Catherine's brother, but we're clearly meant to witness the passage of time. The rest of Act I succinctly moves the story along, but Act II, much like a classical ballet, is spent mainly in the netherworld. The spirits, girls in white and on pointe, whirl about. The final scene is devoted to the fall of Heathcliff and the lovers' reunion in death. This takes a considerable amount of time and rolling around on the floor. But when you've got eternity ahead, what's the rush? As with "Romeo and Juliet," there are quibbles to have with the storytelling. But in its intelligent choices and smooth, beautiful choreography, this "Wuthering Heights" shows how ballet can move into the future — without causing everyone to cringe. (Pia Catton)

And Danza Ballet (in Spanish) talks about the plot and details of the ballet. They post several beautiful pictures, like the one on the left of this post (source. Marie-Agnès Gillot (Catherine), Nicolas Le Riche (Heathcliff). Copyright Anne Deniau - Opera National de Paris - Photo Icare)

Categories: Dance, Wuthering Heights

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One of the best visitor attraction shops in the country

Keighley News has great news about the Brontë Parsonage Museum shop.

The Brontë Parsonage Museum has one of the best visitor attraction shops in the country.
This is the opinion of Museums + Heritage Award bosses after they shortlisted the shop for their newest prize.
Finalists for the Best Shop award are being judged on their product range and marketing as well as their financial success.
The Haworth museum’s shop is vying for the title alongside the shops of National Museums Liverpool, Bury Art Museum, Jodrell Bank and the Royal Albert Memorial Museum and Art Gallery in Exeter.
The Museums + Heritage Awards, now in their 16th year, recognise projects of excellence, innovation and ground-breaking initiatives from galleries and visitor attractions across the UK and overseas.
The Best Shop Award is new for 2018.
Rebecca Yorke, Head of Communications and Marketing the Brontë Parsonage Museum, said the shop offered Brontë-inspired ranges by artists and designers including Kate Lycett and Hannah Nunn.
She said: “This, combined with the excellent level of customer service provided by our staff, is key to the success of our museum shop.
“Many of our customers are museum visitors but we are working hard to establish the shop as a must-visit destination in its own right, and raise awareness of our online offer.
“Being shortlisted for this award will help us to realise those ambitions.”
Danielle Cadamarteri, Retail Manager at the museum, said: “We’re delighted to have been recognised in this way and I am tremendously proud of the retail team.”
The winners will be announced by the Rev Richard Coles at a ceremony in London in May. (David Knights)

Still locally, Keighley News also tells about the Brontë side of this year's Bradford Literature Festival (June 29-July 8).

Bradford Literature Festival is once again taking inspiration from the Brontës.
The summer festival, which will offer more than 400 activities, has programmed several special events in homage to the famous writers.
Organisers again want to celebrate Bradford’s historical connection to the writers, this year focusing on the bicentenary of Emily Brontë’s birth.
The festival will also launch its Bronte Stones project, setting four stones, featuring specially-commissioned texts by leading writers, into the landscape.
The stones will be placed along an atmospheric route between the Brontë birthplace in Thornton, and their family Parsonage at Haworth. (David Knights)

And Keighley News also features Michael Stewart's Ill Will.

Author Michael Stewart has just launched a novel imagining what happened after Heathcliff fled his moorland home and his obsession with adoptive sister Cathy.
The book, Ill Will, unveiled last month at Huddersfield Literature Festival, has already earned interest from top TV production company Kudos. [...]
Michael said: “My publishers have brought out a special edition of Wuthering Heights, for which I have written a foreword. You could, if you wanted, read Emily Brontë’s novel up the point where Heathcliff runs off, read Ill Will, and then go back to Wuthering Heights!”
Mike’s account of Heathcliff’s missing period sees one of the greatest anti-heroes in world literature roam a North of England that in the 1780s – the period in which Wuthering Heights is set – was on the cusp of industrialisation.
In Ill Will, Michael Stewart has Heathcliff form an alliance with Emily, a worldly-wise highwayman’s daughter, and they hatch money-making scams based on her claim to be able to communicate with the dead.
But although the new novel is a work of imaginative fiction, inspired by Emily Brontë, it required Michael Stewart to conduct detailed research into the social history of the late 18th century.
He said: “The late 1780s are fascinating, with industrialisation, the slave trade, the enclosures acts, highwaymen, press gangs and the construction of canals.”
“It was a very interesting turning point in our culture, and I wanted to take Heathcliff first into the agricultural industries of the period and then to Manchester, where we see the Industrial Revolution – the beauty and the cruelty of it. Then he goes to Liverpool to trace who he is, and slavery is part of that story.”
One phase of Dr Stewart’s research was highly physical. He recreated the walk from the Haworth moors to Liverpool that was made by Mr Earnshaw when he brought the boy Heathcliff back to Wuthering Heights.
Michael said: “It took me three days to get there. He got there and back in three days. He must have walked continuously without sleeping or stopping to eat!”
Michael Stewart’s fascination for Heathcliff and his period away from Wuthering Heights was triggered in the 1990s by an essay titled Was Heathcliff a murderer? by leading literary critic John Sutherland.
The seeds of an idea that led to Ill Will were sown, and eventually a period of sabbatical leave from the University of Huddersfield enabled Michael to conduct his research, including the trek to Liverpool. (David Knights)

The New Yorker tells about writer and podcaster Whit Reynolds recently asking people on Twitter to 'describe yourself like a male author would'.

Reynolds’s crowdsourcing was inspired by the young-adult novelist Gwen C. Katz, who noticed a fellow-writer complaining online about #ownvoices, a campaign started by the author Corinne Duyvis to increase the number of “diverse characters written by authors from that same diverse group.” The complaining writer was vaunting his talent for summoning female interiority on the page; Katz replied by posting quotations from his book, parts of which shake out through the eyes of a female protagonist, who may be the Tinder generation’s Jane Eyre. (Katy Waldman)

Stratford-upon-Avon Herald interviews executive producer and co-founder of Tread the Boards, Catherine Prout, who makes an announcement:

“We continue our love for the Brontës with a production of Jane Eyre, which follows on from last year’s Wuthering Heights and Brontë, then it’s back to a family show with The Wizard of OZ for the summer.” [...]
Tread the Boards 2018 season [...]
Jane Eyre adapted by Catherine Prout 6th-23rd September (Gill Sutherland)

Financial Times reviews the ballet Orphée et Eurydice, Palais Garnier, Paris, which was also a farewell for Marie-Agnès Gillot, 'one of Paris Opera Ballet’s all-time greats'.

During the 30-minute standing ovation, Gillot occasionally looked bereft. At one point, instead of standing under the customary confetti, she sat on the edge of the stage and dangled her bare feet over the orchestra pit. Briefly, her turn as a gauche, childlike Catherine in Kader Belarbi’s 2002 Wuthering Heights came to mind. There, as often, Gillot spun physical paradox into dance magic. With any luck, other stages will now welcome it. (Laura Cappelle)

SoloLibri (Italy) reviews Stephanie Butland's novel Lost for Words.

È attraverso le pagine di “Anna Karenina” o di “Cime Tempestose”, che la giovane libraia riesce a comunicare le sue emozioni e i suoi sentimenti più profondi quali la solitudine e le passioni. Spigolosa, introversa, i libri le piacciono più delle persone. [...]
Una serie di casualità, come spesso accade nella vita di tutti, la riporterà indietro nel tempo, a ricordare la vita prima di allora. Tutto ha inizio nel raccogliere un libro di un poeta di Liverpool caduto sul marciapiede dalla tasca di qualche passante. Nathan, il mago giocoliere amante della poesia, lo aveva perso in tram. La sua conoscenza, un uomo gentile e affabile, metterà a dura prova il rapporto giunto al termine con Rob, bello e dannato, docente universitario somigliante a Mr. Rochester di “Jane Eyre”. (Teresa D’Aniello) (Translation)

ABC (Spain) features the book Maestro Idro Huidobro. Memorias de un escribidor by José Jiménez Lozano in which

conviven y hablan Angélique Arnauld, y Platón, y Kierkegaard, y Emily Brontë, y Tolstoi, y siempre Miguel de Cervantes. ¿Habla él? Si lo hace, mejor que no se note. Él es, aquí, el apócrifo. (Gabriel Albiac) (Translation)

Captivated Reading posts about Manga Classics' Jane Eyre. The Brontës and their love of animals on the Brontë Babe Blog.

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