Emily on a car

Le Temps (Switzerland) reviews the current performances of Les Hauts de Hurlevent in Genève:

Picture: Source (I. Meister)

En voiture, Emily! Au Théâtre du Grütli à Genève, un coupé british années sixties vous fait de l’œil. A son bord, une demoiselle au tailleur crème – Léonie Keller – fonce avec une imprudence qui l’honore, escortée par la voix embrumée de Gérard Manset. Mais elle perd la maîtrise de son bolide. Sortie de route, cri d’orfraie, panique. Et entrée fracassante dans «Les Hauts de Hurlevent», ce roman tout en crocs et en baisers saignants signé Emily Brontë, demoiselle tourmentée qui avait faim de tout. La metteuse en scène genevoise Camille Giacobino épouse cette maladie d’amour. La fièvre est contagieuse. (...)
Au bout de tout, trois rescapés glissent leur deuil dans la Triumph décapotable. Ses phares papillotent. Au milieu des herbes folles, le mausolée aux amants se rit encore du ciel des bien-pensants. Dans sa chambrette, Emily Brontë était un brasier. Son Heathcliff est monstrueux, mais pas moins que le grand corps social et familial qui l’a engendré. La voiture pétarade. Le transport a bien eu lieu. Au volant, Camille Giacobino et sa bande sont les champions des bordures. Leur conduite est bravache. On embarque. (Alexandre Demidoff) (Translation)

National Geographic lists some unheard-of geniuses, like Anne Brontë:

Not that men always did the overshadowing. Anne Brontë might be celebrated as one of the most important literary figures of the 19th century—if not for her more famous sisters.
“In any other family, she’d be a genius,” says Samantha Ellis, a British author whose recent biography Take Courage: Anne Brontë and the Art of Life is an attempt to give the other Brontë sister her due. Big sister Charlotte downplayed Anne’s legacy, says Ellis—and because the author of Jane Eyre outlived Anne, she may have ruined her sister’s chance at fame.
The Tenant of Wildfell Hall, Anne’s feminist novel about the ramifications of an alcoholic, abusive relationship, was a bestseller at the time of her death at age 29. But Charlotte wouldn’t approve its republication—perhaps because Anne’s book bore similarities to the real life story of the Brontës’ alcoholic brother. If not for her more famous siblings, Anne’s daring prose might have more 21st-century fans.
When a genius fades from memory, it’s more than a historical oversight—it’s a lost opportunity to honour someone who could keep changing the world by influencing future generations, says Amir-Am.
“We lose all those who remain uninspired and make decisions in their own lives,” she says. “It’s not a service to society—to women or to men.” (Erin Blakemore)

The Olympic National Park in Clallam County, Washington and its Poetry Walks are featured again in the Peninsula Daily News:

A walk in the park can be pure poetry —and now words on four trails in the forest echo the experience.
Those words, placed on signs along the trails, are by such poets as Emily Brontë, Ogden Nash, Shel Silverstein and Gary Snyder.

Patheos is asking 'Why is it always the women who are expected to reform the men?':

This idea is a driving motivation in the plots of many works of fiction, from gothic romance to contemporary erotica. It’s even latent (though with some self-criticism) in as great a novel as Jane Eyre. (...)
With a stark line drawn around the small circle of the “domestic” where women preside, while men range wide in the broader political realm, it is ludicrous to suppose that a woman’s lofty moral merit will have a stronger influence on a man than any of the temptations to power and violence out in the world she barely sees.
This is the premise of Anne Brontë’s The Tenant of Wildfell Hall. While the other two Brontë sisters remained enamoured – though intelligently, and I can’t blame them, because I do the same – of the gothic premise, Anne appears to have had no use for the romance of the dangerous rake, and even less use for the idea that a woman can reform him. While her melancholy heroine begins her story with the belief that she can reform her riotous lover through holy marriage, what happens is that she is dragged into a world of degradation and abuse, and far from her love reforming her husband, she ceases to love him entirely – and, of course, sick of being chided, and utterly uninterested in being lured to protection by the Eternal Feminine, he falls for someone else. And then just basically falls. (Rebecca Bratten Weiss)

Korean Times draws on clichés to talk about Wuthering Heights:

There are quite a few "immortal" lovers in literature, that is, well-known protagonists of great love stories. In this regard, Paris and Helena, Jane Eyre and Rochester, Elizabeth Bennet and Darcy, and Jay Gatsby and Daisy come to mind. But the most famous lovers in literature are Romeo and Juliet.
Of all the love stories I have read, what fascinates me most is Emily Brontë's "Wuthering Heights." It is an intensely passionate yet unhappy love story. Let me touch on it. (...)
The love between Heathcliff and Catherine has captivated many people ever since "Wuthering Heights" was published in 1847. Why? It may be because such fervent love is a rarity in real life. (Lee Hyon-Soo)

The Chronicle Herald interviews the author Kathleen Tudor:

Tudor writes by that air. In her family home, her novels are set in a place and with a people who, she says, have been ignored in print. A fixture in publishing since the 1980s, when she established Roseway Press to publish her talented writing students at Saint Mary’s University (among others) and Fernwood Publishing for her non-literary titles, applying for Canada Council grants for literary works now requires an extensive 17 titles and $30,000 in sales. Then, every fourth title could be her own, through which Tudor self-published once. (Phone CC to find out.) “The stigma of self publishing should be removed. The Brontës self-published!” (Joanne Light)

Do you really think you can leave this newsround without a Lady Macbeth mention? No way!

Don't be fooled by the Victorian setting, this is no pleasing costume drama but rather a bit of Yorkshire bodice ripper, Gothic Brontë with a clear, ruthless storyline. It's both OTT and understated and boasts some excellent work in front of and behind the camera from relative newcomers. (Aine O'Connor in The Irish Independent)

Grazia (in French) reviews the recently published Lettres choisies de la famille Brontë:

Leurs destins restent une énigme. Comment trois sœurs recluses dans un presbytère, âgées d'une vingtaine d'années, ont pu accoucher de trois chefs-d'œuvre devenus aujourd'hui des classiques de la littérature british : Les Hauts de Hurlevent, Jane Eyre et Agnès Grey ? Leurs lettres, enfin traduites en français, rédigées entre 1821 et 1855 par Anne, Emily et surtout Charlotte, livrent les clés de leur imaginaire.
Un frère génial, alcoolique et destructeur, la lande sauvage, une fascination pour Lord Byron et Napoléon, dont le souffle romantique réside dans la sphère domestique de leurs livres - et dans ces traces d'existence vibrantes de féminisme visionnaire. A (re)découvrir absolument pour mieux comprendre leurs écrits. (Emily Barnett) (Translation)

Arcadia interviews the author Gloria Susana Esquivel:

¿Qué clásico nunca ha leído?
Cumbres borrascosas, y mis amigas aseguran que me cambiará la vida. (Translation)

The Edinburgh Reporter previews the National Theatre Jane Eyre performances at the Festival Theatre Edinburgh next week. AnneBronte.org posts about the few things we know about Elizabeth Brontë.