Heathcliff's status

Keighley News features a 'feminist-oriented book' about the Brontës due to be published next year.

The Brontës: The Fantastically Feminist (and Totally True) Story of the Astonishing Authors, written by Anna Doherty, will be released on March 7 in hardback.
The book, billed as an inspiring and empowering book about Charlotte, Emily, Anne and their brother Branwell, is aimed at young fans of the recent bestselling book Goodnight Stories for Rebel Girls.
Publisher Wren & Rook describes the “rebelliously radical and incredibly inspiring” sisters as no ordinary children.
A spokesman said: “Growing up on the wild, lonely moors of Yorkshire, they have nothing to entertain them but their imaginations and each other.
“So they invent extraordinary imaginary worlds, full of wars and love stories, soldiers, heroes and villains, ruled over by powerful women.
“As they grow up, the Brontës discover that the real world isn’t such a great place to be a girl. But they are so determined that their voices be heard, they overcome almost unbeatable odds to be bestselling authors.”

And more for next year as The New York Times announces American Ballet Theater's 2019 Spring Season, which will include:

Also new for spring (June 4-June 10) will be the British choreographer Cathy Marston’s “Jane Eyre,” which received its world premiere in 2016 with Northern Ballet. (Peter Libbey)

Dallas News reviews a local production of The Moors.

Of course, while Theatre Three's lobby may teem with tricks, treats and the occasional ghost, The Moors is not about Halloween — far from it. The 2017 off-Broadway play by Jen Silverman is a dark comedy in a wild, woman-centered world of the windswept romantic novels conjured by the Brontë sisters, particularly Emily Brontë's Wuthering Heights and Charlotte Brontë's Jane Eyre.
Taking pinches of plot from those classics, Silverman serves up a deliciously twisted story about Emilie, an independent governess in the Jane Eyre vein who shows up at the home shared by the sternly forbidding Agatha and her silly sister, Huldey. Emilie, a romantic like the characters in Wuthering Heights, yearns to meet the women's mysterious brother, Branwell, whom Emilie knows only through correspondence. (Nancy Churnin)

A columnist from The National thinks it's time we put 'an end to the Disney myth in which girls are defined by their looks'.

It is possible to create strong female characters, whose worth is not based solely on the way they look. As a teenager, I recall being taken aback reading Charlotte Brontë’s idea behind the central character in her novel Jane Eyre. Brontë said that Jane was written to be “a heroine as plain and as small as myself”.
In doing so, she challenged stereotypes of women and showed that readers could could fall in love with a heroine who was not conventionally beautiful.
Jane Eyre was published in 1847. Now, more than 170 years later, it is shocking to think how little society has progressed. We don’t need nostalgia for a world of pretty princesses.
Instead, we need stories about women who are strong, capable, funny and smart, regardless of how they look. (Shelina Janmohamed)

Varsity discusses 'the colonial mindset' in the canon with a second year English student at Wolfson College.

He also alludes to how Heathcliff, from Emily Brontë’s Wuthering Heights, is described as a “dark-skinned gypsy in aspect”. Fergus argues that the language of racism allows us to interpret the text from within, particularly in how the “text understands its own kinship structure”. Fergus points out that this language of the ‘other’ provides a means of understanding the low social position Heathcliff occupies, and how it allows readers to understand him as being both within and without the novel’s aristocratic household. An understanding of the tension defining Heathcliff’s status in his household and his family members can only be achieved via the language of racism. (Jonathan Chan)

The Star includes Guillermo del Toro's Crimson Peak on a list of 'The 21 best horror films of the 21st century, so far', describing it as

An exceptionally vivid Gothic romance, part Poe and part Brontë, from Guillermo del Toro. (Rafer Guzman)

The New Yorker imagines what the 'memorabilia rejected by the Hard Rock Café', including

The entire forest and field in which Kate Bush shot the video for “Wuthering Heights.” (Colin Stokes)

The Silver Petticoat Review looks into how Mr Rochester's dog Pilot has been cast in the different adaptations of Jane Eyre.