"Red House is as essential to telling the story of this county's past as the Brontë Parsonage"

The Yorkshire Post is in favour of the campaign for the reopening of the Red House Museum:

Good luck to the campaign to reopen Red House Museum, in West Yorkshire, which has such strong links to one of our county’s most beloved writers, Charlotte Brontë.
The Brontë sisters are a hugely important part of Yorkshire’s heritage.
The tourists who throng the streets of Haworth every year come to pay homage to them, and the village has a large part of its livelihood to thank that for.
But the story of Red House is a reminder that preserving and celebrating heritage involves many elements.
Smaller, less frequented sites like this one in Gomersal are, in their own way, just as essential to telling the story of this county’s past as the larger, more popular attractions such as the Brontë Parsonage.
Yorkshire’s cultural heritage is especially rich and to do it justice, it is important that sites that contribute to that are preserved for the community and their history celebrated.

The Guardian republishes the original review of Wuthering Heights 1920, the first (and sadly lost) film version of the novel:

To film such a book as Wuthering Heights is something like taking photographs on a dull day. Anyone can make a success of snapshots in sunshine, and so, too, any ordinarily clever producer who weaves his film out of flowers and young love and happiness is pretty sure that the result will be attractive. But the rough gloom at Wuthering Heights, where there is neither hero nor heroine, moral nor mirth, makes far heavier demands. It is a credit to the British film industry that the screen version of the book shown yesterday in Manchester should be so good. In many ways it is as fine a production as any that this country has achieved. (Read more)

Vox reviews the latest episode of the season 3 of The Handmaid's Tale. Spoiler alert ahead:

Emily Todd VanDerWerff: And what about the death of poor Mrs. Lawrence, who ended up being a character the show used as a “make the story more tense” card a bit too often but who also ended up being weirdly tragic in the end? At times, it was almost like a Brontë novel had infected the world of Margaret Atwood, and I kinda liked it.
Constance Grady: Poor Mrs. Lawrence sometimes feels to me like a symbol of all the things that I don’t like about where The Handmaid’s Tale has gone, only I honestly don’t mind her in terms of what she brings to the table as a person. It’s just that she is, as you say, Emily, so clearly a character out of a Brontë novel: She’s a gothic symbol, a madwoman in the attic.

CBR lists feminist comics to read:

Hark! A Vagrant by Kate Beaton
The comics are populated with both literary and historical figures, including the likes of Sherlock Holmes and the Brontë Sisters. Her caricatures are humorous, witty, and cerebral, with the drawings all fitting within the space of three to six panels. It also brings attention to several women who are often ignored in mainstream historical accounts. (Archita Mittra)

The Jamaica Observer lists novels by Caribbean authors:

Wide Sargasso Sea by Jean Rhys
After author Charlotte Brontë told us the classic novel Jane Eyre, which seems to inadvertently highlight several colonial ideologies, our amazing Dominican author Jean Rhys provides a more Caribbean perspective. Wide Sargasso Sea is more than a sequel, it is a clap back to all things neo-colonial, and the more familiar perspective of a Caribbean protagonist is sure to be relatable to you. (Fabrizio Darby)

Longreads discusses inherited biases:

If you attended an American public high school, chances are your reading lists in English class contained the same names as mine did: Fitzgerald, Steinbeck, Hawthorne, Melville, Twain. Vonnegut, Salinger, Hemingway, Kesey, Huxley, Orwell, Bradbury. Maybe Brontë, but only Charlotte’s Jane Eyre, never Villette. Perhaps George Eliot, Margaret Atwood, or Toni Morrison, if you were lucky. (Kiley Bense)

Berfrois discusses final sentences in literature:

Some of the most exemplary of last sentences gesture towards the finality of apocalypse by emphasizing how singular, detached, and endlessly regenerative each eternal second is. Emily Brontë, for example, ends Wuthering Heights with the apocalyptic intimations that both the end of a novel and death require, writing “I lingered round them, under the benign sky; watching the moths fluttering among the heath, and hare-bells; I listened to the soft wind breathing through the grass; and wondered how anyone could imagine unquiet slumbers for the sleepers in the quiet earth.” Brontë provides an instance of what I’ve called elsewhere the “crystalline moment,” that is that the final lines of Wuthering Heights provides access to that singularity which is the present moment, one which expresses a certain sublime infinitude and compels that kaon-like sense of what it would feel like to have an eternal perspective, as if you were God. All of the quiet details, the “moths fluttering,” the “soft wind breathing through the grass,” supplies that sense of timelessness which is hidden within every moment, but which only transcendent art can make accessible. Furthermore, Brontë’s sentence makes visible how static an end can be, where the “benign sky” is like an event-horizon you approach closer and closer towards, but never reaching – the same way that we can never truly experience our own deaths.
As different a writer from Brontë as could be imagined would be Jack Kerouac, there being little correspondence between the Regency and Beat literature. When it comes to final sentences however, On the Road does something not unlike Wuthering Heights in terms of distilling the calmness implicit within the final moment (while remembering that all sentences, and thus all literatures, are fundamentally concerned with the question of moment). (Ed Simon)

Cultured Vultures reviews the film More Than Blue:

Or maybe this is what I believed, before the movie proved me wrong. Then I realised that I had been proven wrong many times before. Literature and film are littered with examples of lovers being unable to move on once their loved one was gone; Romeo and Juliet, Wuthering Heights to name but two. (Natasha Alvar)

Metro mentions Emily Brontë in an article about Toni Morrison:

As a precocious reader, I’d been handed books by Charles Dickens, William Golding and Charlotte Brontë. Not once did it occur to my teachers that I’d have appreciated a reflection of myself in what I read. (Vanessa Kisuule)

Franceinfo (France) reviews Ramón K. Pérez & Aline Brosh McKenna's Jane:

 Au talent de Charlotte Brontë est venu s’ajouter, comme une deuxième couche, le talent des deux auteurs responsables et coupables de l’adaptation, la scénariste et réalisatrice Aline Brosh McKenna (Le diable s’habille en Prada...) et le dessinateur de comics multiprimé Ramon K. Pérez (Jim Henson’s Tale of Sand…). (...)
Parfait pour la plage ! (Eric Guillaud) (Translation)

Tyler Has Words post about relationships and Wuthering Heights. Medium publishes Wikimedia Foundation’s Heart of Knowledge Contest Grand Prize Winner: Pakistan, Love, and Jane Eyre by Hina Husain.