Emily Brontë flowers all summer

News Tribune reviews Mexican Gothic by Silvia Moreno-Garcia.

It is rare that a title so succinctly describes the book, but in this case, "Mexican Gothic" works equally well as a descriptor as it does a title. While set in 1950s Mexico, the remote, crumbling manor feels straight out of a Brontë novel. The prose, by Silvia Moreno-Garcia, is lush and evocative. Noemi is as smart as she is sophisticated, making her a protagonist that readers can really root for. The plot is full of unexpected twists and turns while slyly criticizing the perils of colonialism. (Courtney Waters)

An article on roses during the summer in the Daily Mail includes a reference to David Austin's Emily Brontë rose.

Thanks to the great rose breeder David Austin, you can buy beautiful old-style roses with modern attributes. The best of those are disease-free and repeat-flowering.

Modern Rosa Emily Brontë for example, resembles antique 'centifolia' types. But unlike true old roses, she flowers all summer. (Nigel Colborn)

Welwyn Hatfield Times features the new film adaptation of The Secret Garden.

“For the interior of Misselthwaite we wanted a big, empty, latent, haunted space for Mary to step into,” reveals [director Marc] Munden.

“That’s something that you see in stories like Jane Eyre and Rebecca.” [...]

“There are echoes there of Jane Eyre, clearly such an influence on the original book.” (Alan Davies)

Talia's Blog posts about Jane Eyre. The month of August in the Brontës' poetry and prose on AnneBrontë.org. Finally, an alert from the Framingham Public Library (Framingham, MA):

Literature, the Business of a Woman's Life, with Dr. Helen Heineman
The Writings of Jane Austen, Charlotte Brontë and Frances Trollope
August 10, 7-8pm, via Zoom

In 1836, when Charlotte Brontë sent Robert Southey, the Poet Laureate some of her poems, requesting his opinion, he replied: “Literature cannot be the business of a woman’s life...The more she is engaged in her proper duties, the less leisure will she have for it,” strictly counseling her to give it up. Some years earlier, Jane Austen published her works anonymously. Charlotte, ignoring the Laureate’s advice, published with a pseudonym. In her fifties, Frances Trollope added ‘Mrs’ to her name, perhaps to make herself more respectable. Later, Mary Anne Evans hid under the masculine name George Eliot. This talk will review the difficulties presented to the woman writer in the great age of the novel, and analyze their lives and works achieved within this context.