Emily Brontë's vision

The Saturday Paper describes The Woman They Could Not Silence by Kate Moore as follows:

Beginning with a teaser of a prologue, from the very outset this biography reads more like a novel. In fact, it reads like a Gothic romance, a cross between Jane Eyre and The Mysteries of Udolpho, complete with patriarchal villains, madness, incarceration and a sympathetic heroine. Yet the facts of this story are, incredibly, true. (Maria Takolander)

The Informant interviews the film director Jane Campion.

Witney Wade: How have you resisted all these years?

J.C.: I’m not the type to let myself down, that’s what saved me. But I thought of my favorite novelists like Emily Brontë, who undoubtedly had more difficulty imposing her vision on her time than I did. I always told myself that no one could steal from me, nor what I had to say, nor what I was suffering inside of me. And I always refused to give up, because I knew that if I gave in, it would be over for me. You wouldn’t see me direct superhero movies, even if you offered me a fortune! I found the same design on Julia Docornau. She was the one who gave me the Lumiere Prize in Lyon. 

This Brattleboro Reformer columnist writes about being a feminist.

No doubt in the 60s feminism was my faith. I know I grabbed the books as fast as they were printed: Adrienne Rich, Audre Lorde, Paule Marshall, June Jordon, Toni Morrison, Margaret Atwood. And those that were history rediscovered: Elizabeth Cady Stanton, Anne Bradstreet, Emily Dickinson, Charlotte Brontë, Zora Neale Hurston. By god, we were women and we were going to “dream of a common language” and save the world. (Lynn Martin)

Visão (Portugal) recommends the two current exhibitions on Paula Rego in Portugal.

1. Saudades, Galeria 111, Lisboa

Aartista radicada em Londres tem fortes ligações à galeria fundada por Manuel de Brito (1928-2005), e Saudades assume-se como homenagem tintada pela amizade. São perto de três dezenas de obras, abrangendo temas diversos, técnicas, e histórias pessoais da família Rego, de 1980 (desde Girl and Dog) até aos anos mais recentes (caso de Maria Madalena, 2017). A exposição é uma cápsula temporal, aferindo a transformação do seu traço naturalista e figurativo, a expressividade dos corpos em séries como a dedicada a Jane Eyre de Charlote Brontë, as cenas autobiográficas que revelam a doença prolongada do marido da artista, Victor Willing (1928-1988), os apontamentos surpreendentes – como Futebolista (2010), com uma Paula Rego em poses desportivas; ou as três obras marcantes dedicadas a Maria Madalena, pinturas recuperadas do ciclo da Virgem Maria (Anunciação, 2002), que remetem para a voz (ou a falta dela) das mulheres – uma militância constante da artista. (Sílvia Souto Cunha) (Translation)

The Telegraph and Argus features the new manager of the Black Bull in Haworth.