The Telegraph reviews Miranda Seymour's
I Used to Live Here Once: The Haunted Life of Jean Rhys.
By the late 1940s, though, Rhys had fallen so far from fashion that many assumed she was dead. After cajoling from admirers Francis Wyndham and Athill, who regularly visited the reclusive Rhys now living in Devon, in 1966 she eventually produced her masterpiece, Wide Sargasso Sea, a dream-like retelling of Jane Eyre from “the other side” – the perspective of the West Indian wife of Mr Rochester. In the 1980s, postcolonial critics seized on it as an early example of the “empire writing back”.
The irony of her elevation to postcolonial feminist icon is that, as Seymour notes, Rhys was hardly a progressive. (Sameer Rahim)
Fans might also be interested to learn that Celtic Frost drew from Emily Brontë for the Into the Pandemonium's third song, "Inner Sanctum." (Jillian Drachman)
The Guardian asks musician Peaches all sorts of music-related questions such as
The song I do at karaoke
I can sing Wuthering Heights by Kate Bush so perfectly, it makes people’s jaws drop and go: “Wait! I don’t understand!” (Rich Pelley)
The Times publishes the obituary of the writer and journalist, Elspeth Barker:
She was very different from Barbara Trapido. After all the group sessions, we had one afternoon “off” when we were meant to work “solo” on a writing assignment. Instead I persuaded a female student on the course to accompany me to the Brontë museum at Howarth, which was a 15-mile drive away. The next morning, Trapido was very censorious when we didn’t hand in our homework and gave us a lecture about what was the point of coming on the course if we were going to truant etc. Elspeth just said “bloody good idea”. (Nigel Williamson)
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