"They touched this, wore that, wrote here"

Elucid Magazine interviews the writer Kelly Moran but she or the journalist have problems with the authors and the names of the books:

What are some of your favorite books or authors, and how have they influenced your writing?

(...) Books that resonate with me are also endless. “It” by Stephen King because of the attribution to the necessity of friendship and facing your fears. “Withering Heights” (sic) by Charlotte Brontë (sic) due to the haunting portrayal of loss and suffering. “I Know Why the Caged Bird Sings” by Maya Angelou because of the vivid depiction of loneliness, bigotry, and how literature can save you by way of escape. All of Jane Austen’s novels for their satire, feminism considering the times, comedy, angst of love, and the essence of human nature. I’m also incredibly fond of Kristin Higgins as a person. I’ve done a couple of author events with her in the past. She’s incredibly kind, funny, and relatable. Her books are outstanding. Every single title she’s penned is humorous, has imperfectly realistic characters, and plots that will have you bawling until you laugh and back again. It’s difficult to pick, but “The Next Best Thing” is probably my favorite.

New Statesman reviews Joanna Bigg's book A Life of One's Own:

When Woolf re-read George Eliot for an essay, she began with the “autobiography” produced by Eliot’s widower, and told a friend: “I can see already that no one else has ever known her as I know her.” Woolf kept a letter of Eliot’s framed over her mantelpiece; Plath made pilgrimages to the Brontë parsonage and marvelled in her journal: “They touched this, wore that, wrote here.” (Anna Leszkiewicz)

The Sunday Times discusses how the name 'Emily' has become a pop culture phenomenon:

Because, as all Emilys know, there is always another Emily. The name has been a fixture in the UK and US top ten baby names lists since the Nineties, leading to a generation of adult Emilys — and a pop culture-scape permeated by characters with the name.

Don’t believe me? Consider Emily Cooper of Emily in Paris, a character who embodies her name’s no-chill personality to the perfect degree. Before Aubrey Plaza was Harper in The White Lotus, she was Emily Benetto in Emily the Criminal. Phoebe Bridgers, with her music group Boygenius, apologises to one of us in the song Emily I’m Sorry.

Some Emilys shorten or change their name, such as EmRata and Emma Stone (born Emily Jean) — they can abbreviate but they can’t hide. And let’s not forget about Emilys Brontë, Dickinson, Post, Mortimer, Blunt and Gilmore, only one of whom is fictional. (Emily Cronin)

Inside the Magic lists some of the favourite films of the director Chloe Zhao:

Wuthering Heights 2011

“[Director Andrea Arnold] has a very strong sense of place. When you watch ‘Wuthering Heights,’ you know this filmmaker isn’t just staring at her actor. She’s constantly looking. ‘What else around us can we capture?’ And the way the characters are interacting with this place says so much of their innocence and love for each other.” (Jeremy Hanna)

The Herald talks about an Edinburgh production of The King and I:

The King and I, which first premiered on Broadway in 1951, tells the story of Anna Leonowens, a governess who sets off to look after the children of the King of Siam. So far, so good. We love stories of governesses who manage to mould children into just the right shape (Mary Poppins, Maria in the Sound of Music, Mrs Doubtfire). We even love stories of governesses who are a little less selfless (Jane Eyre, Vanity Fair). (Brian Beacom)

The Philadelphia Enquirer reviews the new Taylor Swift tour Eras:

The Eras show is episodic as it efficiently moves from album to album, with impressively detailed set pieces on a journey back and forth through time. Most thoroughly manifested was the segment from 2020′s folklore, with Swift and her band inside a cabin with a moss-covered roof and smoking chimney. It brought to life a fantasy Swift described as “the escapism I needed during the pandemic … picturing myself like a pioneer woman in a Victorian nightgown writing on parchment with a quill.” She moved about during the (perhaps too many) seven songs from the album in a gossamer Alberta Ferretti dress, looking like a heroine from Wuthering Heights. (Dan DeLuca)

El Comercio (Perú) and motherhood and writers:

 En su radical ensayo «Contra los hijos» la chilena Lina Meruane cuestiona la maternidad por afectar la producción creativa, y repasa una relación de magníficas escritoras que no necesitaron convertirse en madres para realizarse personalmente: Emily Dickinson, Virginia Woolf, Simone de Beauvoir, Jane Austen, las hermanas Brontë. (Renato Cisneros) (Translation)

Il Foglio (Italy) talks about Anne Carson's Glass, Irony & God:

Per espandere il ventaglio dell’osservazione, Anne Carson dirige lo sguardo verso la madre e chiede la protezione di un’altra poetessa. Nella piccola casa della madre, oltre cui si estende la ghiacciata brughiera canadese, incontriamo “Tre donne silenziose a un tavolo in cucina”. La terza è Emily Brontë: per comprendere la natura della propria perdita, ha bisogno di vedere come s’intreccia con la furia, la sottomissione al dolore e l’indiscusso “orrore di grande oscurità” che visse Emily. (Michele Neri) (Translation)

Na Temat (Poland) recommends Wuthering Heights 1992 for the viewers of Bridgerton's Queen Charlotte:

 Wichrowe wzgórza

Gotycka powieść "Wichrowe wzgórza" Emily Brontë rozgrywa się w latach 1770-1802 w wietrznym i kapryśnym (jeśli chodzi o pogodę) hrabstwie Yorkshire. Pan Earnshaw przygarnia pod swój dach młodego Cygana Heathcliffa, który bez pamięci zakochuje się w jego córce Catherine. Panienka oznajmia sierocie, że nigdy nie wyjdzie za kogoś tak ubogiego jak on. Po latach Heathcliff wraca do domu z potężnym majątkiem, który – jak możemy się domyślić – nie jest w stanie zasklepić jego starych ran. 

"Wichrowe wzgórza" cieszyły się licznymi adaptacjami, tyle że większość z nich została zjedzona przez krytyków filmowych. Za jedną z najlepszych interpretacji książki uznaje się melodramat z 1992 roku z Ralphem Fiennesem i Juliette Binoche.  (Zuzanna Tomaszewicz) (Translation)

Les Echos (France) reviews the essay Pour en finir avec la passion by Sarah Delale, Elodie Pinel and Marie-Pierre Tachet:

En refermant cet essai, vous ne lirez plus un roman d'amour tout à fait de la même façon… Pour en finir avec la passion, l'abus en littérature décortique en règle plusieurs grands classiques célèbres (Les Hauts du Hurlevent, La princesse de Clèves, La duchesse de Langeais, Manon Lescault, La prisonnière, L'amant...) pour montrer combien, souvent, ce qui apparaît comme une belle histoire d'amour dissimule en vérité le récit d'une manipulation, d'un harcèlement, d'un viol ou d'une tentative de destruction. (Laura Berny) (Translation)

Editorale Domani republished an interview with Carmelo Bene from 1997:

Giancarlo Dotto e Curzio Maltese: Abbiamo omesso qualcosa di fondamentale?

C.B.: Ho taciuto Cime tempestose che è l’opera romantica più importante d’Europa, e forse non solo romantica. Georges Bataille mette quello di Emily Brontë fra gli undici libri della storia umana. Sono d’accordo. (Translation)

 Pauline Ghyselen in The Brussels Brontë Blog reviews the film Emily.