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Saturday, June 03, 2023

Saturday, June 03, 2023 10:05 am by Cristina in , , , , ,    No comments
The Yorkshire Post lists some houses for Haworth.
The first settlement in Haworth was originally mentioned in 1209 and it was first recorded as ‘Haworth’ on a 1771 map. In 1819, local parish priest Patrick Bronte moved into the area in 1850 along with his family, including his daughters Charlotte, Emily and Anne.
A large part of the village’s tourism status comes from its connection with the Brontë sisters as well as the heritage railway and collection of charming independent businesses, cafes, hotels and pubs, including the Black Bull, where Branwell Brontë frequented. Haworth is commonly referred to as Brontë Country and is close to the major cities of Bradford and Leeds.
Haworth was granted Fairtrade Village status in November 2022. Fortunately, there are plenty of houses for sale that are walking distance from the Brontë home. (Liana Jacob)
In The Guardian, Joanna Biggs discusses how her divorce shaped her 30s.
From a distance, I can now see something in the attempts I was making. I was trying to keep a space open. I was trying not to decide quite yet. For so long I had been in the grip of the marriage plot, the from-ballroom-to-altar storyline developed in 18th- and 19th-century novels such as Samuel Richardson’s Pamela, Jane Austen’s Pride and Prejudice, and Charlotte Brontë’s Jane Eyre. In literary-critical terms, this was simply a revival of medieval romance for the middle classes gorging on modern print media for the first time. Ennobling love, once reserved for damsels and knights, was now for everyone. Can Romeo and Juliet get their parents to accept their marriage? Would Lizzie take Wickham or Darcy? Will Angel find out that Tess isn’t a virgin before their wedding night? Will Anna go back to Karenin? (Even novels of adultery were in thrall to marriage.) Matrimony was a goal, not a state: for centuries it was what novels, plays and movies hurtled towards.
Il Libraio (Italy) features the poetry of Anne Carson.
Due suoni (“Nei miei sogni sento il ticchettio”, così recita il primo verso) che sono anche due saggi: Il saggio di vetro in entrata e Il genere del suono in uscita, a racchiudere, quasi a circondare atre esperienze che sono altrettante esperienze di senso e di sensi: La verità su Dio, Uomini della tv, La caduta di Roma, Guida di viaggio, Il libro di Isaia. Ma si tratta di due saggi molto diversi: in versi e molto narrativo il primo, che si apre quasi con una dichiarazione lirica (Io), una lirica la cui soggettività – che è appunto, storicamente, la sua caratteristica principale – si diffonde, si disperde, si confonde nel testo, per sovrapporsi con Emily Brontë, la cui lettura accompagna la poeta-narratrice e si fa occasione di una identificazione straniante, quasi una sorta di presta parola per elaborare il trauma della perdita (la fine di un amore, il distacco dai genitori). [...]
Lo sguardo diviene, così, non solamente uno strumento di percezione, ma quasi un luogo da abitare: “Perché continuare a guardare? / Alcune persone guardano, è tutto ciò che posso dire. / Non c’è nessun altro posto dove andare”. Così gli occhi possono diventare anche quelli del paesaggio, soprattutto quelli della brughiera, luogo materno, talvolta ostile, con cui l’io si scambia i connotati. Ma questi occhi, questo sguardo, può essere anche quello di qualcun altro, come appunto Emily Brontë, la cui lettura è insieme cura, dispossessione del sé e avvicinamento agli altri: “Ho Emily aperta a p. 216 appoggiata sulla zuccheriera / ma di nascosto sto guardando mia madre”. (Giuseppe Carrara) (Translation)
El Periódico de España (Spain) describes the sky over Madrid a few days ago:
El cielo parecía el de una novela de las hermanas Brontë, con unas nubes amenazantes listas para arruinarlo todo. (Jacobo de Arce) (Translation)
Brussels Brontë Blog has a lovely post by Jean de Wolf which is both a review of Frances O'Connor's Emily and a display of a beautiful model of Wuthering Heights.

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