'Her death is a baby-cry on the moor'

Inspired by a new exhibition of her work in Cornwall (Under A Turbulent Sky at Kestle Barton), The Times features the work of brilliant photographer Fay Godwin, including the following image and context:

In her 1978 image of Wadsworth Moor in West Yorkshire, Godwin contrasted the quick movement of a stream with time slowing down in the drip of melting ice. It accompanied Ted Hughes’s poem Emily Brontë, in which he described the novelist’s fatal fascination with the moors.

Here's the poem:

The wind on Crow Hill was her darling.

His fierce, high tide in her ear was her secret.

But his kiss was fatal.

Through her dark Paradise ran

The stream she loved too well

That bit her breast.

The shaggy sodden king of that kingdom

Followed through the wall

And lay on her love-sick bed.

The curlew trod her womb.

The stone swelled under her heart.

Her death is a baby-cry on the moor.

Bubble BD (France) reviews Paulina Spucches's Brontëana.

Dans Brontëana, l’autrice donne à voir cette vie austère en dehors de l’écriture, entre les positions de professeures ou gouvernantes qui conviennent, celle oisive du frère et la religion du père. 

Pour illustrer ces vies différentes sur plusieurs années, Paulina Spucches se donne beaucoup de liberté dans les compositions, le dessin et la couleur. Les planches sont réalisées à la gouache, en couleur directe et alternent entre pleines pages, planches découpées en cases, cases imbriquées, scènes de rêves et compositions libres. La mise en scène varie selon les représentations, s’il faut illustrer les jeux littéraires, les passages biographiques, la maladie ou les métaphores graphiques. 

La dessinatrice nous embarque par ses choix de couleurs, inspirées par les paysages locaux lors de ses voyages pour se documenter sur place, et sa palette qui colle avec cette époque du romantisme littéraire à laquelle appartiennent les romans des Brontë. (Thomas Mourier) (Translation)

It is also announced that on Thursday 21 September, there will be a live interview with the author herself.

Far Out Magazine looks into 'The films that inspired Chloé Zhao's visual world'.

On Andrea Arnold’s Wuthering Heights adaptation, she praised Arnold’s “strong sense of place” on the gothic romance. “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.” (Poppy Burton)

Collider reviews the film Widow Clicquot.

Bennett doesn't shy away from the painful emotions of mourning. In one scene, she grieves François in a way that gives Heathcliff's mourning of Catherine a run for its money. (Therese Lacson)

The Spectator discusses the whole Russell Brand debacle and how some of his 'gags are coming back to haunt him'. He is described as follows:

Brand is an anthropological oddity, a mass of contradictions. At first glance, he’s as sexy as Heathcliff. Those cavernous, tortured eyes, that brooding, sculpted profile, the dark crown of uncombed hair, and the ripped-open shirts that reveal a suntanned torso hugged by a silver studded belt. And physically he’s not intimidating. His vocal pitch is high, girly even, and his mannerisms suggest the fey and sexually inert Kenneth Williams. He’s a hunk who talks like a hair-dresser. He affects a dated Dickensian accent and he has a preference for scholarly vocabulary, and these quirks which place him in the harmless world of the music hall. (Lloyd Evans)

Diario de Sevilla (Spain) features the newly-published essay Las mujeres en Austen by Catalina León.

Austen, expone León en este ensayo, "es una isla", se atreve a desmarcarse de "lo que se escribía en su momento", rompe "la estructura del relato aceptado por todos para crear un discurso propio, innovador, rebelde incluso". Pese a ello, su nombre no entró en el canon literario, "no se trata en la asignatura de Literatura Universal. Yo no la estudié ni en el instituto ni en la Universidad", lamenta la investigadora, que añade que "las escritoras que vinieron después, las Brontë, George Eliot o Elizabeth Gaskell, le hicieron un flaco favor y no le dieron su sitio. Esa percepción no variará hasta que Virginia Woolf no dé el primer golpe en la mesa y la reivindique". (Braulio Ortiz) (Translation)