The Yorkshire Post cautions against the project to build a windfarm at the heart of Brontë country.
Saudi-backed developers World Wide Renewable Energy Global Ltd want to build the windfarm on more than 2,300 hectares at Walshaw Moor, between Hebden Bridge and the Brontë stronghold of Haworth. [...]
However campaigners say it will impact endangered birds, like curlew, lapwing, skylark and merlin, and exacerbate already serious local flooding.
The huge scheme would need 22 miles of access roads and 160 tonnes of reinforced concrete for each of the gigantic turbines.
At 200m tall (655ft) the turbines would be 20m taller than London’s 41-storey The Gherkin. (Alexandra Wood)
The New York Times does a recap of
House of the Dragon Season 2, Episode 3 (beware of spoilers!)
The one-eyed prince responds to his brother and liege’s taunting in a bustling brothel by standing up buck naked and walking by as though completely unbothered. The young man seems to vibrate on a different frequency than his family does; like an evil Jane Eyre, he has a touch of the unearthly about him, conveyed skillfully by the actor Ewan Mitchell. (Sean T. Collins)
While
Time discusses Season 2 finale of Anne Rice’s
Interview with the Vampire (again, beware of spoilers!)
Look around at the pop-culture landscape of 2024, and you will see that the genre we call romance is ubiquitous. The self-aware love stories of Emily Henry and a romantasy boom that has filled best-seller lists with series by Rebecca Yarros and Sarah J. Maas are propping up a weakened publishing industry. Mediocre rom-coms like Anyone But You and frothy shows like Bridgerton have become formidable phenomena. And from heady courtships to bitter breakups, the songs of cultural monolith Taylor Swift comprise a catalog of love in all its many moods.
What’s curious about this trend is that, for all its diversity of style and content, from realism to historical fiction to fairies and beyond, the reign of romance has come without a substantive revival of Romanticism—the artistic sensibility that suffused the foundational works of late-18th and early-19th century writers like Blake, Coleridge, Byron, Keats, and the Shelleys, and went on to inspire such Victorian masters as the Brontë sisters. Romantic literature isn’t all love stories; the cohort rejected the cold reason and empiricism of the Enlightenment in favor of the irrational, the supernatural, the emotional, and the deeply subjective. (Judy Berman)
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