The Telegraph and Argus celebrates the opening of the public toilets at the Brontë Parsonage Museum at last.
New fully-accessible visitor toilets and changing provision have opened at Haworth's Brontë Parsonage Museum.
Included are four individual self-contained cubicles, and an accessible toilet for people in wheelchairs or with prams, which also features baby changing facilities.
The provision includes a Changing Places toilet, which offers extra space and equipment such as a hoist, moveable changing bed and wash down facility.
There's also a sedum-planted roof to promote biodiversity.
Funding for the project was received from Arts Council England’s Capital Investment Programme. And the museum was one of 21 organisations across the district to benefit from the £3m Bradford 2025 Cultural Capital Fund. [...]
Rebecca Yorke, director of the Brontë Parsonage Museum, says: "We're so pleased to finally be able to provide our visitors with the facilities expected of a world-class museum. Our previous lack of toilets was a significant barrier to access, and we are immensely grateful to Bradford Council, Bradford 2025 and Arts Council England for the funding to make its removal possible."
Dan Bates, executive director of Bradford 2025 UK City of Culture, says: "The Cultural Capital Fund was created by Bradford Council and Bradford 2025 to invest in cultural infrastructure across the district, improving amenities so that visitors and communities can have access to – and participate in – activities during our time as UK City of Culture and for many more years to come.
"The Brontë Parsonage Museum is one of the jewels in Bradford’s cultural crown, and we are extremely happy to have played a part in bringing these new facilities to Haworth."
The scheme received £100,000 through the Arts Council England Capital Investment Programme.
Pete Massey, for Arts Council England, says: "I’m delighted we were able to award this funding towards the creation of enhanced visitor facilities at the Brontë Parsonage Museum. These environmentally-friendly improvements will increase accessibility to the building for everyone, and in particular for disabled and older people and those with young children, meaning that more visitors can experience everything that the museum has to offer.”
Councillor Sarah Ferriby, Bradford Council's portfolio holder for healthy people and places, says: "It's good to see that the investment in City of Culture is having practical benefits at a local level, as well as supporting our tourism offer." (Alistair Shand)
Soon Oberon was in Hollywood under a shared arrangement with the producer Samuel Goldwyn, garnering an Oscar nomination for “The Dark Angel” (1935)—making her in retrospect the first Asian actor to be so honored—and working her way up to the career peak of “Wuthering Heights.” During the production of the William Wyler film, Oberon’s co-star Laurence Olivier subjected her to constant verbal abuse on the set. He’d hoped the role would go to his girlfriend Vivien Leigh. (Ty Burr)
La Vanguardia (Spain) discusses spin-offs, prequels and retellings (oh my!).
La idea de partir de una obra canónica y volver a contarla desde otro punto de vista, dejando al descubierto los puntos ciegos del original, no es nueva, y ha producido obras que ya son a su vez canónicas. En 1964, una anciana y enferma Jean Rhys, que llevaba décadas desaparecida del mundo literario y estaba viviendo en una barraca precaria en el Sur de Inglaterra, publicó El ancho mar de los Sargazos. Esta precuela de Jane Eyre toma el personaje de Bertha Mason, la ex mujer de Rochester encerrada en el desván de la casa, una mujer a la que tienen por loca y peligrosa, y le da un pasado y unas razones. Bertha, en la versión de Jean Rhys, ni siquiera se llamaba Bertha, sino Antoinette, y es una jamaicana blanca, descendiente de los propietarios de esclavos (como la propia Rhys, que nació en la isla caribeña de Dominica), a los que llamaban cucarachas blancas, con una historia de desgracias a sus espaldas, y marcada por el trauma. Trauma a secas y trauma intergeneracional, el que se hereda debido a sucesos históricos. Puestos a leer a Antoinette con los ojos de la actualidad hasta podríamos decir que ha sufrido luz de gas a manos de Rochester. Hay una línea recta entre la paranoia obsesiva de esa mujer y el ninguneo al que le somete su marido.
El ancho mar de los Sargazos sirvió, a la corta, para aliviar los últimos años de su autora, que falleció en 1979, con 88 años que contaban casi como 288 por la intensidad con la que vivió y las veces que la dieron por muerta. Y, a la larga, para reformular un tropo novelístico, la loca del desván, y señalar a la vez un camino que seguirían otros autores, la revisión feminista y poscolonial de un texto victoriano.
(Begoña Gómez Urzaiz) (Translation)
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