Bradford has a rich literary history shaped by women writers who made women the centre of their storytelling. From the Brontë sisters whose female protagonists were independent, fearless and revolutionary, such as Charlotte Brontë’s Jane Eyre, Emily Brontë’s Catherine Earnshaw and Anne Brontë’s Helen Graham, to Times bestselling author Saima Mir, whose lead character Jia Khan of The Khan trilogy dismantles the deeply-rooted patriarchal institution of Bradford’s baradari, women writers from Bradford are gifted in their ability to tell powerful, eye-opening stories about women, offering both nuanced critiques of societal conditions and challenging norms. [...]
It was while living in Bradford that I penned by own book, Hijab and Red Lipstick, which was recently released as a second edition. While my book is not set in Bradford, the city certainly nurtured my writing. From long hours spent writing at Waterstones café, whose staff diligently kept me fuelled with coffees and teas, to the advice and support I found at the Brontë Festival of Women’s Writing in Haworth, and the opportunities I have had as both an attendee and speaker at Bradford Literature Festival, the city really has a lot to offer for women writers like me. (Yousra Samir Imran)
Parade features Natasha Lester's Jane Eyre retelling, The Chateau on Sunset.
One of 2026’s most buzzed-about historical novels is heading straight into the heart of old Hollywood glamour with a tinge of darkness.
Bestselling author Natasha Lester is set to release her latest, The Chateau on Sunset, on June 2, 2026, and the novel is already being described as one not to miss thanks to its bold premise: a feminist reimagining of Jane Eyre set inside the infamous Chateau Marmont during Hollywood’s Golden Age. (Nina Derwin)
People is 'Still Spellbound by Margot Robbie’s Makeup in Wuthering Heights' and has an article on how to recreate it.
Film Comment reviews the film in an article titled 'Withering Lows'.
To her credit, Fennell understands that it’s more fun to smash a dollhouse than to construct one meticulously. Her sledgehammer approach to party scenes in her previous films is rivaled by Wuthering Heights’s opening sequence of a public hanging. Though we are supposed to be in the late 18th century, the mood is more medieval. After a few moments of the hanged man’s dying gasps, a Charli xcx song floods the soundtrack (the truly terrifying track “House,” which she recorded with John Cale), and the crowd erupts in a carnal frenzy. People roar, some start fucking, a nun closes her eyes, and parents pull away their children. The scene does not exist in Brontë’s novel, but it’s somehow closest to the monstrous vitality of that world, a place where the dead refuse to die. Too bad that Fennell never gives her characters the chance to live. (Genevieve Yue)
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