Indeed, Blanche Willis Howard’s immensely popular first novel, One Summer (1875), exemplified the archetype. Set in a community on the Maine coast, Howard’s enemies-to-friends novel tells the story of a spirited and independent young woman who coolly rebuffs the attentions of a young man after an awkward rainy-evening encounter. (He mistakes her for a maid.) By the summer’s end, they meet again in Bar Harbor, where she at last admits her love for him and the two become engaged.As ephemeral as the season they celebrated, many summer novels were popular (or at least advertised) for just a few months. One Summer, though, appeared in successive printings or illustrated gift editions well into the next century. In 1876, a year after its first publication, Publishers Weekly asked booksellers to identify their most saleable novels. One Summer ranked below Dinah Mulock Craik’s phenomenally popular John Halifax (1856) and Charlotte Brontë’s Jane Eyre (1847) but ahead of Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852). (Donna Harrington-Lueker)
Is the literary quality of romance fiction uniformly good? No, of course not. In any massive, varied genre, you are going to find some clunkers — but that is not unique to romance. A more serious critique is that some of these stories romanticize, and maybe encourage, toxic behavior. You could point to the sadism and obsessiveness of Christian Grey, from E.L. James’s “Fifty Shades of Grey”; the abduction and sexual assault in Kathleen E. Woodiwiss’s “The Flame and the Flower”; or even the deceptiveness and amorality of the hero in the romance-adjacent classic “Jane Eyre.” (Christine Larson)
This production succeeds not only as an historical drama, but also as a surprisingly funny and deeply human portrait of the siblings as they find their voices in a world determined to silence them.The design is striking in its simplicity. Costumes (by Clare Dewell) are minimal, yet cleverly used to distinguish each character, allowing the audience to focus on the performances rather than elaborate period detail.The set (by Nicola Webb) is similarly understated, but it never feels empty, instead drawing the audience into the Brontës’ world through imaginative staging. Particularly effective are the towering doors that instantly transport us into the intimidating atmosphere of London society. Projections added authenticity by using images taken from the real Brontë home although, while a thoughtful touch, perhaps were too high quality to preserve the period feel.Lighting (by Bruce Williams) is precise throughout, especially during split-stage scenes unfolding multiple locations and conversations simultaneously, and shifting seamlessly with each moment’s emotional tone, from the warmth of family intimacy to the harsher glare of public scrutiny.Sara Benbow’s musical arrangements deserve special mention, particularly her use of haunting choral pieces to connect scenes, creating a distinctly Victorian atmosphere. They also remind us that the Brontë sisters were talented musicians as well as writers.As we’ve come to expect from the Sinodun Players, the acting is particularly strong. Charlotte (Natalie Davies) dominates the stage and carries much of the performance with remarkable energy. Her portrayal combines witty comic timing with a raw emotional honesty that makes her feel completely real.Holly Smithson’s Emily is equally compelling, capturing powerful emotions with intensity while also embodying the understanding and lovable sister at the heart of the family.Anne (Sorrel Gibson) brings a touching innocence to the piece, offering a poignant insight into the experience of being a woman in the Victorian era and the way her more famous siblings overshadowed her.The three main actors bring a strong chemistry to the sisters and their interactions feel natural and established. The ensemble (Heather Banyard, Donna Thomson, Will Lidbetter, Dan Beauchamp, Martha Bullock and Alex Watts) transform into a variety of characters through subtle changes in voice and body language, and their reactions to the Brontës’ novels vividly convey the prejudice faced by women writers of the period, with Dan Beauchamp’s George sharply capturing the entitlement and attitudes of a Victorian gentleman. Dorothy Hirsch deserves enormous credit for the inventiveness of the staging.Moments such as the carriage ride, with ensemble members physically moving the wheels, are wonderfully theatrical, and having the sisters writing their novels in chalk on the stage floor is visually striking. Small details, like servants quietly cleaning up a smashed glass after a lively outburst, add a layer of realism that immerses the audience fully in the Victorian world.This is an imaginative production that sheds fresh light on the Brontë sisters and their creative lives. Thoughtful, funny and emotionally rich, Underdog: The Other Other Brontë never allows the audience a moment of boredom and leaves us with a renewed appreciation for the extraordinary women behind some of English literature’s greatest novels. (Lizzie Pannett)
“Wuthering Heights” took the opposite bet. Fennell even put the title in scare quotes — a warning that this was her version, not Emily Brontë’s. She amped up the sexuality, modernized the soundtrack with Charli XCX, and cast Jacob Elordi, a white Australian actor, as Heathcliff — a character Brontë explicitly describes as dark-skinned.The reviews split almost down the middle: 57% positive on Rotten Tomatoes and a 55 on Metacritic. Critics argued the film flattened a story about class and racial exclusion into glossy, decontextualized romance. Yet “Wuthering Heights” made $241.7 million worldwide against an $80 million budget. Creative risk didn’t work with the critics, but the discourse fed the box office.Put both side by side and the pattern becomes clear.Faithfulness and riskiness were never the real tests. What’s being measured is whether an adaptation matches the version each viewer has carried privately for years: a childhood memory, a favorite scene, one detail that mattered the first time. No writer’s room can adapt nostalgia. Audiences aren’t asking for the original story back. They are asking for a feeling. (Meghna Srikumar)
45. HathersageHathersage has strong literary connections - having inspired Charlotte Brontë while she was writing Jane Eyre. The nearby North Lees Hall (pictured here) also became the main inspiration for Thornfield Hall. The Grave of Little John, Robin Hood’s second-in-command, can be found at St. Michael’s Church in the heart of Hathersage. While there is little evidence proving he is buried here, ballads suggest that he originated from Hathersage and settled there again later in his life. (Tom Hardwick)
by Marta Sánchez RomeraDepartamento de Filología Inglesa, Francesa y Alemana, Universidad de MálagaMay 2026Throughout this dissertation project, I will provide some context on how Victorian values affected the relationship between women, creating a bond that sometimes went further than a simple friendship. Since the category ‘’lesbianism’’ did not exist and homosexuality was widely seen as bad, Victorians romanticised these friendships and were blinded to the fact that something deeper could occur between them. In order to reflect all this, after giving some historical context and theory, I will analyse Villette by Charlotte Brontë, in which there is a clear subtext of sapphic desire, with the aim of revealing how lesbianism was portrayed and seen in the 19th century.
by Sara MaltonJournal of Victorian Culture, vcag014, https://doi.org/10.1093/jvcult/vcag014 (July 2026)This essay focuses on the nineteenth-century ‘fasting girl’, a phenomenon scrutinized in medical writing and the popular press, as well as the period’s literature. Fasting girls were typically purported to survive on only the Eucharist and sips of water – for weeks, months, or even years. They often became objects of intense public interest, alternately the locus of legal and medical enquiry or sites of pilgrimage. In evoking earlier fasting saints, whose behaviour was considered anorexia mirabilis, the fasting girl claims to embody the miraculous consequences of devotion to her saviour. The medical establishment would increasingly seek to discredit this earlier understanding of fasting. Cases such as that of the Welsh girl Sarah Jacob (1857–1869), who has been ‘resurrected’ by authors from Dickens to Emma Donoghue (in her recent historical novel, The Wonder [2016]), were at the nexus of this transition from the perception of self-imposed starvation as redemptive sacrifice to pathologized illness, anorexia nervosa (1873). Dickens offers varying treatments of fasting women in his journalism and his portrait of Little Nell in The Old Curiosity Shop (1841). Charlotte Brontë’s Shirley (1849) identifies maternal healing as a tonic to destructive, idolatrous forms of self-starvation. Finally, in its depiction of dangerous religious devotion and the limits of medicalization, The Wonder offers us a prism through which we can critically examine the ongoing cultural construction of the fasting girl. Collectively, the texts considered here invite a more thorough confrontation with the religious dimensions of female self-deprivation and its vexed relationship to female agency.
A ghost hunter says he has realised a lifelong ambition in launching a four-part series exploring paranormal activity in a historic Bradford district village.Jacob Haw-Wells, just 20 years old from Bradford, has created Haunted Haworth.It's a documentary-style series on YouTube that delves into eerie legends and supernatural reports in the iconic village of Haworth. (...)The series explores some of Haworth’s most intriguing locations, including Church Street, Haworth Old Hall Inn, the Old White Lion Hotel and Spooks.His investigations combine historical research with first-hand interviews.He said: "First I like to go to the location and speak to the owners, talk to people that have knowledge on the area, local businesses, people living in the surrounding area, I like to get them people on the show for interviews."The series follows real investigations into these locations while also highlighting Haworth's fascinating heritage and ghost stories." (Freya Thomson)
No me llamen exagerada, que yo con estos ojos que se ha de comer la tierra presencié en el Teatro Español de Madrid un brutal atropello teatral de Jane Eyre, la obra de Charlotte Brontë donde una mujer –bastante 'odiseica', por cierto– construye su destino y sus sentimientos de espaldas a los corsés de la época y asumiendo cierta humana imperfección, tentativa de poligamia incluida. Intentar convertir eso en un cántico a la sororidad, con la protagonista lanzando salvas solidarias a la neurasténica esposa del hombre que ama y que la ama... en fin. (Anna Grau) (Translation)
Jane Eyre: A New Musical, The Journey to SelfAugust 13, 2026 to August 16, 2026889 Dongdaming Road 东大名路889号Charlotte Brontë's "Jane Eyre" has been given a brand-new musical adaptation, which will be presented to Shanghai audiences from August 13 to 16 at AIA Grand Theater.This story of freedom, dignity, selfhood, and love is familiar to many. Jane's poignant question – Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? – has moved countless readers over the years.This new musical unfolds Jane's story in nine chapters. It is as if she has traveled across 180 years to the present, showing audiences through her actions that one can be plain, poor, or even unloved, but must always stay true to oneself."Many people tend to see Jane Eyre as a symbol of the nineteenth century; a textbook icon of the 'independent woman,' or a romantic legend," said director and musical singer Jin Shengquan."In fact, her dilemmas are our dilemmas, and her defiance is exactly what we long for. Her wholeness lies in her ability to remain self-possessed while also daring to love deeply," he added.Jin hopes that the musical, created in a contemporary theatrical language, will give this "female epic" a fresh look and inspire today's audiences.
Thursday, Aug. 20, 2026, at 3 p.m. in the lower level of Artworks, 106 N. Michigan Ave., Big Rapids, MIWuthering Heights"Wuthering Heights" is a challenging but memorable read because the novel does not offer a simple love story or a clear division between good and evil. There is a dark atmosphere surrounding "Wuthering Heights" and Thrushcross Grange. The reader is pulled into a world shaped by obsession, pride, revenge, class expectations, and emotional suffering. (...)Reading Wuthering Heights is unsettling because many of the characters are difficult to admire. Brontë does not ask readers to approve or condemn them. Instead, she asks us to think about how love, pride, class, and suffering shape people’s choices. It is a story that stays with the reader because it shows both the destructive power of obsession and the possibility of healing through compassion. (Barbara Ross)
HaworthHandsome, cobbled Haworth, former home of the Brontë sisters, is threatened by the construction of England’s largest wind farm.If approved, the Calderdale Energy Park will sit on the moors above the village where the Brontës wandered and composed. A total of 34 turbines – scaled back from an initial 61 – will blight the skyline, ruining the special atmosphere of places associated with the sisters such as Top Withens, the remote ruined farmhouse that inspired Wuthering Heights. “People come to Haworth to see the landscape and it will have a hugely negative impact on that,” said Robbie Moore, the Conservative MP for Keighley and Ilkley, whose constituency includes Haworth. (Christopher Winn)
The long running soap-opera Days of Our Lives (currently on Peacock) has featured Emily Brontë's Wuthering Heights as a recurring plot device connecting the characters Cat Greene (AnnaLynne McCord) and EJ DiMera (Dan Feuerriegel) since October 2025. The novel has appeared in scenes spanning a bookstore introduction, a recovered memory, two rounds of hypnosis, and the reveal of an ISA investigation. Below is a chronological record of the confirmed on-screen events, dated by episode air date or recap publication.
At Julie's newly acquired bookstore, Foster asks Cat Greene whether she has read Wuthering Heights. Cat says she doesn't think so, though she is drawn to a particular edition. EJ DiMera arrives shortly after and is also drawn to the same book. (Soaps.com/SheKnows recap; Celeb Dirty Laundry)
November 11, 2025 — Cat's memory fragmentAfter an encounter with Sami Brady, Cat has a flash of memory: Sami standing beside a bandaged man in a hospital room. Cat recalls reading Wuthering Heights to that same man. The location is later identified as a clinic in Italy, where Cat underwent facial reconstruction after a car accident, and where EJ was recovering after being shot and presumed dead. (Soap Opera News)
February–March 2026 — Continued reading
EJ asks Marlena Evans to hypnotize him in order to recover memories of his time at the Italian clinic. Marlena agrees. (Soap Hub)
May 27, 2026 — First hypnosis session (EJ)Marlena hypnotizes EJ. Under hypnosis, he returns mentally to the clinic and hears Cat reading Wuthering Heights to him, but cannot recall further detail. Marlena, judging that he is forcing the memory, ends the session. (Soaps.com/SheKnows; Celeb Dirty Laundry; The Soap Scene; TVMEG; Daytime Confidential)
June 1, 2026 — Second hypnosis session (EJ)
Cat undergoes hypnosis herself. She recalls reading Wuthering Heights to EJ, him squeezing her hand as she read, and a kiss she gave him on the cheek. During the same session, Marlena determines that Cat has been working for the ISA, and Cat confirms this, including that her position as EJ's assistant was part of the operation. (Celeb Dirty Laundry; TVMEG)
Further information and context on Daily Soap Dish (November 2025) and Daily Soap Dish (May 2026).
The Brontë Sisters. All born in Thornton, Bradford, but more closely associated with Haworth where they were raised and penned their celebrated novels, the Brontë sisters created some of the most iconic and beloved works in English literature. From The Tenant of Wildfell Hall to Jane Eyre and Wuthering Heights, these novels have captivated and enchanted millions of readers. (Sebastian McCormick)
Cada julio, cientos de personas rinden homenaje al fantasma de Cathy, protagonista de la novela de Emily Brontë; a la vez que celebran el cumpleaños de dos mujeres que marcaron el arte británico. (...)El videoclip, en el que Kate Bush aparece bailando descalza con un largo vestido rojo y que encarna el fantasma de Catherine Earnshaw, terminó convirtiéndose en una de las imágenes más icónicas del pop británico y es justamente esa escena la que recrean las participantes, llamadas a sí mismas Cathys, durante la particular celebración anual.Pocas novelas han dejado una huella tan inmensa como Cumbres borrascosas. La única obra de Emily Brontë ha sido —y sigue siendo— una fuente de inspiración para incontables adaptaciones cinematográficas y televisivas. La más reciente llegó a la gran pantalla este mismo año, constatando que el relato de Catherine y Heathcliff sigue fascinando a nuevas generaciones. (Elsa Saom) (Translation)
The Newcastle event is also on the Newcastle Herald, and the Haworth one is mentioned in the BBC.
This Dark Night: The Life of Emily Brontë by Deborah LutzA new biography drawing on previously unexplored archival materials to examine her life and creative process. Also published by Bloomsbury.
[David] Morrissey plays Michael Polly, an English headmaster who falls under suspicion after the disappearance of his wife, Sarah. As taciturn as Jane Eyre’s Mr. Rochester, Michael is seemingly incapable of rising to the emotional moment, insisting, for example, that he is still the man to coach the school’s rugby squad even as Sarah’s body turns up in a nearby woods. (Graham Hillard)
According to Steinman, the song was inspired by Wuthering Heights and was intended as "the most passionate, romantic song" he could create. Meat Loaf, who had collaborated with Steinman on many of his hit songs, had wanted to record the track for years, but Steinman refused, saying he viewed it as a "woman's song".
But it’s great that people are engaging with these ideas. We are in a resurgence of humanities in cinema. Wuthering Heights came out and everybody was suddenly talking about how faithful it was to Heathcliff. A similar thing happened with Hamnet. That’s the kind of back-and-forth we’ve been sorely lacking for a while. (Bilge Ebiri)
Finally, the Brontë Birthplace publishes how the Elizabeth Gaskell's Society recently visited them in Thornton.
Mon Aug 3rd - Fri 7thTutors: Clare O'Callaghan and Michael StewartEmily Brontë’s only published novel, Wuthering Heights, is one of the greatest and most famous novels ever written, but she is also the author of over two hundred wonderful poems, and a very accomplished artist. Unlike her sisters, she chose to spend her time mainly at home in Haworth, walking, reading and writing. Her status within the world of literature is that of a cult figure but also an icon. She has become the very image of the reclusive writer, but who is the real Emily behind the myths that have been constructed around her since her death in December 1848?This week-long course will set out to challenge and explore the mythology around this most enigmatic character. It takes place in Haworth, in the heart of Brontë Country. It will also explore in-depth her life and work, looking at her prose and poetry as well as her artwork. It will feature seminars, lectures, guided walks and special events ran by Br
It’s inevitable that any review of an Emily Brontë biography arriving on the heels of Emerald Fennell’s bonkers adaptation of Wuthering Heights will reference the film (and most have). But I’m in the odd position of having also reviewed Fennell’s movie. This prompted an editor at W.W. Norton & Co. to send me an advance copy of Deborah Lutz’s This Dark Night: Emily Bronte, A Life, which was published in early May 2026. It arrived with a letter suggesting I might enjoy it after my “thrashing” of Wuthering Heights: “It’s not quite roaming the moors, but it’s close.”A lifelong Brontë reader, I received the book eagerly, but did not take its editor’s words literally. Having read it, I realize she meant them that way. There are biographers desperate to know a life from the outside in and the inside out, and there are biographers aware that their subject is fundamentally unknowable. Lutz is the latter, and she works instead to produce a social and domestic history of those closest to Emily, a natural history of the West Yorkshire moors Brontë immortalized in Wuthering Heights, and a material history of Emily’s writing practice which, in the hands of Lutz’s meditative attention, approaches the mystical. “Expertise,” dry and academic, is the wrong word to characterize Lutz’s understanding of the Brontës. Victorianists tend to work exclusively with the established texts of their subjects, but Lutz spent several years immersed in Emily Brontë’s hand-written manuscripts (detailed photographs of these are included in the book) and inhabiting Brontë’s hometown of Haworth, West Yorkshire, and Brussels, where she studied alongside her older sister Charlotte at the Pensionnat Héger. Lutz pored over the local weather reports of Emily’s lifetime and learned the flora and fauna of the moors so integral to Brontë’s life and work (Emily could identify local birds by their song and kept a collection of their feathers she found on her daily walks). In This Dark Night, Lutz’s deep knowledge of Emily Brontë transcends biography and—appropriate for her subject, who wrote one of the most famous ghost stories in Western literature—approaches a haunting.Written after a large cache of papers by the Brontës “that had been missing for over a hundred years” surfaced in 2018, This Dark Night gives readers a great deal of fresh information about Emily Brontë. Even with this new material, Emily remains the most elusive of the four Brontë siblings who survived into adulthood (the two oldest sisters, Maria and Elizabeth, died in childhood, events Lutz ties convincingly to Emily’s psyche and writing). Although Charlotte Brontë outlived Branwell, Emily, and Anne, she died at thirty-nine of complications from her first pregnancy, and Lutz posits that it was her widower who likely burned most of Emily’s correspondence and diaries.Absent these sources, Lutz employs the candid letters, diaries, and various historiographical accounts of Emily’s father, Patrick, and her siblings to methodically illuminate Emily’s whereabouts and behaviors; these provide a comprehensive and intimate view into Emily’s place in the family pecking order. [...]This Dark Night effectively refutes the lasting image of the Brontës as isolated sad girls, stuck in the sticks with their abusive reverend father, which originated with Elizabeth Gaskell’s now-classic hagiography of her close friend, Charlotte Brontë. Lutz sketches a bustling, industrial Haworth where the Brontë siblings, as the children of the town cleric, were frequently at the center of social life, and Patrick bears no resemblance to the stereotypically restrictive Victorian father of legend. He gave his five daughters the same radical education he gave his only son, tutoring them in foreign languages and allowing unfettered access to the literature of the day (including the scandalous Lord Byron). He aided their travel to London and Brussels, and encouraged their creative writing, refusing to pressure them to marry. Online lit discourse likes to bat at the possibility that Emily Brontë was queer. Lutz won’t go so far as to guess, but she shows us a West Yorkshire where the Brontë siblings knew Anne Lister, the celebrated English diarist and lesbian, whose rarefied education and androgynous appearance modeled a different kind of life for Emily Brontë than the available standard for middle-class Victorian women–one Emily, who never married and devoted her life to art and her sisters, seems to have lived.Emily’s living is at the heart of This Dark Night, which eschews the historically romantic notion of Brontë’s artistic genius that places Wuthering Heights as her singular accomplishment, with life a mere cipher for the novel. [...]This Dark Night is, therefore, literally a biography of the dirt beneath Emily’s feet which subverts the tired trope of Emily Brontë hitching up her skirts and running wild on the moors to instead give us a woman who was both a writer and a naturalist who also ran a household. Wuthering Heights is a book best remembered for the wilderness of its moors which nonetheless takes place almost entirely inside. We think of Cathy’s longing for that wilderness when she is trapped in confinement and the longing, the state of it, feels almost like the place itself. Lutz compels us to wonder if Emily Brontë felt that same longing—not for the moors, which were her literal backyard, but to break free of her human form, to seep into the “rocks and stones and trees” of the world she loved. It’s difficult to say for sure, especially since This Dark Night is so grounded in the physical—gardens, laundry, mending, cooking, dogs, cats, hawks. Yet Lutz captures Brontë’s ineffable desire to break free of her physical body, which is both a graver and braver thing than she might have done with this biography.It’s possible—valuable, even—to reduce a figure like Emily Brontë to the questions that trouble our own gender politics. Emily Brontë might have often wished to be a man, or to love a woman, and these things may have limited her ability to lead the kind of life some of her contemporaries led. To write a book that addresses how Emily Brontë was limited by her gender is one thing. Lutz shows us instead that Emily Brontë’s real limitation was her human form, and how she paradoxically used that form to harness a mysticism and create some of the language’s most lasting works, works which nonetheless elucidate our own gender relations in ways rarely surpassed, even today. That is what a genius does, I suppose.Near the close of the book, Lutz writes that, after Emily’s death, she became the “genius loci” for the remaining family members (only her father, Anne, and Charlotte remained, Branwell having died six months prior). She seemed to me the genius loci of This Dark Night, as well, if it’s possible for a subject to haunt its own book. Because the book is largely constructed of the words of those closest to Emily about Emily, rather than Emily’s own words, we see her in the periphery, or view her from afar. I felt pleasantly haunted throughout my reading of this biography, and was surprised to find myself weeping as it closed. I am a writer, and frequent reader, of biography. The death of the subject is pretty much the one thing you can count on in the genre, but Lutz paces her book so well that Emily’s sudden death seems to happen as quickly on the page as it did in life. The shock of it—Emily refused medical attention and insisted on keeping her eyes open to “meet” her end—took my breath away.I learned more about Emily Brontë and her famous siblings from reading This Dark Night than I knew before. These facts stay with me and yet, the more I learned, the more distant Emily grew. It was as though the attempt to contain her or reduce her to acts or incidents or objects was to break up this person, who was always so evidently more than the sum of her parts, into her parts, and then watch the parts erase the whole. This is no fault of Lutz’s and is part of her book’s great success, since this seems to convey how her contemporaries felt about her. Emily Brontë is long dead. She can never be brought back to life, but we are haunted eternally by her, by the dictum she gave herself.“There is no Emily in Time or on Earth now,” Charlotte is quoted as saying upon her sister’s death, and we feel that loss as keenly today as Charlotte did then—or fool ourselves that we do, or Lutz fools us that we do. If Emily can die like any other, we all can. We all will. This should have left me bereft, or at least a little grim, but instead I was comforted, and reminded of the feeling I have whenever I visit the Brontë Parsonage in Haworth, specifically, and the Calder Valley more broadly, which I try to do every few years. It took me a long time to characterize this feeling, which is a meditative ecstasy that leaves me with a profound sense of well-being. Eventually, I just said it aloud, so here I go: When I am there, in the land that birthed and received Emily Brontë, I feel immortal. Not because of some delusion that I will never die, but because, paradoxically, I am aware that I absolutely will. And life will go on beautifully beyond me. If I am lucky, any small thing I’ve done or said will reach out to the living; maybe they will have a conversation with the dead, like this one, like Lutz’s. Maybe I will talk back. (Emily Van Duyne)
A new music video for "Sirens," from John Caird and Paul Gordon's Jane Eyre A Musical, celebrates the new Jane Eyre EP, Highlights From The UK Premiere Cast. [...]The new EP, from Westway Music, precedes the upcoming production of Jane Eyre A Musical at the Southwark Playhouse Elephant. Performances are scheduled to begin August 28 for a limited run through October 24.With music and lyrics by Gordon and additional lyrics by Caird, the EP also features the songs "Sweet Liberty" and "Secret Soul," both of which were performed by Burn and Gilmour earlier this summer at West End Live. The three-song EP is available to stream/download here.The recording has vocal and incidental music arrangements by Brad Haak and Steve Tyler, orchestrations by Larry Hochman and Haak, sound engineering by Ben Robbins, and mixing by Gordon. It is produced by Adam Blanshay Productions, David and Hannah Mirvish and Westway Music and published by Universal Music and ASCAP.In addition to Burn and Gilmour, the Southwark production will also feature Claire Greenway as Abbot/Grace Poole, Melad Hamidi as St. John/Lord Ingram, Connor Wood as John Reed/Vicar, Jonathan Andrew Hume as Brocklehurst/Mason, Izzi Levine as Agnes/Leah/Jane's Mother/Mary Ingram, Hannah Lindsey as Scatcherd/Bertha Mason, Isabelle Methven as Helen Burns/Bessie, Gemma Page as Reed/Fairfax, and Eve Shanu-Wilson as Blanche/Sophie with Poppy Jason as Young Jane/Adele and Emily-Rose Samuel as Young Jane/Adele.Caird and Broadway's Megan McGinnis will co-direct the musical, with choreography by Georgina Lamb, set and costume design by Morgan Large, sound design by Andrew Johnson, lighting design by James Whiteside, musical direction and supervision by Ben Kubiak, and casting by Sarah-Jane Price.The 2000 Broadway production of Jane Eyre was nominated for five 2001 Tony Awards, including Best Musical. (Andrew Gans)
Servant's Room, Brontë Parsonage MuseumTimes: 11am - 1pm and 2 - 4pmSome of the most intriguing items in our collection are those made from the Brontës' hair. During the Victorian era, hair was often woven into jewellery for remembrance. See conceptual artist and historian Donna Lowson guide us through the history of Victorian hairwork and show us the process of creating hair jewellery during your visit!
The book that changed me as a teenagerI read Wuthering Heights when I was 12 or 13. Heathcliff fascinates me: enigmatic, brooding, never fully explained. Emily Brontë taught me landscape is character. The moors are a living force, mirroring Cathy and Heathcliff’s emotional lives. That shaped my writing: I’m drawn to unknowable characters and psychologically alive places.
Twin City Theatre Company brings Emily Brontë, Teenage Necromancer to Parkland College’s Second Stage Theatre. When a phantom haunts the Roe Head School for Girls in 1835, star pupil Emily Brontë and her sisters Anne and Charlotte must use their necromantic talents to uncover the truth in this gothic comedy of ghosts, fog, an undead goose, a lovesick spirit, and a talking meat pudding. The production runs through August 9. (Associated Press)
Jane EyreI've always thought Jane Eyre is remembered for the wrong reason. Yes, the romance matters. But Jane's refusal to compromise herself matters even more. That's exactly why the love story works. She chooses love without giving up who she is.
9. Wuthering HeightsAudience Score: 74%Critic Score: 57%Emerald Fennell’s adaptation of the literary classic was met with a 57% critic score, with many purists and reviewers balking at the modern sensibilities and controversial changes made to the source material. Audiences were much more enamored with the chemistry between Margot Robbie and Jacob Elordi, granting the film a 74% rating. Despite being shaded by critics, the general public enjoyed the bold, stylized take on the toxic romance, prioritizing entertainment value over fidelity to the book. (Leah Collins)
It’s an incredible song, and one where I cannot sing Bush’s high notes without stubbing my toe or something. The music video of her dancing makes me wish that MTV was still a thing and I could just spend my time watching fun music videos on cable television instead of battling stupid ads on YouTube. I wish Silicon Valley could invent a time machine. (Andrea Gutierrez)
Against EMI’s wishes, she insisted on releasing the haunting ballad “Wuthering Heights”—inspired by Emily Brontë’s 1847 novel of the same name—as the album’s first single.It was an early example of Bush seizing full control of her own career, and it certainly paid off.“Wuthering Heights” topped the UK and Australian charts, making her the first British woman to reach number one with an entirely self-written track. (Erinn Callahan)
Bush has continued to earn recognition for her extraordinary career, including induction into the Rock & Roll Hall of Fame in 2023. Yet nearly five decades after that remarkable debut, it’s still astonishing to remember that one of rock music’s most important milestones was achieved by a 19-year-old who simply believed the world needed to hear “Wuthering Heights” first. (Andrea Reiher)
If Austen and Brontë had a baby with Bridget Jones, she'd be Emma M. Lion. Super charming, super moreish, super short — 150~ pages each - this series has garnered a mega following for a reason. (Charley Vokoun)
Emily (Filmin)La más enigmática de las hermanas Brontë sigue siendo un misterio a día de hoy. ¿Cómo pudo aquella mujer soltera tan tímida y solitaria, recluida en una pequeña casa parroquial en los páramos de Yorkshire, crear una de las novelas más intensas y apasionadas de la literatura inglesa? Con la intención de responder a esa pregunta nace Emily. Es en esa lucha contra los límites de su vida familiar cuando comienza a anhelar esa libertad artística tan personal. Así comienza un viaje para canalizar su potencial creativo en una de las mejores novelas de todos los tiempos: Cumbres borrascosas. (Cristina Blanco Vázquez) (Translation)´
Dunque la Austen disse il vero, mentre per le sorelle Brontë bisognò aspettare al trono la regina Vittoria, moralista e bacchettona; ci voleva forse una regina così per l’ordito narrativo di Cime Tempestose, capolavoro intraducibile al cinema - ne saranno usciti, di film, venticinque e più. (Vincenzo Mazzaccaro) (Translation)
On this episode, Mia and Sam sit down with art historian and writer Eliza Goodpasture! Eliza has written the introduction to a new edition of Emily Brontë’s Wuthering Heights, illustrated by British modern artist Edna Clarke Hall.We take a look at the women studying at the Slade School of Fine Art in the 1890s and how Edna Clarke Hall's marriage influenced her obsession with Cathy and Heathcliff...
The Stars of Tomorrow program of the Twin City Theatre Company presemtsWritten by Don ZouidisDirected by Emily RittterJuly 31st-August 9th7 p.m. on Fridays and at 2 p.m. on Saturdays and Sundays.Parkland College Second Stage TheatreThis darkly funny and imaginative play reimagines the young Emily Brontë as a misunderstood teen with a flair for the supernatural. A celebration of creativity, rebellion, and the power of storytelling.
Further information on WCIA.
This Dark Night: Emily Bronte, A Life by Deborah LutzThe Brontës are having a bit of a moment again with adaptations and a semi-biographical film about Emily herself, and this book does its best to explain the elusive genius. Since the Brontës were not recognized as genius writers until much later, the historical record of their lives is incomplete. However, Lutz uses the poems, journals, and ephemera Emily left behind in her 30 years to piece together her internal life. Emily wrote about grief and commented regularly on nature and the rising industrialism in faraway cities. (Julia Rittenberg)
But it is William Wyler’s 1939 black and white swoonfest that is still ranked top on film review aggregator site Rotten Tomatoes. The clothes are pure old Hollywood glamour, the moody cinematography is sublime, Merle Oberon’s Cathy is ethereal, Laurence Olivier’s Heathcliff is brooding. Does it matter that they ditched the second half of the story, ending with the lovers’ ghosts walking hand in hand through the snow? Not really. This is Wuthering Heights reimagined as a Thirties weepie and on its own terms, it is genius. (Ruth Leon)
Anna Yates, Khadija Raza and Joseff Harris join the production ahead of its run across England.The creative team has been set for the new production of Jane Eyre, touring across England in autumn 2026. The production will be directed by Lily Dyble as a result of her winning the 2025 Royal Theatrical Support Trust Sir Peter Hall Director Award. It is based on Sally Cookson, Mike Akers and the original company's acclaimed adaptation of Charlotte Brontë's enduring novel. (Stephi Wild)Tour DatesMercury Theatre, Colchester - 26 September – 10 October 2026Rose Theatre, Kingston - 13 – 24 October 2026Northern Stage, Newcastle - 3 – 7 November 2026Storyhouse, Chester - 10 – 21 November 2026
Earlier this year, Emerald Fennell's Wuthering Heights was an adaptation that gathered some controversy. Some loved it, while others argued it betrayed Emily Brontë's novel completely. Tail between my legs, I was one of the sceptics. While I admired Fennell's creativity, I'd struggled with how dramatically she had strayed from the original story. However, Fennell never pretended it was a true adaptation. She described the film as the version of Wuthering Heights she remembered reading as a 14 year old, a personal interpretation that filled the spaces between Brontë's words with her own imagination. The reviews, however, were a bit brutal. (...) While I did agree with some of these points, it started to unsettle my compliance.Why was I demanding literary fidelity from Wuthering Heights while happily embracing the artistic licence in Tony? The more I thought about it, the more I realised I'd been judging these films by different standards.It's easy to dismiss an adaptation by arguing it isn't faithful to its original text. Accuracy often become the ammunition we reach for once we've already decided we don't like something and want to fire it with criticism. In Wuthering Heights, fidelity suddenly became incredibly important to me. But was it just because I wasn't enjoying the film? (...)I think we've forgotten that truth and fact aren't always the same thing. A film can invent conversations that never happened and still capture something authentic. It can shorten timelines, combine characters to become one or imagine moments between what was recorded as events while remaining truthful to the spirit of the person. (...)If a film can evoke the essence we all knew and loved of (...) Wuthering Heights through a highly stylised memory of reading a book at age 14 – then it has done its job. (Samantha Corry)
El Most Wuthering Heights Day (El día de Cumbres borrascosas) es un evento alegre. Se baila cada julio en decenas de ciudades del mundo, con miles de participantes que emulan la coreografía del videoclip de Kate Bush: brazos que se abren de golpe, giros bruscos, manos que empujan el aire… Su exagerada teatralidad parece contar la historia con el cuerpo y evocar el espíritu de Cathy pidiendo entrar por la ventana. No es un baile bonito ni técnico. Es más bien raro, dramático y un poco fantasmal. Pero da igual bailarlo bien o mal porque nadie ha venido a lucirse, sino a formar parte de la coreografía. (...)La peregrinación a Haworth no es nueva. En noviembre de 1904, una jovencísima Virginia Woolf subió hasta aquí y escribió sobre la visita en un semanario londinense. En el libro de visitas de la casa de las Brontë han firmado, entre otras muchas mujeres, Sylvia Plath y Patti Smith. Durante más de un siglo, hasta aquí han venido sobre todo mujeres que buscaban a otras mujeres. Woolf se preguntaba si esta u otras romerías a las casas de los escritores no serían puro sentimentalismo, y se respondía que solo se justifican cuando el lugar añade algo a los libros. Con las Brontë, concluía, el viaje merecía la pena: Haworth y las hermanas, escribió, encajan “como un caracol en su concha”. Es imposible separar la obra del sitio que la produjo. (...)Siglo y medio después, una de sus colinas está llena de mujeres que no ocultan nada. Se visten todas iguales, de rojo, y en ese uniforme no se borran: se reconocen. Al contemplar la danza, es inevitable pensar en la ironía que produce una obra hecha en el aislamiento más extremo, y cómo sigue generando un mundo propio un siglo y medio después. (...)No es una postal perfecta: es una romería real, con su desorden, su frío, su espera. Y eso es exactamente lo que la salva del kitsch. La gente ha subido a un campo embarrado un día nublado a hacer algo aparentemente ridículo, y lo hace con una entrega absoluta. Ahí está la dignidad del gesto, en que nadie está posando para nadie. Emily, que escribió y describió el páramo como una fuerza anterior a toda ley, sigue convocando a los vivos. Por eso no envejece. (Máriam Martínez-Bascuñán) (Translation)
Other events: Otago Daily News (New Zealand), El Confidencial (Spain), National Post (Canada)...
Despite its spelling, locals pronounce it“GYZ-lee” (rhyming with “guys” and “lee”), and getting it right is often seen as a badge of honour among Yorkshire newcomers. (...)One of Guiseley’s best-known landmarks is St Oswald’s Church, parts of which are centuries old.The church holds special literary significance as the wedding venue of Patrick Brontë and Maria Branwell, parents of the famous Brontë sisters.Fans of Yorkshire's literary heritage often visit the church as part of their travels.
[Dr. Leonard] Sax advocates for “gender-aware” instructional strategies in K-12 schools.
“The best way to get boys excited about Emily Dickinson is very different from the best way to get girls excited about Emily Dickinson,” he said. “And the best way to get girls excited about computer coding is very different from the best way to get boys excited about computer coding.
“But you put in place gender-aware instructional strategies.”
When educators ignore gender differences, Sax added, they ultimately reinforce gender stereotypes.
“If you understand gender differences, you can break down gender stereotypes. And that same boy who loves football and video games will love ‘Jane Eyre’ and will love Emily Dickinson.” (Jason Swensen)
Two hundred and eight years since Emily was born in Thornton, and she's had the kind of year we don't usually get: a box-office hit and an auction record, back to back, both loud enough that you didn't need to be a Brontëite to notice.
On screen. Emerald Fennell's adaptation opened in February to the kind of divided reception this novel seems to specialise in provoking — a middling critical consensus, a lukewarm CinemaScore, and audiences who showed up anyway. It topped the box office on debut and kept climbing, eventually closing out around $242 million worldwide, making it one of the biggest releases of the year regardless of what anyone thought of Margot Robbie's Cathy or the liberties taken with the source. Whatever your verdict on the film itself, it did the one thing adaptations rarely manage: it got people who hadn't opened the book since school arguing about it again.
Under the hammer. Then, on 30 June, Christie's put the record to rest on a question that's lingered for a while: what is a first edition of Wuthering Heights actually worth now? The three-volume 1847 set — bound with Anne's Agnes Grey, still in its original publisher's cloth, one of only a handful of surviving copies in that condition since a copy last came to auction in 1908 — sold for £1,206,500. That's not just a record for Emily; Christie's confirmed it as the highest price ever paid at auction for a printed book by a woman, and the most expensive piece of 19th-century literature to change hands, full stop. The Ellis Bell pseudonym on the title page suddenly reads very differently against that number.
Oh, the irony. A book published under a man's name because nobody in 1847 believed a woman could write something this unruly just set the price record for any book by a woman, ever. Emily never saw a second printing, never mind a seven-figure hammer price. She'd probably have found both the film and the auction faintly ridiculous — but she'd have taken the money.
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The Stars of Tomorrow program of the Twin City Theatre Company’s is debuting its next production this weekend.Director Emily Ritter and Producer Chm. on Saturdays and Sunandra Galloway came on The Morning Show to talk about their organization and to preview their upcoming production: Emily Brontë: Teenage Necromancer. The show will run on Friday, Saturday and Sunday for the next two weekends at Parkland College’s Second Stage Theatre.Performances will be at 7 p.m. on Fridays and at 2 p.days.
A sea of red gathered on the moors for a day of music, movement and literary celebration.A total of 500 people took part in 'Mass Wuthering' in Haworth on July 26, 2026, an annual event inspired by Kate Bush’s iconic Wuthering Heights music video.The gathering saw fans don red dresses and recreate the famous dance against the backdrop of the Yorkshire landscape that inspired Emily Brontë’s novel and Bush’s 1978 hit. (...)Ms [Clare] O’Callaghan said: "We had fans of Kate Bush, fans of the Brontës, and people from all over the world who wanted to share the joy of how literature and the arts can inspire and cultivate community."It really was a day of community and cohesion, and we’ve been overwhelmed by the brilliant messages we’ve received from people - and those we’ve seen posting on social media - saying it was one of the most memorable experiences of their lives."We all got drenched on Sunday thanks to the ‘Wuthering’ weather, but it didn’t matter at all - it made it even better and the atmosphere was brilliant." (Amelia Short)
While the latest adaptation of Wuthering Heights may have divided critics and audiences, the film starring Margot Robbie and Jacob Elordi helped put Yorkshire in the global spotlight.This was symbolised by a huge billboard in New York’s famous Times Square showing Robbie sitting on the Moors alongside a caption reading ‘It’s Not Wuthering Heights Without England’.The billboard was a small part of Visit Britain’s ‘Starring GREAT Britain’ campaign to boost international tourism to the UK which sought to highlight popular TV shows and films as a way of drawing visitors here.Visit Britain worked with international film and TV studios to target ‘high value’ international audiences in countries like the US, France, Germany and Australia and the Gulf.Patricia Yates, chief executive of VisitBritain, explained in the organisation’s most recent results that Wuthering Heights had played a central role in this year’s campaign.“Last year VisitBritain launched its ‘Starring GREAT Britain’ campaign,” she says. “This was the culmination of a monumental effort by VisitBritain teams across the globe who negotiated partnerships with nine studios to produce an incredible campaign platform on which to build.“In its first six months alone, the campaign generated an additional £217m in visitor spend.“Each extra pound represents a boost for the UK economy, a small business supported and a job sustained. The team has not lost momentum.“The release of Bridgerton Series 4 and Emerald Fennell’s adaptation of Wuthering Heights told a compelling story of regional Britain. VisitBritain secured new Wuthering Heights intellectual property for the campaign showing Yorkshire’s iconic moors and hosted media, buyers and influencers from around the world in Yorkshire. [...]While productions like All Creatures Great and Small and Wuthering Heights may be helping to give Yorkshire a wider international profile, there is still much to be done to keep the region’s hard-working tourism businesses deservedly centre-stage. (Chris Burn)
I ask Jenny [Hill, lead curator] to tell me how the cotton mill owner got hold of a folio in the first place. Jenny grins at her colleague Charlotte [Craig]. One theory is that it came from nearby Ponden Hall. Ponden had one of the largest private libraries not just in the West Riding, but in the whole of Europe. Charlotte has a theory about some of Ponden Hall’s close neighbours who might have used their library.“Well, Ponden Hall is just two or three miles across the moors from Haworth.”“Oh, no!” I gasp “From Haworth Parsonage, where the Brontë sisters lived?”“That’s right,’ says Charlotte. “I used to work there.”“Are you saying that the Brontë sisters might have read this copy of the First Folio?”“We know they used to borrow books from Ponden Hall. But I can’t prove they read this folio.”“Just say it!” I explode. “Let somebody else disprove it. Oh, that is fantastic. What about that!”James smiles wryly. He thinks I’m mad. Jenny and Charlotte very kindly took the folio out of its case and carried it upstairs for me to examine more closely. While they were doing so, I did a bit of research. I remembered a reference to a letter Charlotte Brontë had written to a school friend about Shakespeare. By the time Jenny and Charlotte had laid out the folio upstairs, I had found the letter online.Jenny points out that the folio is missing quite a few pages, and doesn’t have any of the Comedies. So I tell them about Charlotte’s letter dated 4 July 1834, to Ellen Nussey. “Ellen was her best friend at school,” Charlotte interjects.“If you like poetry let it be first rate, Milton, Shakespeare, Thomson, Goldsmith, Pope (if you will though I don’t admire him), Scott, Byron, Campbell, Wordsworth and Southey. Now Ellen don’t be startled at the names of Shakespeare, and Byron. Both these were great men and their works are like themselves. You will know how to choose the good and avoid the evil, the finest passages are always the purest, the bad are invariably revolting you will never wish to read them over twice. Omit the comedies of Shakespeare.”Omit the comedies of Shakespeare. And the Skipton copy has no comedies.“Perhaps Charlotte ripped them out,” Jenny laughs.“This just gets better and better,” I say. “Charlotte, you’ve got to get this story out there.”Once we have all calmed down a little, I tell Jenny that despite its now even more fascinating history, I think it might be the grubbiest copy of the First Folio I have ever seen. “Could you not say ‘grubbiest,’” Jenny grins. “Could you perhaps say ‘well-loved’?”The well-thumbed Skipton copy has become one of my very favourite copies of the First Folio, whether or not anyone can prove that the Brontë sisters ever read it.
Earlier this year, Emerald Fennell’s much-maligned, Mills & Boon-coded bonkbuster Wuthering Heights (2026) proved a great litmus test for how both film critics and film-industry tech bros have been failing to read the room. Fennell turned down Netflix’s $150 million distribution offer and its associated Faustian pact which demanded that the film go straight to streaming. Instead, she went for Warner Bros for $70-$80 million, with whom she got her theatrical release. On the day I watched Wuthering Heights in the cinema this February, Variety reported that it had already grossed $151.7 million worldwide against an $80 million production budget. This certainly wasn’t because it had been lauded in the press: the film was widely ripped to shreds by critics. Yet I can assure you that the much younger audience alongside which I saw it didn’t seem to care. It turns out that audiences are not brute forces capable only of liking or disliking, but sensitive instruments that might derive their enjoyment from camp, irony, strangeness, or the purely preposterous. (Sophia Satchell-Baeza)
When Cohen first walks out onstage, she is wide-eyed and holding a candlestick. Before long, she launches into her first song, “By the Sea,” a catchy tune that also helps to explain the Victorian aesthetic of both her costume and the set. (While working with scenic designer Derek McLane, Cohen was variously inspired by Wuthering Heights and images of Gothic palaces and sanatoriums on Pinterest.) “I always wanted to be the main character and the author and the lighthouse,” she tells the audience. (Alex Jhamb Burns)
‘The Chateau on Sunset’ by Natasha Lester“If you must get into trouble, do it at the Marmont,” reads the opening of this gothic novel set at the Chateau Marmont in 1950s Hollywood. It’s hard to imagine getting into good trouble these days at the Chateau — a relic of a bygone era. Thankfully our protagonist, Aria Jones, does it for us. A midcentury reimagining of “Jane Eyre,” the novel captures the feverish glamour and underlying chaos of the studio era, with each character proving more cunning and bewildering than the last. The result is a gothic tale with a distinctly Old Hollywood twist, paying homage to the enduring mystique of the Chateau Marmont. The dialogue is so taut and snappy, you’ll find yourself holding your breath. Madness, cruelty and difficult women are welcome bedfellows at “The Chateau on Sunset.” (Maddie Connors)
“Flirting is a woman’s trade, one must keep in practice.” (Charlotte Brontë, Jane Eyre)
LaSexta (Spain) posts about Wuthering Heights.
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Eine Sammlung der schönsten Gedichte, Geschichten, Zitate und Briefauszüge zum Herbst – Die perfekte Lektüre für gemütliche StundenReclam Verlag, DitzingenISBN: 978315014922513 Jul 2026»Und dieser Wind, der in den Kiefern vor den Fenstern heult. Lass mich ihn bitte spüren, er kommt direkt vom Moor herunter. Lass mich nur einen Atemzug tun!«Sturmumwehte Anwesen und nebelbedeckte Moore bilden die ikonischen Schauplätze der Romane der Schwestern Charlotte, Emily und Anne Brontë. Ob in Jane Eyre, Sturmhöhe oder Agnes Grey – mit ihrem aufmerksamen wie auch verträumten Blick gelingt es jeder Schwester, die herbstliche Melancholie auf ganz eigene Weise literarisch einzufangen.
In telling the story of Brontë’s life, Lutz’s method is demarcated by two commitments. First is her interest in Brontë’s world and her place in it. To pursue this, she reconstructs what Brontë ‘wore, saw, heard, smelled, and felt along her skin’ using, among other things, weather reports, the diaries of her neighbours, and local newspapers. This attention to the everyday and the senses offers a thoughtful (and relatively new) approach in Brontë biography, and it is one well suited to Lutz’s established interests, which readers of her 2015 work, The Brontë Cabinet: Three Lives in Nine Objects, will recognise. The second is that This Dark Night joins an established tradition that frames Brontë in relation to the natural world and foregrounds the environment as context for understanding her. For Lutz, as for many before her, Brontë ‘brought the open sky, birdsong, and the peat bogs to life on the page’. The imagery is vivid and compelling, participating in a romantic imaginary that tries to enter the inner mind of a woman who conjured some 200 poems (or thereabouts, that we know of and survive) and, of course, Wuthering Heights. At the same time, Lutz’ environmental emphasis also opens onto Brontë’s preoccupation with darker worlds, such as the dungeons, caves, and graves that dominate her writing, as well as ‘the mortal body’. Neither strand is, in itself, entirely new, but the way Lutz binds them together through sustained sensorial attentiveness feels fresh and it sharpens our historical understanding of Brontë as a multifaceted and complex woman.Importantly, This Dark Night delves into territories that earlier biographers have overlooked, such as, for example, the practical question of how the Brontë sisters managed menstruation, which Lutz answers by drawing on broader health histories rather than evidence specific to the Brontës. This kind of detail may not deepen our understanding of Brontë as a writer, but that is not its purpose. Rather, it is a reminder that the sisters were flesh-and-blood women negotiating a monthly cycle that shapes women’s lives – a seemingly obvious fact that can easily be forgotten amid the iconography and fandom that surround them. It is these reflections that exemplify This Dark Night at its best: Lutz’s care for the material, embodied conditions of Victorian womanhood, which lends biography historic specificity.
Wuthering Heights: 500 people gather at Penistone Country Park in Haworth for celebration. Participants gathered at Penistone Country Park in Haworth for Actually the Most Wuthering Heights Day Ever on Sunday - a celebration of all things Wuthering Heights, Kate Bush and Emily Brontë.The gathering was in the stunning setting of the Haworth moors. 500 people took part in the mass 'Wuther' in a joyful, windswept, red-dress sea of Cathys dancing for charity, supporting Women’s Aid. (DanieL Sheridan)
Eleven classic novels stand in a row on a bookshelf in a library. I find each of them tempting, but in the end, I pick up only one of them.(1) The horror classics Frankenstein and Dracula both stand to the right of the book I chose.(2) Moby Dick and Animal Farm both stand to the left of the book I chose.(3) Two of the books are by Jane Austen. Of these, Pride and Prejudice stands somewhere right of Emma.(4) Pride and Prejudice also stands somewhere right of Frankenstein.(5) There are two titles by two of the Brontë sisters, Wuthering Heights and Jane Eyre, with two other books (not by the sisters) standing between them.(6) Two books stand between Wuthering Heights and Moby Dick(7) Great Expectations (right) and Animal Farm (left) stand on either side of Wuthering Heights.(8) I notice two children’s favourites, with Heidi standing somewhere to the left of Oliver Twist. There are seven books between these two.(9) Six books stand between Dracula and Wuthering Heights.(10) The book I finally choose stands in the middle of the row of 11, i.e. sixth from either left or right. (Kabir Firaque)
Many news outlets cover the Haworth event, or the Folkestone (Kent) one or the Bunbury one or...: London Now, WION, Bunbury Herald, The Independent, Kent Online, Kent Live, La Razón, Corriere della Sera...
Jane Eyre by Charlotte BrontëCharlotte Brontë's Jane Eyre is much more than just a love story. The novel follows Jane, an orphan who endures a lonely childhood before becoming a governess at the isolated Thornfield Hall. There, she meets the estate's enigmatic owner, Edward Rochester, whose cold demeanor and mysterious past immediately set him apart from the typical romantic hero. The narrative shows Jane and Rochester growing closer, but their relationship is constantly tested by secrets, painful sacrifices, and impossible moral choices that force Jane to decide whether love is worth compromising her own principles.The best thing about Jane Eyre is that, unlike many romances of its time, it never allows love to overshadow its heroine's individuality. Jane refuses to sacrifice her self-respect and independence, even if that means walking away from the man she loves. That gives the novel a remarkable sense of maturity that has influenced generations of romance writers, but few have matched Brontë's sensibilities. (Safwan Azeem)
Llevaba demasiados años escuchando que Jane Eyre era una de las mejores novelas jamás escritas. Cuando por fin la terminé entendí que no era una exageración. No solo he leído un clásico; he sentido que acababa de descubrir el origen de muchas de las historias románticas y de misterio que vinieron después. Y lo mejor de todo es que, lejos de sentirse antigua, me ha tenido completamente atrapado durante toda la lectura. (...)Cuando cerré Jane Eyre entendí por qué sigue apareciendo en cualquier lista de las mejores novelas de la historia. No es solo una historia de amor inolvidable; es la historia de una mujer que se niega a renunciar a sí misma, incluso cuando hacerlo parece el camino más fácil. Hay clásicos que se leen por obligación o por cultura general. Jane Eyre, en cambio, se disfruta de principio a fin y demuestra que las grandes historias no entienden de siglos, porque siguen emocionando exactamente igual hoy que cuando Charlotte Brontë las escribió. (Translation)
3. HathersageHathersage has strong literary connections - having inspired Charlotte Brontë while she was writing Jane Eyre. The nearby North Lees Hall (pictured here) also became the main inspiration for Thornfield Hall. The Grave of Little John, Robin Hood’s second-in-command, can be found at St. Michael’s Church in the heart of Hathersage. While there is little evidence proving he is buried here, ballads suggest that he originated from Hathersage and settled there again later in his life. (Tom Hardwick)
Unless explicitly said
