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Dec.06.2025 - Jan.03.2026James Cope Gallery, 4885 Alpha Road, Suite 120, Farmers Branch, Dallas
For her current one-woman show at James Cope Gallery (Rawlings’ first since 2023), she turns her eye to a classic heroine of page and screen. The 2011 movie adaptation of Jane Eyre, starring Mia Wasikowska, intrigued the painter, even if the only subject that mattered to Rawlings was Jane herself.“I’ve never painted from a film before,” Rawlings explains. “I do a lot of research and gather images I’m interested in, and I was thinking about more somber interior spaces that you would see in 18th- or 19th-century paintings. The scenes were so beautiful, and they reminded me of the type of mood I was looking for.”Rawlings’ portraits show Jane sewing, reading or contemplating her uncertain fate. In each she occupies “an interiority and psychic space” belonging to her alone, Rawlings says. “One has to try to understand and reach through the image.”After one of the works from the series was auctioned off at a recent event benefiting the Dallas Museum of Art, the remaining 12 portraits on view convey what Rawlings calls a “feeling of aloneness and mystery” that she deems just right for the reflective season of winter. Dreamlike and calm, they enchant the viewer as much as the (Kendall Morgan)
Wuthering HeightsEmerald Fennell’s adaptation starring Margot Robbie and Jacob Elordi may not be the wall-to-wall raunch-fest some expect – but it’s undeniably sensuous. The film leans into storm-soaked yearning and fierce magnetic intimacy rather than shock value. Expect a haunting, passionate love story where every touch feels momentous and every emotion burns just beneath the skin. (Charlotte Vossen)
The two most talked about Gen Z films are adaptations of quintessential Romantic novels: Frankenstein and Wuthering Heights. And both star Gen Z’s favourite leading man, Jacob Elordi.I really was ready to pack it in entirely and join a convent when I started to notice this return to romanticism. While the movement does not pertain solely to romance and dating, the overall mood shift opens up the possibility that love is important, not something to be ticked off a list. (Marissa MacWhirter)
Colbert asked Swift a particularly poignant question: “What’s the biggest difference between Taylor Swift just walking around and Taylor Swift who appears on stage?”Setting the scene for Swift, he added, “You’re home, you’ve got the athleisure on,” to which the star quickly corrected him, revealing that her at-home wardrobe leans less model-off-duty and more Victorian ghost.“I’ve got an old Victorian nightgown on,” she said with a laugh. “I prefer to look… if you were to see me in the window, I’d like for someone to think they saw a ghost, you know what I mean?”This came as no shock to fans who have listened to Swift’s music over the years, which has drawn from the antiquated language of Charlotte Bronte’s Jane Eyre and the imagery from period pieces alike. Particularly on folklore and evermore, Swift wrote songs she’d later categorize as “quill pen” tracks, named for the tool she imagined writing the lyrics in. “If my lyrics sound like a letter written by Emily Dickinson’s great grandmother while sewing a lace curtain, that’s me writing in the Quill genre,” Swift said in her acceptance speech at the 2022 Nashville Songwriter Awards.Elsewhere in the Colbert interview, the singer described the types of books one would find on her metaphorical nightstand, evoking similar visual worlds of ghosts, Victorian tropes, and ivy-covered castles. (Sophie Wang)
“Je Reviens”—Returning to Jane Eyre in Daphne du Maurier’s Rebecca
Proud Sethabutr Faculty of Arts, Chulalongkorn UniversityVol. 45 No. 2 (2025): Thoughts 2025-2This paper takes as its starting point the body of feminist criticism that treats Daphne du Maurier’s Rebecca as merely a recapitulation of Jane Eyre, often dismissively, as evidenced in du Maurier scholar Nina Auerbach’s uncharacteristically scathing indictment of the novel, and proposes instead to read it as a narratological continuation or expansion of Jane’s epilogue. Through a close reading of the way that the novel disrupts boundaries between self and other, human and nature, beauty and the sublime, feminine and monstrous, and the domestic order itself, the paper argues that Rebecca is a site in which a certain narrative excess in the earlier novel makes an uncanny reappearance. This approach yields an analysis that highlights how the novel exposes the violence inherent in Jane Eyre’s Gothic romance narrative, wherein a woman's security within the domestic order comes at the expense of another.
Wuthering Heights, Emily BrontëWhen Emily Brontë wrote her bleak gothic novel Wuthering Heights in 1847, she drew inspiration from long walks on the lonely moors above the village of Haworth in West Yorkshire, where she lived with her sisters Anne and Charlotte from 1820 to 1861.Even the name of her tale references weather and landscape, and Brontë often conveys Heathcliff’s brooding mood via the cold, foggy moorland that surrounds him.“My love for Heathcliff resembles the eternal rocks beneath,” his soulmate Cathy declares, likening her love for him to the gritstone outcrops in areas such as Ponden Kirk (renamed Penistone Crag in the novel) where the fated lovers meet.Today, you can hike to Ponden Kirk from Haworth and visit the ruins of Top Withens, said to be the inspiration for the Wuthering Heights farmhouse. The Brontë Parsonage Museum is located at the former Brontë family home in Haworth, West Yorkshire.Margot Robbie plays Cathy to Jacob Elordi’s Heathcliff in a film adaptation of the novel, due for release in February 2026. (Ellie Tennant)
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by LauraRamírez Sainz (Volume editor) Carmen Cayetana Castro Moreno (Volume editor)Series: Studien zur Translation und Interkulturellen Kommunikation in der Romania, Volume 15Peter Lang PublishersISBN: 97836319249832025El libro explora la intersección entre lengua, cultura y traducción en un mundo globalizado. A través de un enfoque interdisciplinar, los autores examinan cómo las diferencias idiomáticas y culturales impactan en la comprensión cultural y en la traducción. El libro está dividido en capítulos que ofrecen una revisión crítica del papel esencial de la idiomaticidad y la traducción en la comprensión intercultural.Asimismo se profundiza en las estrategias para superar barreras culturales y lingüísticas, resaltando la importancia de la efectividad en la comunicación intercultural en diversos contextos.La publicación aquí presente es de especial relevancia para traductores, lingüistas y todo aquel que investigue en el diálogo cultural e invita al lector a ver la traducción y la producción lingüística no solo como un acto lingüístico, sino como un proceso de mediación cultural y entendimiento mutuo.
The cultural legacy of Emily Jane Brontë and the retranslation in Spain: analysis and evaluation of the editions by Montoliu (1921) and Castillo (1989) (Ana Pérez Porras)Index1. Introduction2. Emily Brontë and the Brontëan cultural dissemination of Wuthering Heights (1847): A Publishing Phenomenon in Spain3. Analysis: Translating the cultural heritage of the novel3.1. The translation by Montoliu (1921)3.2. The translation by Castillo (1989)4. Conclusions5. Works Cited
It’s a crisp afternoon in Haworth, West Yorkshire, and I’m drinking a pint of Emily Brontë beer in The Kings Arms. Other Brontës are on tap – Anne is a traditional ale, Charlotte an IPA, Branwell a porter – but the barman says Emily, an amber ale with a “malty biscuit flavour”, is the most popular. It’s the obvious choice today, anyway: in a few hours, Oscar-winning film-maker Emerald Fennell will be at the Brontë women’s writing festival in a church just up the road, discussing her adaptation of Emily’s 19th-century gothic masterpiece Wuthering Heights.The film, to be released just before Valentine’s Day next year, is already scandal-ridden. It all started with Fennell’s casting of Hollywood stars Jacob Elordi and Margot (“Heathcliff, it’s me, it’s Barbie”) Robbie causing uproar. [...]Since my visit to Haworth, the full trailer has been released, showing Fennell’s brand of anachronistic sets and costumes (think sugary, eye-popping interiors and red latex gowns), some suggestive licking and bread-kneading, and Elordi’s (admittedly quite good) Yorkshire accent: “So kiss me – and let us both be damned!”Such a wild response was only to be expected. As I drink up and step out into the cobbled streets of this village built on a hill, Wuthering Heights’ potency is still palpable.“I sometimes feel, in the morning, that I could just walk around the corner and the sisters would be there talking to each other,” Diane Park tells me over a coffee in Wave of Nostalgia, her award-winning feminist bookshop. “They are still so alive here in this village.” Park’s shop sits near the top of the hill, on a road lined with terraced stone houses and quirky independent businesses. Seconds away is a lane leading to the church where the Brontës’ father Patrick was reverend. Behind it is a cluttered graveyard and the Brontë parsonage, where the family lived.When Park moved here more than a decade ago, she had only read Charlotte’s Jane Eyre. Today, she reads one of Emily’s poems to me on the shopfloor: “Hope, whose whisper would have given / Balm to all my frenzied pain …” How did she feel when she first read Wuthering Heights? “I was blown away by Emily’s insight into the soul.”The world was scandalised when Emily published it, under a male pseudonym, in 1847. It is the story of fiery Catherine Earnshaw and her relationship with outcast orphan Heathcliff, in whom she finds her match as they roam the Yorkshire moors: “He’s more myself than I am. Whatever our souls are made of, his and mine are the same.”When Catherine marries Edgar Linton and dies, it sets haunted Heathcliff on a path of vengeance, as the second half of the novel becomes a story of control, abuse and digging up graves. While some critics admired its unique strangeness, many echoed one review that said: “The reader is shocked, disgusted, almost sickened by details of cruelty, inhumanity and the most diabolical hate.”This didn’t stop Wuthering Heights from becoming a classic. It was made into a silent movie in 1920, with locals crowding around the shoot in Haworth and playing extras. The story later moved to a Hollywood studio and enjoyed the romanticised Golden Age treatment with Laurence Olivier and Merle Oberon, minus that more problematic second act. And at least 15 big and small screen adaptations have followed, from Yoshishige Yoshida’s 1988 retelling in medieval Japan, to Andrea Arnold’s 2011 version with James Howson as the first black actor to play Heathcliff. (The main criticism levelled against the casting of Elordi is that Heathcliff is widely considered not white in the book.)It was the BBC’s full-story 1967 series, starring Ian McShane as a brooding Heathcliff, that inspired Kate Bush to write her otherworldly hit, which brought Wuthering Heights into every home. “I just managed to catch the very last few minutes, where there was a hand coming through the window and blood everywhere and glass,” she has said, admitting she wrote the song before reading the book.So why does this story of passion-ravaged lovers on rain-ravaged moors have such a hold? “I think Wuthering Heights endures because the relationships between Cathy, Heathcliff and Edgar aren’t easy to quantify,” says author Juno Dawson, who grew up in Bingley and calls the Brontës “the pride of Yorkshire”. Dawson was inspired by Wuthering Heights to write a short story for an anthology called I Am Heathcliff. “They don’t fit into traditional notions of a romance novel or a ghost story,” she continues. “And each character is frustrating, unfathomable. If there’s something I take from it, it’s that ambiguity can be as satisfying as neat resolution.”I stroll over to where the Brontës lived, mingling with fellow visitors – mostly solo women whom I later spot at Fennell’s talk. “People have always come to make a pilgrimage,” says Rebecca Yorke, director of the parsonage and the Brontë Society, which opened in 1928. “If you look at the visitors book, there’ll be a mixture of UK, USA, Australia, Japan and Europe. About a third of our visitors are from overseas.” There are famous signatures too, from Sylvia Plath to Patti Smith.This is actually my third visit, or pilgrimage, to the parsonage with my mum. It just keeps pulling us back. Today we learn that the trees in the garden separating it from the graveyard only grew after the Brontës’ time here. So the family would have had views of death on one side and endless moors on the other. The rooms are quite claustrophobic and downstairs is where they wrote their novels, on a table that has an “E” etched on it. In the corner is the sofa on which Emily died, most likely of tuberculosis, aged just 30. The life expectancy in Haworth was a mere 24, partly due to the overcrowded graveyard contaminating the drinking water. Such details from this place’s past still feel compelling in the present, especially when it comes to the author of Wuthering Heights.“Emily is quite enigmatic,” says Yorke. “We don’t know as much about her as we do about Charlotte. And Wuthering Heights was her only novel – but it’s one of the best-known in the English language.” How, then, to square this woman described as peculiar, introverted and nonconformist, with the literary genius who created a novel so haunting, dark and poetic that it still fires people up today? As Charlotte said of her sister: “An interpreter ought always to have stood between her and the world.” So much so that Charlotte made efforts to “correct” Emily’s reputation after her death, further adding to the mystery.The siblings have proven almost as popular as subjects for drama as their works, from Christopher Fry’s 1973 ITV series The Brontës of Haworth to Sally Wainwright’s 2016 To Walk Invisible for the BBC. In 2022, Emily got a somewhat reimagined biopic, with a passionate portrayal by Emma Mackey, and a raunchy affair with a curate. With each new film or TV series, fresh hordes of tourists have flocked in to Haworth.Down the hill, a record shop with a “Never Mind the Brontë” poster is just one of many nods to the local celebrities. Other windows boast a lampshade made from book pages and paintings of the moors. Authors live locally, or come to stay for writing retreats, says Park: “There’s that creative feeling in Haworth.” But does the Brontë effect have any impact on local culture in ways beyond the obvious? It runs deeper, says Park, with things such as the nature sculptures at nearby Penistone Hill Country Park, part of Bradford’s year as City of Culture. “It feels like Emily is in the heather and the trees. You just breathe the air. Wuthering refers to weather and I just feel she’s left her print here.”It’s not just about tourism. Take last month’s Wandering Imaginations project, which saw two young authors from Bradford and two from Ghana writing stories inspired by the Brontë siblings’ fictitious African kingdom Angria. “We’re here for the people that live here,” says Yorke. The society has just acquired a new building on the main street, where it will focus on “opportunities for local people to get closer to their heritage”. She hopes to further “instil that sense of pride in something on your doorstep, something people across the world think is worth visiting.”(Read more) Hollie Richardson)
From Edna Clarke Hall and Sylvia Plath to Kate Bush and Lily Cole, Wuthering Heights – Emily Brontë's brooding 1847 novel about destructive love – has long captivated readers and creatives alike. On February 13, 2026, the latest film adaptation starring Margot Robbie and Jacob Elordi, from award-winning writer, director, and producer Emerald Fennell, will reintroduce the classic 19th-century Gothic tale to the masses once more. And sure to follow? An obsession with the windy heath and wild heather moorlands of Yorkshire, where it was filmed.Deeply inspired by Brontë’s connection to the landscape of West Yorkshire, where she lived, her only published work of fiction was too disturbing for many when it was released. In January 1848, one critic complained that there wasn’t “a single character which is not utterly hateful or thoroughly contemptible” in the entire book. Still, it endured, haunting public consciousness well into the 21st century. First coming to celluloid in a 1920’s silent film, versions throughout the decades have cast Merle Oberon and Laurence Olivier (1939), Ralph Fiennes and Juliette Binoche (1992) among many others, each attempting to capture the novel’s most jaw-dropping moments: cruelty and lust for revenge; bitter grief and unrealised longing; acrid betrayals of self, of loved ones, and the intricate remorse and contempt each elicits.“Because it did defy the conventions of that era, so boldly and so brazenly,” says Murray Tremellen, a curator at the Brontë Parsonage Museum, “people couldn't ignore it. It's a book that doesn't shy away from exploring some of the darker facets of human nature, but that's where its power lies. In a way, the book is almost more likely to resonate with people who have been through difficult experiences in their own lives.” (Andrea Russell)
Paltrow: I was watching Hitchcock movies from the ‘50s and people really did speak with that transatlantic thing. I brought that in a little bit. So, the internet is abuzz about “Wuthering Heights.”Elordi: They should be. Although, someone will pull their phone up and I’m like, “Get that away from me.” When was the last time you were on stage? [What led me to director Emerald Fennell] was “Saltburn.” What’s interesting is when I read “Saltburn,” my thought on it was, “I have to be Jude Law in this movie because of ‘Ripley’.” But then I realized these aren’t similar at all. I shouldn’t use that as a reference. (Matt Donnelly)
A big thing that makes me happy is reading out loud with my wife and pets. East of Eden, Wuthering Heights, Jane Eyre, The Heart Is a Lonely Hunter. To share them outside of yourself is salve. (Anthony Breznican)
With all the recent buzz surrounding Guillermo del Toro’s Frankenstein and the upcoming theatrical releases of Wuthering Heights and Dracula, we’re delighted to see that gothic beauty will be trending in 2026—but not the least bit surprised. This vampy aesthetic will be defined by dark pouts, smudged smoky eyes and fingertips painted with inky black and oxblood polishes. (Lauren Knowles)
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by J.L. MurrayHellzapoppin PressASIN : B0FBKSH79XJune 2025The wild remembers its queens. And it wants them dead.Thornfield Hall is a house of secrets—its stones whisper, its halls breathe, and something old howls beneath the floorboards.When plain governess Jane Eyre arrives to care for a peculiar child, she senses more than sorrow in the air. Adèle is wild and sharp-eyed, and her guardian, Edward Rochester, hides under his grief. But the deeper Jane walks into Thornfield’s shadowed halls, the clearer it becomes: this is no ordinary house, and Jane is no ordinary woman.Something ancient stirs in her blood. Something with teeth.As the full moon rises and the bond between Jane and Adèle deepens, the past claws its way out of the walls—along with Bertha, Rochester’s first wife, who still roams the attic…and remembers everything.The Wild Court is watching. The Old Ones want their stolen blood returned. And Thornfield will tremble before the Pack that dares to rise.The wolves are not at the door. They are inside the house.Perfect for fans of Mexican Gothic, Ginger Snaps, and The Bloody Chamber, The Wolves of Thornfield Hall is a dark feminist retelling of Jane Eyre—with wolves.
The second book of this series will be titled The Wild Pack. We hope that the only AIsh thing would be the cover, but you never know these days.
When Emerald Fennell's "Wuthering Heights" arrives in theaters next year (just before Valentine's Day), it will mark the 16th time Emily Brontë's gothic romance novel has been adapted to film. The work has also been gloomy grist for television, the stage (as a play, a musical, and an opera), a graphic novel, and lord knows what else since its publication in 1847. The most famous version of "Wuthering Heights" to date is unquestionably William Wyler's 1939 film starring Laurence Olivier and Merle Oberon, which was refashioned into a classic Hollywood romance by genius-level screenwriters Charles MacArthur, Ben Hecht, and John Huston. Given its significant plot omissions, this is one of those movie adaptations that will get students in hot water with their English teachers, but, hey, at least they'll get to watch a classic piece of cinema boasting gorgeous cinematography from the great Gregg Toland.Why do artists keep revisiting "Wuthering Heights?" It's a downer of a novel with two terribly annoying main characters. But it's so overwrought that, if cast correctly (or reconsidered by a writer with a unique take on the book), it can really cook as a bodice-ripper. Or you could play it like director Andrea Arnold did in 2011 with stars Kaya Scodelario and James Howson and transform the novel into a rainswept saga of tortured, downright cruel passion.You've no shortage of options when it comes to "Wuthering Heights," but while you're waiting to see Margot Robbie and Jacob Elordi steam it up as Cathy and Heathcliff, you might want to check out the 2009, two-part television version that featured Tom Hardy as the tormented main character.Made for the United Kingdom's ITV network, the 2009 screen take on "Wuthering Heights" from director Coky Giedroyc and writer Peter Bowker was greeted with a bit of a shrug, but it could be ripe for reappraisal 16 years later, if only for Hardy's performance. In her review for The Guardian, critic Kathryn Flett aired her frustration with the novel's swing from "bonkers" to "boring" (a structural flaw fixed in Wyler's movie) and correctly dings it for being a "quasi-romance." These qualities make it impossible to make a truly loyal movie based on "Wuthering Heights" — or, at least, one that would be bearable.Still, Hardy can make just about anything watchable, and if you're determined to go against Brontë's depiction of Heathcliff as being "dark-skinned," you'll get an electrifying performance from one of our finest actors (who has a penchant for vanishing into roles). Per Flett, his "smoldering stoicism" is nicely complemented by co-star Charlotte Riley (who later became Hardy's real-life partner and will soon appear in Travis Knight's live-action "Masters of the Universe" movie), while the supporting cast is up to snuff. This rendition may not overcome the problem of the book's difficult second half, but, as far as I've seen (and I've not watched every single "Wuthering Heights" adaptation), only Wyler and Arnold have pulled off that trick.In any event, if you feel moved by the Hardy spirit after watching all 142 minutes of this "Wuthering Heights," I'd recommend you shift genre gears and check him out in the criminally underrated 2014 crime thriller "The Drop." There's nothing mopey about that movie, and he's never been better. (Jeremy Smith)
Wuthering HeightsIf you somehow escaped high school without reading Emily Brontë's 1847 gothic classic "Wuthering Heights," now is the perfect time to tick it off your reading list, ahead of its newest film adaptation releasing on February 13.The film stars Margot Robbie and Jacob Elordi as doomed lovers Catherine and Heathcliff, who are torn apart by societal expectations, time, illness, resentment, and guilt.But since this is an Emerald Fennell movie (director of "Saltburn" and "Promising Young Woman"), you shouldn't expect a run-of-the-mill book-to-film adaptation. (Gabbi Shaw)
For so many, Pride and Prejudice is a gateway drug into the wonderful world of period dramas. From other Regency-era romances (see: Bridgerton or countless other Jane Austen adaptations) to moody Gothic love stories (Jane Eyre—need I say more?), the English countryside is replete with cinematic inspiration. Naturally, this makes the island the perfect holiday destination for period-drama fiends everywhere. [...]Haddon Hall, one of the best-preserved medieval homes in all of England, offers a glimpse into the vibrancy of the Tudor era, complete with stone pathways smoothed out from 900 years’ worth of visitors and grand galleries framed with original Elizabethan wood carvings. Naturally, the moody location has appeared in a multitude of film productions, including The Other Boleyn Girl, Mary Queen of Scots, The King, and three different adaptations of Charlotte Brontë’s Jane Eyre. [...]Those who have the means might consider booking a private guided tour for easy access to all preferred destinations. Expedition Yorkshire curates thoughtful single and multiday tours across York, Edinburgh, London, and more, allowing travelers to see the country through a local lens. Some expeditions also focus specifically on locations that may be of particular interest to period-drama buffs. (The Brontë tour, for instance, would be an ideal day for anyone with an undying love for Heathcliff.) (Chelsey Sanchez)
“Well, if there’s anything I can do for you—watch Heathcliff, send takeout . . . If there’s anything I can do to lighten your load, just let me know. I’ve already taken you off the Curriculum Management Committee and the Committee Oversight Committee.”“Thanks,” I mutter, bewildered, as always, at how my studies of Brontë and Dickens novels prepared me for such gripping daily tasks. [...]Last fall was such a bright star for me when The Heathcliff Saga film premiered and my book spent several weeks on the New York Times bestseller list. Writing that book six years ago, postpartum, kept me sane. I gave everyone A’s that semester. With the hormone shifts, lack of sleep each night and an insatiable Heathcliff hanging off my breast, I’d escape into my alternative Wuthering Heights world. In my book, Emily Brontë’s love-triangled teenagers learn that Heathcliff inherited warlock powers from a distant Yorkshire ancestor. My Linwood is less milquetoast than the original character. He bastardizes ancient Fae supernatural powers from the moorlands and starts a spell war with Heathcliff. Cathy, caught in the middle, asks Nelly Dean to train her in the supernatural arts. She teams up with Heathcliff, helping him purge Linwood’s magical darkness for good. There’s lots of teen angst, desperate kissing, and disengaged parents. The adults churn butter and argue with no idea their teens could destroy Great Britain with their dark fairy arts war.My literary agent, Sarah, took me on and sold the book in two days. I loved my editor, my only complaint being that he wanted to change the title from The Cathy Saga to The Heathcliff Saga. I groused. After all, I wanted my heroine to be the book’s star. But he said “Cathy” wasn’t distinct enough—it sounded like the comic-strip character—and he wanted my Heathcliff to be the new Edward Cullen.
Third Space Theatre presentsby Polly TealeThe Sir Thomas Allen Assembly Rooms Theatre, Durham10 December 2025 - 12 December 20257.30PMA powerful historical drama and literary biopic that follows the sisters’ lives from their childhood through to their ultimate deaths as they navigate personal struggles and creative ambition amidst the oppressive patriarchal limitations of the 19th century.Set in their isolated home on the Yorkshire moors, the play begins with the return of their brother Branwell, dismissed from his job and spiralling into addiction. As the sisters are left to care for their father and keep the household together through grief and hardship, they turn to writing as an escape, the result of which would become the infamous novels that came to define them and the lines between fiction and reality begin to blur as their characters begin to come to life and haunt their creators.
Emerald Fennel's latest flick – an adaptation of Wuthering Heights – isn't even out yet (it's scheduled for release on Valentine's Day next year), and it's already been sending shockwaves through the internet (for more reasons than one). First and foremost, its leading duo Margot Robbie and Jacob Elordi are unusually picks for the literary classic, and stills from the film set have caused outrage amongst the book's puritans. Of course, the steamy trailer soundtracked by a now-viral Charli XCX remix have also caused quite the stir too.But if you simply need to get your fix before February, we have curated a list of films we love that match that vibe: steamy, classic, perhaps some not-so-close-to-the-source adaptations that made us re-fall in love with a story. Find out pick of 7 films like Wuthering Heights below.1. Romeo + Juliet (1996)[...] It's exactly the kind of film we know would have been on Fennel's [sic] mood board for her adaptation of Wuthering Heights. Robbie even said to press: "I went to the cinema to watch Romeo + Juliet eight times, and I was on the ground crying when I wasn’t allowed to go back for a ninth. I want it to be that."2. Marie Antoinette (2006)[...] Very in the vein of a Wuthering Heights film soundtracked by Charli XCX.3. Atonement (2007)[...]4. Titanic (1999)This may seem random, but Margot Robbie told press: "In one of our first conversations about this film, I asked Emerald what her dream outcome was. She said, ‘I want this to be this generation’s Titanic." So, there you have it. It's another epic love story of ill-fated lovers – we can see the similarities here.5. Saltburn (2023)If you're looking for more of Fennel's madness, then definitely make a pitstop at Saltburn. The 2023 film altered brain chemistry in more ways than one – and sent Sophie Ellis Bextor's 2000s hit Murder on the Dancefloor soaring up the charts again (along with Mason and Princess Superstar's Perfect (Exceeder)). It's got all the Fennel-isms we're expecting to see more of in her take on Wuthering Heights: excessive nudity, steamy romance, dramatic deaths and pop song nostalgia.6. The Beguiled (2017)[...]7. Picnic at Hanging Rock (1975)[...] It's haunting and sensual – themes mirrored in Wuthering Heights – following the story of a rural summer picnic where a few students and a teacher from an Australian girls' school vanish without a trace. (Cassandra Dimitroff)
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ARTICLES
Welcome by Sharon Wright, Editor.
Letter from the Chair. Lucy Powrie. Chair of the Brontë Society Board of TrusteesHow a Brontë movie starred in a landmark legal battle in Hollywood by Sam HarrisonGazette Exclusive: The Brontës Return to the Main Street by Sharon Wright
From Page to Place by Linda Green
Mass Wuther
'The Invietation of Dreams' by Nicole Joseph
Home for the Summer
Close-up on the Collection: Emily Brontë, Byron and Brussels by Ann Dinsdale
Doing the Literary Locomotion by Murray Tremellen
The Brontë Bookshelf: Material Witness by Eleanor Houghton
Ellen Nussey - the woman no-one could silence by Graham WatsonMembership Matters: Paper Free for the AGM / Members'Area update / Getting in Touch / Dates for Your Diary by Hayley Pink, Development OfficerGhosts at the Door by Linda PiersonDirectors' Diary by Rebecca Yorke AMA Director, Brontë Society and Brontë Parsonage MuseumHeathcliff's Christmas Cake by Jennie HoodDiary of a Parsonage pants pioneer... by Maria van Mastrigt
What may surprise many is the village's unique literary connections, particularly to the esteemed Brontë sisters. It's thought that Charlotte Brontë's fondness for Hathersage, following her visit in 1845, inspired the settings and characters in her celebrated novel, Jane Eyre. (Emily Malia)
'Lovely' Yorkshire town perfect for getting people in the Christmas spiritLocals in Haworth are full of praise for the town around Christmas time. (...)There are other things to see and do in Haworth as well, from visiting historic sites linked to the Brontë sisters, to the Keighley and Worth Valley Heritage Railway. Added together, its a beautiful village, and it's sure to get anyone into a Christmas mood. (Sebastian McCormick)
The atmospheric moors above the village of Haworth formed the inspiration behind the writings of the Brontë sisters. More specifically this walk focuses on Wuthering Heights: dark, desolate but magnificent.There are a number of car parks in Haworth. Choose one and head towards the church and the Brontë Parsonage. It is worth visiting the Parsonage before the walk to gain a feel for the tough upbringing the siblings had. In turn, this will bring a greater appreciation to the walk.The path heads up the south side of St Michael and All Angels Church, an impressive building where the father of the Brontë sisters, Patrick, was Reverend for 41 years (and rather sadly outlived all six of his children). (Jonathan Smith)
To Walk InvisibleBBC4, [Wednesday, December 10] from 10pmSally Wainwright, the writer behind Riot Women, Happy Valley and Gentleman Jack delivered a beautiful and powerful film about the Brontë family in 2016. It highlights the multiple health problems of Anne, Charlotte and Emily, their brother, Branwell, and father, Patrick, plus the sisters’ spells as governesses and their efforts to get books including Jane Eyre and Wuthering Heights published. (John Dugdale)
I kept imagining what it would be like if any of those characters went to therapy. Since that’s technically not possible, I am sending them to therapy myself, discussing their wrongs and giving my unsolicited advice on how to improve themselves.HeathcliffHeathcliff’s main issues include childhood trauma, abandonment problems, unhealthy romantic obsession, revenge addiction, unresolved anger issues, and even a gambling addiction. What he did wrong was making revenge his lifelong mission, ruining the lives of innocent people, forcing marriages, believing in ghosts, physically abusing multiple characters, and neglecting his own son. His therapy goals would be to resolve his traumas, learn how to cope with his emotions without hurting others, show affection without obsession, set life goals that don’t revolve around revenge, and most importantly, learn how to be a good parent. (Read more) (Delis Kalanova)
Y esa curiosidad dispersa y fértil se cuela también en sus libros, donde conviven la historia, mitología gallega y las referencias literarias que han marcado su vida. «Soy fan absoluta de Jane Eyre, Cumbres Borrascosas, Otra vuelta de tuerca, Frankenstein.... Y también de Los pazos de Ulloa. Quería hacer algo gótico victoriano, pero con alma gallega», explica. (Begoña R. Sotelino) (Translation)
On this episode, Mia and Sam are joined by Bradford Young Creative and poet Noor Afasa! Noor has been on placement at the Museum as part of her apprenticeship with Bradford 2025.
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by Nicola FriarASIN: B0FY3XLBLN (ebook)October 2025On a bleak midwinter’s night, author Clara Redfern sits amid the wreckage of her unfinished stories with only silence and self-doubt for company. But when the shadows stir, from the darkness step the ghosts of the Brontë siblings, each bearing a lesson from beyond the grave. Drawn into visions of past, present, and future, Clara must confront her fears as the spirits attempt to show her the power of her words — and the price of letting them fade.Shadows of the Sisters: A Midwinter Haunting is a gothic tale of inspiration, regret, and the spirits that dwell in every writer’s heart.
"Reading and books were a huge part of my mum’s life. Both my mum and my step-dad (playwright and screenwriter Beverley Cross) read voraciously,” he smiles. “So it’s always been part of my life. And now more than ever, because our attention spans are so scattered by technology, it’s really important.”Which explains in part why the 56-year-old, whose roles have included Bond villain Gustav Graves opposite Pierce Brosnan in Die Another Day, Mr Rochester in the BBC’s Jane Eyre and, most recently, lawyer Archie Moore in The Split, as well as Poseidon in the Disney+ series Percy Jackson and the Olympians, is so passionate about Give A Book. (Matt Nixson)
That doesn’t mean that the director and star own anyone an apology, or that they don’t have the right to deviate as much as they want from the book. It’s not as if the previous film versions have been exactly faithful — with many of them, going back to the 1939 rendition starring Laurence Olivier, even cutting out half the plot. And Hollywood adaptations of novels take liberties as a rule, as evidenced by Guillermo del Toro’s portrayal of “Frankenstein,” which includes new characters and major plot points, along with a somehow alluring Elordi in the lead role.But it is worth saying that there’s a definite ideological divide between the Hollywood powerhouses and the dedicated fanbase of Brontë’s “Wuthering Heights.” Anyone who has read the novel knows that “Wuthering Heights” is not a romance: It’s a warning. And marketing that as “the greatest love story of all time,” as the film’s promotional materials have, doesn’t do justice to its author’s brilliance — with all due respect to Nicholas Sparks. (Elaina Patton)
Kaiyue HeScottish Literary Review. Association for Scottish Literary StudiesVolume 17, Number 2, Autumn/Winter 2025 pp. 145-165Muriel Spark was obsessed with the Brontë sisters, their house, their literary careers and their afterlives. Although critics have commented on the relationship between Spark’s critical and biographical studies of the Brontës and her own emerging writing practice, few have compared them in depth. This essay classifies Spark, the Brontës, and their female characters as mythmakers, governesses, and tigresses, exploring female authorship and autonomy in the nineteenth and twentieth century and beyond. Spark engages with and imitates the Brontës’ ways of establishing their literary career and fame, but she assumes a critical distance from the Brontës’ solipsism and their self-mythologising process. Spark also moves beyond the Brontës’ scope and discusses women’s claims for their own agency in an increasingly globalised and mediatised consumerist society.
Jeanne BarangéRomantisme, 210 (4/2025) 'La Politesse'Cet article étudie le lien entre politesse et sentiment national dans le roman de Charlotte Brontë, Jane Eyre (1847). La représentation de la politesse, dans ce roman, fait écho à l’élan national qui a lieu au XIXe siècle pour définir l’identité anglaise. L’oeuvre présente Jane comme une figure marginale qui, par son cheminement de l’enfance à l’âge adulte, trouve progressivement sa place dans la société anglaise. Initialement rabrouée pour ses réactions passionnées et comparée à une étrangère, elle apprend à maîtriser les conventions pour mieux les déconstruire. Cet aller-retour entre docilité et impertinence permet au personnage de négocier à la fois sa position dans la hiérarchie sociale et sa position en tant que femme dans la société victorienne. Par la représentation du rapport ambivalent que Jane entretient avec la politesse, le roman célèbre la notion d’Englishness, tout en questionnant sa définition . (This article explores the link between politeness and national sentiment in Charlotte Brontë’s novel, Jane Eyre (1847). The representation of politeness in this work reflects the national impetus to define Englishness during the 19th century. The novel presents Jane as a marginal figure who, as she journeys from child to adult, gradually finds her place in English society. Initially reprimanded for her impassioned responses and compared to a foreigner, she learns to grasp the rules of decorum in order to better deconstruct them. Switching between docility and impertinence enables her to negotiate her position both in the social hierarchy and as a woman in Victorian society. In its representation of Jane’s ambivalent relationship with politeness, the novel showcases the concept of Englishness while questioning its definition.)
Inside a cavernous church on the outskirts of London’s Hampstead, an expansive suite of musicians sit in pin-drop silence. Then, as a conductor’s baton is raised, they pick up their violins and cellos and begin to play a grand, sweeping score. In the adjacent recording studio, I sit and watch them through glass, as monitors before me show the scene that this goose-bump-inducing music will eventually accompany: a climactic moment of Emerald Fennell’s Wuthering Heights. Here’s Jacob Elordi’s brooding, muttonchops-sporting Heathcliff and opposite him is the tragically doomed love of his life, Margot Robbie’s blonde and ethereally beautiful Cathy. [...]The first officially released photo showed Elordi’s finger entering Robbie’s open mouth, along with a few tufts of grass (twisted, earthy eroticism forever a Fennell calling card). Then came a flurry of paparazzi photos from the set, which featured Robbie drifting across the moors in a sumptuous if somewhat off-kilter wedding dress. (Per costume designer Jacqueline Durran, an industry titan – Atonement, Pride & Prejudice – it’s a style that marries Victorian and 1950s fashion, and references both the portraits of Franz Xaver Winterhalter and the wasp-waisted elegance of Charles James.)The gown raised questions around period authenticity, which were swiftly answered by a deliciously off-the-wall first trailer, a sweaty, sensual, skin-crawling, deliberately fantastical fever dream with glossy red lacquered floors, heaving bosoms and more outlandish, eye-popping costumes, soundtracked by Charli XCX’s “Everything is Romantic”. (The ubiquitous pop star-cum-harbinger of cool is providing original songs for the movie too.)Add to this a smart, sexy tagline (“Drive me mad”) and the film suddenly became the most talked-about of the year – and it’s not even out yet. When it opens on Valentine’s Day, Robbie says we will all have to, “Buckle up.”She is a producer too, as she was on Fennell’s last two films. As a result, the actor has been hands-on about every aspect of Wuthering Heights, including its promotional campaign. “The first image anyone sees of a movie is when you actually begin entertaining them,” she tells me, grinning. For that first photo, she says, “I remember someone being like, ‘Do you want a double [to have a finger and some turf stuffed in their mouth]?’ And I was like, ‘How dare you even ask me?’” She lets out a delighted cackle. [...]Robbie recalls that Elordi was already cast by the time the screenplay landed on her desk. At that point, Robbie had never read the book or watched any of the existing adaptations of Wuthering Heights. That script “absolutely wrecked me”, she remembers. “I didn’t know what was coming. By the end, I was just so full and so destroyed at the same time.”She was also captivated by Fennell’s Cathy. “I just felt like…” Robbie takes a breath, her fork aloft. “Not like she’s mine, but like I both understood her and didn’t, in a way that drew me to her. It’s this puzzle you have to work out.” She would have produced the film anyway, but decided to throw her hat in the ring to play Cathy too – though she didn’t “want Emerald to feel like she had to say yes”.Fennell was delighted. “Cathy is a star,” she explains. “She’s wilful, mean, a recreational sadist, a provocateur. She engages in cruelty in a way that is disturbing and fascinating. It was about finding someone who you would forgive in spite of yourself, someone who literally everyone in the world would understand why you love her. It’s difficult to find that supersized star power. Margot comes with big dick energy. That’s what Cathy needs.” The first time she met Robbie, nine years ago, Fennell says, “She smelt so delicious, which is an extremely creepy thing to remember. But she has that fairy dust. And she never, ever lets up. She operates at a higher percentage than anyone I’ve ever met.”Elordi concurs. “Margot is a force,” he writes to me over email. “And she makes it look easy. Sometimes I think she has Hermione’s Time-Turner – she can raise a baby, shoot a movie, produce four others and still meet for a beer at 5pm.”Robbie understands the kerfuffle around the film’s casting, to a degree. Of the chatter over this new Cathy being blonde not brunette, she says, “I get it” because “there’s nothing else to go off at this point until people see the movie”. (Fennell also clarifies that her Cathy is older than in the novel, in her mid-20s to early 30s.) On the subject of Elordi’s casting, though, Robbie is quiet and contemplative. “I saw him play Heathcliff,” she says finally. “And he is Heathcliff. I’d say, just wait. Trust me, you’ll be happy. It’s a character that has this lineage of other great actors who’ve played him, from Laurence Olivier to Richard Burton and Ralph Fiennes to Tom Hardy. To be a part of that is special. He’s incredible and I believe in him so much. I honestly think he’s our generation’s Daniel Day-Lewis.”In the early clips I’ve been permitted to see, Elordi also has a gruff Yorkshire drawl, while Cathy speaks in “classic RP” like the other central characters, in a bid to make Heathcliff feel “othered”. Robbie couldn’t help but be a little disappointed. “I was very excited to have a crack at the Yorkshire accent,” she says.The run-up to Wuthering Heights was, however, a little bumpy. “I was three months postpartum when we started shooting,” Robbie tells me. “So I was in a very different headspace. I didn’t do my usual routine. It was more haphazard. And I remember saying to Emerald, ‘What if I’m not prepared enough?’ She kept saying, ‘I don’t want you to prepare. I just need you to be in the moment.’ Which was a lovely way of relieving my anxiety. It was about being in my body as opposed to my head.”That helped with the sex scenes too, which you get a flavour of in the trailer, with sweat-drenched bodies spliced together with images of greasy fingers massaging dough, dripping in egg yolk and poking into the mouth of a fish. Does Wuthering Heights take it there? “It goes there,” Robbie confirms, her eyes glittering mischievously. “Everyone’s expecting this to be very, very raunchy. I think people will be surprised. Not to say there aren’t sexual elements and that it’s not provocative – it definitely is provocative – but it’s more romantic than provocative. This is a big epic romance. It’s just been so long since we’ve had one – maybe The Notebook, also The English Patient. You have to go back decades. It’s that feeling when your chest swells or it’s like someone’s punched you in the guts and the air leaves your body. That’s a signature of Emerald’s. Whether it’s titillating or repulsion, her superpower is eliciting a physical response.”It’s something Robbie and Fennell often discussed on set, like “‘What reads to us as hot or exciting or sexy?’ And it’s not just a sex position or someone taking their shirt off.” One such scene involved Elordi’s Heathcliff picking Cathy up (“With only one arm!”) and, in another, he shields her face from the rain. “It almost made me weak at the knees,” says Robbie, letting out a dramatic sigh. “It was the little things that we loved as two women in our 30s, and this movie is primarily for people in our demographic. These epic romances and period pieces aren’t often made by women.”Not everything went to plan. There was occasionally bright sunshine when they needed rain, which one day led to Emerald “writing a whole new scene in 30 minutes, if that, just typed on an iPhone” and set inside a carriage; plus the emotional weight of Cathy’s constant crying. (“Though I worked on a soap for three years,” Robbie says of her Neighbours era, “so it’s a muscle that I’ve built up.”)The trickiest thing to nail, though, was the tone. On one hand, Robbie says, it’s a “1950s soundstage melodrama” with a heightened aesthetic but also “emotionally grounded” – hence the pairing of Anthony Willis’s classical score, which I heard earlier, with modern music by Charli XCX. When Fennell asked if she’d record a song for the film, “I said, ‘How about a whole album?’” the singer recounts over email. “Her script struck something in me.” With her collaborator, Finn Keane, Charli says that she “started working with live strings and tried to find the most disgusting, violent, nontraditional way for them to play, and blend them into these songs that we were making very much specifically for and about the world of Wuthering Heights.” The results “couldn’t be further away from Brat”.The best reference point for the film as a whole, Robbie thinks, is Baz Luhrmann’s Romeo & Juliet. “It’s a literary classic, visually stunning and emotionally resonant. In one of our first conversations about this film, I asked Emerald what her dream outcome was. She said, ‘I want this to be this generation’s Titanic. I went to the cinema to watch Romeo & Juliet eight times and I was on the ground crying when I wasn’t allowed to go back for a ninth. I want it to be that.’” Their hope is that women “go see it with 10 of their female friends”. “And I think it’s going to be an amazing date movie,” Robbie adds. She has been encouraged by the response from early test screenings. “I was surprised by the fact that so few people had actually read the book,” she says of the film’s first audiences. “Quite a few had heard of it, but actually a huge portion hadn’t. So, for many people, this is their introduction to Wuthering Heights, which is exciting.”As with Barbie, a film much of the industry was sceptical about up until it was released and became an instant cultural touchstone, Robbie is determined to follow her instincts. “Everyone was like, ‘Well, that did well because of course it was going to.’ And I’m like…” She chuckles. “‘This was not the conversation at the time.’ I try to remind myself of that with Wuthering too. You have to just not listen to the noise and trust that the thing you’re putting out is what people will be happy to have.”In many ways, Wuthering Heights is exactly the kind of film that Robbie wants her production company, LuckyChap, to keep making more of – ones with a female focus or storyteller, which “feel like they have the potential to penetrate culture and a reason to exist”. (Radhika Seth)
The atmospheric moors above the village of Haworth formed the inspiration behind the writings of the Brontë sisters. More specifically this walk focuses on Wuthering Heights - dark, desolate, but magnificent.There are a number of car parks in Haworth. Choose one and head towards the church and the Brontë Parsonage. It is worth visiting the Parsonage before the walk to gain a feel for the tough upbringing they had. In turn this will bring a greater appreciation to the walk.The path heads up the south side of St Michael and All Angels Church, an impressive building where the father of the Brontë sisters was Reverend for 41 years (and rather sadly outlived all three daughters). (Jonathan Smith)
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by Clare PollardBloodaxe BooksISBN: 9781780377476September 2025Clare Pollard cocks a snook at Dr Johnson’s all-male Lives of the Poets in chronicling her own life and theirs in her Lives of the Female Poets. These portraits and self portraits offer glimpses into the poet’s own everyday life – from nit-combing and laundry to pollen counts and cocktails, watching school plays to shopping on Rye Lane – all whilst in conversation with female poets through the ages.Playing with forms from the version to the glosa, these are poems that remix, adapt and channel figures from Enheduanna, the first recorded poet, through to Wanda Coleman. Probing the idea of the ‘Poetess’ over time, there are also poems about writers’ lives – sonnets for Anne Locke, who wrote the first English sonnet sequence; a sestina for Elizabeth Bishop; a series of prose poems about Emily Brontë; and a look at the tragic life of L.E.L.Whether imagining a ‘three-martini afternoon’ at the Ritz with Sylvia Plath and Anne Sexton, or exploring the ways women writers have been erased from the canon in the book’s long, closing poem, Clare Pollard’s playful sixth collection celebrates and commemorates all those female poets who have come before.
There are three poems about Emily Brontë, as far as we know: On Emily Brontë, Age Six; The Sex of Emily Brontë, and Emily Brontë and the Critic. On the Rough Trade Books podcast (via Soho Radio), the author discusses that her collection includes biographical poems about female poets. She mentions there's "a poem about Emily Brontë masturbating," which she acknowledges "might be a flashpoint for some people what they think is too much."
She explains that throughout the poem she's constantly questioning "am I allowed to say this? Is this too much?" She adds that "the only person I've experienced of masturbating myself really so, you know, it's obviously a self a self-portrait on some level."
Claire then contextualizes it by saying she was "a very sexually frustrated teenager who like didn't have a proper [relationship] until I was about 20." She believes Emily Brontë had a similar experience, noting she'd watched a film that implied Brontë had a torrid affair and thought "oh really" - clearly skeptical, believing Brontë was more likely sexually frustrated like Claire herself had been.
So it came to be that the Brontë family arrived in Haworth, the village in which Patrick accepted the perpetual curacy of St Michael and All Angels’ Church where he would serve his parishioners for forty-one years until his death in 1861. They now had a larger house, a forever home the family could breathe in. They had space, where in time those young, curious and developing minds would write some of the finest nineteenth-century literature ever published. (Read more)
Brontë created a heroine who refuses to compromise herself for anyone, revolutionary for 1847. Jane’s insistence on equality in relationships and her moral strength made her the template for independent female characters.The gothic atmosphere, complete with mysterious mansions and dark secrets, shaped countless thrillers and mysteries. Modern stories about women finding their voice in difficult circumstances, from The Handmaid’s Tale to Gone Girl, carry Jane’s DNA.The first-person narration let readers inside a woman’s mind in ways that hadn’t been done before. (Adam Garcia)
In-person 2pm Free with entry to the Museum and for residents in BD20, BD21 and BD22 Brontë Space at the Old School RoomOnline 7:30pm £6 On Zoom: a link will be sent before the eventIn December 1847, Thomas Newby published Wuthering Heights by Ellis Bell in two volumes. The Examiner called it ‘a strange book’, while one reviewer for The Literary World confessed that despite its ‘disgusting coarseness’ he was ‘spellbound’.In December’s Thursday Talk, we reflect on the charged reception history of the novel, then and now. In the absence of a manuscript and scant personal writings, we explore the clues that remain of Emily Brontë’s own relationship to her only novel.This talk will be delivered by Dr Olivia Krauze, College Assistant Professor in English at Lucy Cavendish College, University of Cambridge, and Dr Claire O’Callaghan, Senior Lecturer in English at the University of Loughborough and Editor-in-Chief of Brontë Studies.
The book that... [...]…I’ve re-read the most:Jane Eyre by Charlotte Brontë. Jane Eyre is my favorite novel, and I used to be able to recite entire passages from it—which should tell you just how many times I’ve read it. Her voice has endured the test of time and my porous memory. (Riza Cruz)
«Soy fan absoluta de Jane Eyre, Cumbres Borrascosas, Otra vuelta de tuerca, Frankenstein.... Y también de Los pazos de Ulloa. Quería hacer algo gótico victoriano, pero con alma gallega», explica. (Begoña R. Sotelino) (Translation)
For Fall–Winter 2025, Max Mara introduces “The Untamed Heroine” — a woman of composure, intellect and purpose whose heart quietly yearns for the romance and drama of a windswept moor. Drawing on 19th‑century classics such as Jane Eyre by Charlotte Brontë and Wuthering Heights by Emily Brontë, the collection balances restraint with longing, discipline with desire.
