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.
Zhiying ZhangThe Explicator, 1–10. https://doi.org/10.1080/00144940.2026.2680014 (2026)Charlotte Brontë's Villette (1853) is a novel profoundly concerned with the act of looking and being looked at. Vision in the novel is never neutral; rather, it is bound up with power, desire, moral judgment, and gendered discipline. In particular, the ekphrastic episode of the Cleopatra painting in Chapter XIX has elicited substantial critical commentary and functions as a focal point for discussions of gender, spectatorship, Orientalism, aesthetics, and narrative authority. (...)
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Between Two Books (Florence Welch): ‘Villette’ by Charlotte Brontë
Did you know that Florence Welch has a book club? The Florence and the Machine singer periodically shares her book picks with her Between Two Books book club. This season’s pick in Villette by Charlotte Brontë. This lesser-known title from the author of Jane Eyre follows a young 19th-century woman as she leave England to take a teaching job in Belgium.
Villette is “an autobiographical study of solitude and unrequited love,” noted the Between Two Books Instagram. (Megan Elliott)
7. The married Belgian professor Constantin Heger inspired which character in the novel Jane Eyre? (Olav Bjortomt)
In a since-deleted post, the same X user also uploaded a screenshot to the platform of a text conversation with an “industry insider” who alleged that two songs on Charli’s Wuthering Heights album were “ripped” from Ferreira demos dating back to 2018 and 2015. Ferreira responded to those claims via Instagram comments as well, sharing, “Your industry ‘insider’ is wrong. Close but wrong…It isn’t worth the trouble bc I know how the world works.”‘Ferreira is, however, credited as a featured artist, co-writer and vocal producer on Wuthering Heights track “Eyes of the World.” (...)When asked for comment, her management team shared the following statement with Billboard: (...)“Ahead of the Wuthering Heights album release, a standard review process was conducted on a small number of tracks from the album, including fragments of material originating from earlier sessions. This process involved managers, legal representatives, artists and producers, and included a thorough review of archival materials and demo recordings. (Lyndsey Havens)
Fennell tan sólo se interesó en adaptar medio libro y a unos pocos de sus personajes, pero no perdió oportunidad para sembrar sugerencias eróticas visuales y auditivas, así como insinuaciones de bondage y S&M. Lamentablemente, más que una obra estimulante, nos conduce por el terreno del fan fiction calentón, ese universo de fantasías juveniles o amateurs, a la vez morbosas y puritanas, desahogo sin literatura, “plagio” legitimizado y cursilería masturbatoria desenfrenada. (...)Este ejercicio de estilo muestra una obsesión física muy oportuna en tiempos de looksmaxxing, en que todo mundo es bello y nadie quiere tener sexo (aun cuando lo tengan en exceso). Pero lo importante es que nos obliga a preguntarnos qué significa y para qué sirve una adaptación de la literatura al cine (especialmente al tratarse de un clásico). Y la respuesta tal vez es que sirve para ayudarnos a diferenciar el melodrama de la tragedia. (Naief Yehya) (Translation)
On Wednesday, 8 April at 6.30pm, the Boiardo cinema theatre in Scandiano (RE, Italy) will host a special screening of Wuthering Heights 2026, where the audience is invited to knit along, with dimmed lights to keep needles and eyes busy at once. The initiative grew out of a Friday knitting group led by Katia Tosi accoding to Il Resto di Carlino.
I loved Charlotte Brontë’s Wuthering Heights (sic). It’s a classic. I love a dramatic love story and it’s the ultimate bad love story. I love its imagery and its language, the way land is used to depict emotions. I was a cool kid that was with a gang who were robbing cars but reading Wuthering Heights at the end of the day, but I couldn’t tell them. You can't smoke your smokes at the back of the bike sheds while you're reading Charlotte Brontë (sic again).
Teasing becomes taunting, care becomes control and sexy times on the sofa become furious spats over Christmas presents (“You gave me a brooch made of teeth, Albert!”). The relationship is coercive, yes, but perhaps also co-dependent: Victoria’s panic keeps her obedient. A scene in which she reads from Jane Eyre signals the gothic fate which, [Daisy] Goodwin imagines, Albert might have planned for her. (David Jays)
AnneBrontë.org shares an 1853 Easter letter from Charlotte Brontë to Ellen Nussey, in which Charlotte declines a visit due to her duties as a vicar's daughter while also defending Lucy Snowe as a deliberately less idealized heroine than Jane Eyre.
7 The Professor (written 1846; published 1857) by Charlotte BrontëThis was the first novel that Charlotte Brontë completed. It was rejected by publishers nine times. Written in the voice of a male narrator, William Crimsworth, it offers a downbeat story of everyday middle-class striving as the protagonist travels to Brussels to establish his career as a teacher. But the last publisher to see it thought it showed promise, despite being too short and insufficiently “striking and exciting”. Had the author anything else to offer? Luckily, Jane Eyre – which amply supplied the earlier book’s deficiencies – was already in train and was soon accepted with alacrity. Although The Professor remained unpublished in Charlotte’s lifetime, she continued to believe that it was “as good as I can write”; its subtly ironised male voice reveals her underlying literary sophistication.6 Agnes Grey (1847) by Anne BrontëIn 1846, the three Brontë sisters had – at their own expense – published a joint poetry collection under the pseudonyms Currer, Ellis and Acton Bell. It sold just two copies. Realising that fiction was more saleable, they decided that each should write a novel under the same pen names. While Charlotte toiled over The Professor, the youngest sister, Anne, was working on Agnes Grey. It also sought to portray everyday life, but the result has a more authentic ring since she drew so directly on her personal experience working as a governess in well-to-do families. The first-person heroine is initially excited at the thought of earning her own living. But she finds herself underpaid and unappreciated by the snooty parents, while her tantrum-prone charges include a vile little boy who likes pulling the legs off baby sparrows. Had it not been overshadowed by Jane Eyre and Wuthering Heights when it came out in 1847, it might perhaps have caused more of a stir as a Nanny Diaries-style exposé.5 Shirley (1849) by Charlotte BrontëThis flawed follow-up to Jane Eyre was written under trying circumstances. Charlotte’s brother Branwell and both her sisters sickened and died in quick succession during the writing of it, so it was abandoned for a while before being resumed by the bereaved author. That’s not, however, the only reason why this “condition of England” novel – which announces itself on page one as “something unromantic as Monday morning” – has failed to entrance readers as much as its predecessor Jane Eyre. Its third-person narrative does not focus on a single hero or heroine and as a result the book feels comparatively diffuse, though Charlotte herself might have defended it on the grounds that real life is diffuse. Set during the Luddite riots of 1811-12, it explores social unrest, capitalism and the “woman question”. Because of her proto-feminism, Charlotte’s ideological position has often been called progressive, yet she was in fact a political conservative.4 The Tenant of Wildfell Hall by Anne Brontë (1848)In feminist terms, Anne’s second novel is the most radical and socially engaged of all the sisters’ books. The eponymous tenant, Helen Huntingdon, is hiding out at Wildfell Hall with her young son after leaving her abusive husband. At the time, unequal marriage laws meant that it was very hard for a woman to get a divorce at all and nigh impossible for her to get custody of her children. In Jane Eyre, Charlotte had made Mr Rochester a sexy Byronic rake; Anne, in reply, exposed the toxic masculinity behind that character type. Despite the novel’s strong Christian message, its unvarnished portrayal of addiction and adultery shocked Victorian readers more than any of the other Brontë books. More interested in the real than the ideal, Anne was drawing on her experience as a witness to Branwell’s chaotic behaviour.3 Jane Eyre by Charlotte Brontë (1847)The first of the Brontë novels to be published, Charlotte’s melodramatic tale of the poor plain governess and the madwoman in the attic became a bestseller on first publication. Its genius, in fact, lies less in the plot than in what George Eliot’s future partner GH Lewes, who was one of its first reviewers, called its “strange power of subjective representation”. Ditching the distancing device of a male narrator for a female voice proved Charlotte’s creative breakthrough: it enabled her to inject a then unprecedented first-person intensity into the novel form. However, Jane Eyre proved controversial at the time among sexist critics. Correctly surmising that the author behind “Currer Bell” was a woman, they decried the book as “coarse” and the heroine as too assertive for a female.2 Wuthering Heights by Emily Brontë (1847)It is mind-boggling to think that Wuthering Heights was written alongside The Professor and Agnes Grey, quite literally on the same dining room table in Haworth Parsonage at which all three sisters sat together working on their first novels. Emily’s masterpiece was called “a strange book baffling all regular criticism” on publication; it remains enigmatic, completely sui-generis and totally outside the norms of Victorian fiction. Justly regarded as one of the greatest works in the western canon, it’s far from the cliched love story it later became in popular culture. Though grisly with violence, it’s oddly devoid of sex. The writing is astonishing: scarcely any adjectives and not a purple passage in sight. The Victorian poet Swinburne was right to compare it to Greek tragedy.1 Villette by Charlotte Brontë (1853)Less famous than Jane Eyre or Wuthering Heights, Villette is Charlotte Brontë’s masterpiece and deserves to be better known. Here, she goes back to the Brussels material that she had already used at a tangent in The Professor – and which was rooted in her real-life experience of studying and teaching there in 1842-4. Reworking those memories from a first-person female perspective, she now incorporated her own secret into the story: the unrequited love she had felt for her Belgian writing tutor Constantin Heger. Yet the result is anything but naïve autobiography. Instead, it shows Charlotte push the classic realist Victorian novel in new, artistically experimental directions. The unreliable narrator, Lucy Snowe, has intimacy issues and sets a challenge for the reader. Long before Freud, Charlotte was exploring questions about repression and the unconscious in a complex, self-knowing psychological novel whose generic status hovers ambiguously between naturalism, gothic and autofiction. The extent to which Villette mined and refracted her own inner life was only discovered posthumously by her biographers.
Modern artists like Manet, who portrayed purely modern scenes without conforming to the “grain,” provoked viewership fury. French critic of the time, Émile Zola, argued in an essay titled “Édouard Manet”, originally published in 1867, that public outrage simply reveals how tightly audiences cling to expectations of what art ought to resemble. The public, up until this point, had maintained neoclassical values in art: to flatter, narrate, and moralize. Manet refused all three of those familiar imperatives by producing art that felt uncomfortable and bluntly new — a choice that is now heavily applauded. True art, a point Zola returns to time and time again, does not come from a desire to conform to norms or follow the “grain” but from individual temperament and personal vision.Nearly two centuries later and across the Atlantic, my girlfriends and I visited the Cineplex on Rue Sainte Catherine to watch Emerald Fennell’s 2026 “Galentines” adaptation of “Wuthering Heights”. The reaction to the film was generally varied. Some praised it, while lovers of the novel jumped to Twitter and Reddit to vent their anger over yet another inaccurate adaptation. To give credit to these bibliophiles, Fennell abandons many of the themes that make this story so impactful by portraying a narrative based on her initial impression of the book as a 14-year-old girl. In depicting this youthful interpretation, Fennell centres the film around a glorified toxic romance between Catherine and Heathcliff. Frustrated viewers were appalled at Fennell’s tone-deafness in foregrounding obsessive love while sidestepping and softening the harsher themes of the novel, particularly those pertaining to Heathcliff’s racial marginalization and the systemic class violence in the setting.In reading tweets alleging the film’s negligence, just as I did in December when choosing my winter semester electives, I turned to modern art history. Two hundred years apart, both Manet and Fennell have something in common: they’ve both committed to their personal visions and rejected traditional expectations. Manet counters aesthetic norms and produces art that depicts the tensions of modern life in a way that is truthful to himself. Similarly, Fennell abandons the expectation that adaptations be reflective of their source material to create a film rooted in her own experience, a decision Zola might have applauded. Whether or not you enjoy or even “agree with” either of these artist’s work, they both made the choice to commit to their personal truths and abandon external expectations. In practicing artistic autonomy, they choose their own temperament as an anchor in their work.If these two artists are correct and individual temperament is the “True North” of art, it leads us to question: are there traditions or expectations that artists must uphold, or is personal vision all that truly matters? Between these contexts, “tradition” is understood very differently. For Manet, “traditions” are expectations set by the Art Academy surrounding what defines academically valid (and objectively good) art. For Fennell, “tradition” underlines the source material from which she draws her film: Emily Brontë’s Wuthering Heights. Both these artists abandon tradition in their works, making audiences question: where is the line drawn between artistic autonomy and deviations from tradition?In deviating from tradition, one can question the difference between innovation and avoidance.If artists do have a responsibility to uphold a certain tradition, both Manet and Fennell have failed to do so. Yet we celebrate Manet as a transformative turning point in modern art history. Why? In my opinion, it is because Manet’s work denies the comfort of ignorance and bluntly presents his audiences with uncomfortable social realities, forcing them to analyze their own lives through his work. In contrast, Fennell’s Wuthering Heights does exactly the opposite. While she also deviates from “tradition”, she does so by refusing to inherit the uncomfortable and darker themes of the novel. She allows her audiences to find comfort in the avoidance of difficult themes surrounding the intersection of violence, race, and class. If Manet makes audiences question how closely art should adhere to academic standards, Fennell forces them to question how much personal vision we are willing to accept in interpretations of classic narratives.In some cases, we respond well to moving away from tradition when artists depict their personal visions because it feels honest and revealing, confronting you with art rooted in social reality. This is what Manet did in pulling at the seams of academic art to reveal true modern life. On the other side of the coin, moving away from tradition can feel dishonest if viewers don’t feel it is rooted in these social truths — the very social truths that made Emily Brontë’s novel so impactful in the first place.Now, as I wrap up this article in my student apartment a few streets from campus, I have to conclude that this argument is somewhat of an open-ended question. I think that is because there is no universal line that separates avoidance from innovation in art. That line is unstable by design, and artists have always toed it by pushing their own personal vision forward while balancing a respect for tradition. Perhaps this tension is what produces great art. That being said, in my art history class, we are still marveling at Manet’s impact on the evolution of modern art two centuries later. But as I left the Cineplex on Sainte Catherine after seeing Fennell’s Wuthering Heights, I got the impression that this particular adaptation might not make it onto the syllabus of a film class in another two hundred years. (Lyla Burt)
Contemporary psychology doesn’t view their relationships as “tragic lovers divided by social class and circumstance.” Instead, people agree that this story is about two deeply wounded people who cannot escape each other’s influence.Behind the perfect visuals and stunning costumes, it’s still possible to get the idea that this movie is a “psychological horror,” as often described on Reddit. Catherine, Heathcliff, and nearly every supporting character become trapped in a cycle of resentment and revenge.
Wuthering HeightsWe went to see Wuthering Heights within the last two weeks, and we totally loved it. I know that a lot of people felt really mixed about it, but we loved it, and so I took the opportunity to see if she might be into listening to Jane Eyre on Audible. I thought she might want to hear what another Brontë sister was writing, but I got sort of a mixed reply on it. We listened to her for a little bit, but I’m still trying. (Padma Lakshmi as told to Marah Eakin)
Wuthering Heights has ravished the global box office in its opening weekend, with the new Jacob Elordi and Margot Robbie adaptation taking US$76.8m (£56m, A$108m).Emerald Fennell’s reimagining of Emily Brontë’s novel made US$34.8m in the North American box office from 3,682 locations, making it the year’s biggest opening so far.While this is lower than early projections of a $40m to $50m opening weekend in the US and Canada, studio Warner Bros. has projected it will reach $40m by the end of the President’s Day long weekend in the US.Internationally, Wuthering Heights passed predictions to make US$42m in 76 territories, with more men reportedly making up audiences outside North America, where PostTrak polling estimated 76% of ticket buyers were women.The romantic drama, starring Australians Robbie and Elordi as Catherine and Heathcliff, also performed strongly in Australia, where it made A$6.07m (US$4.3m) in its opening weekend, which Deadline attributed to the stars’ “home field advantage”.A global total of US$82m, taking in the whole US long weekend, would mean Wuthering Heights had already recouped its reported $80m production budget in its opening weekend, not accounting for the millions spent on marketing and promotion. And the film still has several big openings on the horizon, in Japan and Vietnam on 27 February, and in China on 13 March. (Sian Cain)
But as the lights went down and an odd squeaking noise, suspiciously like bedsprings, filled the cinema, growing louder and louder, and then the first, sudden, shocking shot flashed onto the screen, Fennell had me by the scruff of the neck. It’s stylish, confident, sometimes affronting, wickedly funny but it also has a heart. I dropped a few tears at the end.I’m confused by the overall negative response. The film is of course not faithful in all respects to Emily Brontë’s novel, which would anyhow be a weird standard to apply to any adaptation — the word itself implies change. The business of taking something born of one era and making it appeal to another inevitably involves change — how boring if it didn’t. Also, as any of the noble 10,000 who recently bought and hopefully read a copy could tell you, Wuthering Heights is not a book you want to be entirely faithful to. It’s a wild work of imaginative invention but it’s also ludicrous, repetitive and, for the final 200 pages, a slog. Fennell’s film, which like several adaptations before it has done away with the dreary second half, is largely better for its alterations. [...]Fennell is not a filmmaker interested in muddy Yorkshire realism but her bloody-red, swirling silks and surreal sequences are a different approach to truth. When Cathy’s father — a delightfully menacing Martin Clunes — dies, we see his body flanked by two vast, tottering towers of empty green glass gin bottles. It’s not a shot to read literally but a witty, efficient way of reminding us that this was a man who has poisoned himself to death.It’s not a perfect film, but there is so much to like about it: the two child actors, Charlotte Mellington and Owen Cooper, playing Cathy and Heathcliff, best friends who survive together through a brutal childhood, who yanked at my heartstrings from the start with their sweetness and their fear. Then the lovely, bickering patter of Margot Robbie and Jacob Elordi, sexually obsessed with each other, one exasperating, one exasperated.“I am Heathcliff!” says Cathy in the novel. “He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.” Obsession is the dark spirit of Emily Brontë’s novel and Emerald Fennell has trapped it on-screen.
“Wuthering Heights” celebrates the 1847 novel’s strangeness in a modern way—it is romantic and steamy, shocking and devastating. And although it does not follow the novel word for word, it is a fantastic interpretation of a beloved classic. (Taylor Finnell)
Catherine and Heathcliff are unapologetically callous, spitting hateful vitriol at anyone close to them. In the end, it’s what makes them so perfect for each other. The sexual tension between Catherine and Heathcliff radiates from the screen thanks to the chemistry between Robbie and Elordi. (Sarah Gopaul)
So there you have it. Wuthering Heights is not faithful to the book, but it is faithful to what the film aroused in young Emerald Fennell’s imagination. It’s a remarkable thing to be able to evoke the passions of a young female bibliophile. The resulting film is a bit silly, very sexy, visually decadent, and, yes, wonderful. (Max Weiss)
I understand the pain that the novel’s fans feel. As an adaptation, “Wuthering Heights” grossly falls short of meeting its source material’s quality. But as a film, it is enjoyable, visually stunning and rife with wonderful performances. (Bianca Dishmon)
Let’s begin with the wink — the self-aware mischief — embedded in “Wuthering Heights” from the title itself. This is not quite Wuthering Heights, but “Wuthering Heights” in inverted quotation marks — the way the film appears on posters and in its stylized title sequence. Director Emerald Fennell seemingly wants to shield herself from devoted fans of Emily Brontë’s immortal novel and declare out loud: This is not an adaptation of the book. This is my version of Wuthering Heights — or “Wuthering Heights” — what I saw in the novel and chose to put on screen, with all the color, sex and pop songs on the soundtrack that, in my view, perfectly convey the tragic love story between Cathy (Margot Robbie) and Heathcliff (Jacob Elordi). I do not care about fidelity to the source material, and certainly not about historical fidelity to early 19th-century Britain. Take it or leave it. And we do. (Benjamin Tovias)
“Wuthering Heights” might not be the adaptation that some people were looking for, but as a dramatic story about love, it hits its mark. The movie is visually rich and musically lush. It’s a dense meal that’s both bitter and sweet as it goes down, but it lingers long after it’s finished. (Tyler Hayes)
If you have no emotional investment in the book and are prepared to see the film as Emerald Fennell’s vision, her interpretation, her reimagining of Wuthering Heights and through her stylised lens, it is enjoyable enough. It remains fundamentally hollow and muddled for many of the same reasons as above but there’s a story to follow, atmospheric sets, gorgeous cinematography with every frame filling the screen like a beautiful painting and a haunting, evocative soundtrack. Owen Cooper, as the young Heathcliff is excellent. Alison Oliver brings the laughs. Elordi and Margot look fantastic. The costumes, while incongruous, are gloriously over the top and stunning. And the ending does finally evoke all the emotions and even some tears. (Rehna Azim)
Visually, though, this film is just stunning. The cinematography was beautiful. The scenery was all very visually appealing. Almost distractingly so. It all looks expensive and tasteful, which is exactly the wrong approach for a story that should feel hostile and ugly.To be clear: adaptations don’t owe us complete fidelity. However, this feels less like a reinterpretation and more like a complete misreading. It felt like someone fell in love with the aesthetic of a doomed romance and completely ignored the racial and class violence that made it doomed in the first place. The irony is that a realistic adaptation of Wuthering Heights would probably be widely hated. It would be uglier. Less romantic. There will be audiences who adore this version for its star power and overall vibe. That’s fair. As a standalone tragic romance, it works. But as an adaptation of one of the most brutal novels of our time, it falls flat.And despite all of this, I cried harder at the end of this movie than any movie I have ever seen. And I believe it’s because I carried the context of the story with me into the theater. I knew what these characters were supposed to mean. I can think that the adaptation is a misread, and still admit that it moved me. Maybe that says less about the film and more about how this powerful story has withstood the test of time. (Meg Qualls)
Even on its own merits, this movie is a complete disaster. The directing is confident, as we’ve come to expect from Fennell, but the screenplay is heavy-handed and dry. The movie is genuinely a slog to get through, especially when Heathcliff is off-screen. Heathcliff is the only character who really engaged me, despite being a neutered version of his book counterpart.A lot of this movie’s selling points actually end up hindering the movie. Margot Robbie is undoubtedly a great actress, but in this film, she is terribly miscast and as a result gives a bizarre performance. Charli XCX is one of my favorite musicians, but her original songs for this movie actively hinder the scenes they are in. This movie clearly has talent behind it, but in execution nothing works.The one redeeming quality here is the cinematography. Linus Sandgren was cinematographer on La La Land, Saltburn, and Babylon. In this movie, he does a lot of really interesting things with the camera. The use of color is also incredible; it looks stunning in so many shots. It really compliments the already stunning set and production design.“Wuthering Heights” already does not represent the time period very well at all, so I wish it committed more to the exaggerated realism its clearly going for. Better yet, I wish this film did anything interesting with the time period at all, like it is trying to do. It’s clear that this movie, even if it had been wildly inaccurate to the source material, could have been half decent. Instead, it fails as both an adaptation and as a film of its own. (Brayden Caldwell)
The beauty of the film alone was enough to make me enjoy it and tolerate the poor writing, but visuals can only get you so far. The story is just as crucial, and here it didn’t meet the mark. (Justin Mehlbrech)
I am absolutely no purist. I love artistic playfulness and some bold and original takes on the classics. Some work surprisingly well – the modern Sherlock Holmes TV series with Benedict Cumberbatch. Or "Clueless", a tongue in cheek modern retelling of Jane Austen’s "Emma". However, all should be done with class, subtlety and respect for the original material and its characters. This most recent version of "Wuthering Heights" lacks all these elements. It is superficial and mono-thematic, bordering on parody. Moreover, it changes the very essence of certain personages (for example Nelly - the manipulator, the quirky masochist Isabella and the aforementioned Joseph). (Marta Oliehoek-Samitowska)
“Wuthering Heights” is a wannabe “Romeo and Juliet” that is simply not an adaptation of its source material, aside from the names Cathy Earnshaw and Heathcliff slapped onto its leads. Not only that, but it also fails to be a compelling romance, whose actors tend to putter around beautiful sets with very little to do. When they are doing things, it’s not even that interesting. It’s a failure on all levels of cinema, and the only enjoyment I could find out of going to the cinema to see it was the popcorn and snacks I had while watching it. (Marguerite C. J. Marley)
Entre una telenovela turca, un culebrón latino, una novela rosa-erótica con escocés macizo de Maya Banks o una indigestión de Peter Greenaway, Yorgos Lánthimos y otros “aggiornadores” de temas históricos o literarios, la actriz, guionista, productora y directora Emerald Fenell (Una joven prometedora, Saltburn) ha reunido a Barbie y a Frankenstein o, lo que es lo mismo, a Margot Robbie y Jacob Elordi (que ya trabajó con ella en Saltburn), dos de los más poderosos y taquilleros sex-symbols actuales, en esta reinterpretación de la obra maestra de Emily Brontë escrita y dirigida por ella. [...]Este es el camino que Emerald Fenell ha pretendido tomar, exprimiendo de la novela todo su potencial de pasión devastadora y exasperada. Pero su película es puro plástico videoclipero (uso de las canciones de Charli XCX) tan caro como hortera, con mucho cuerpazo y sexo, pero poco erotismo (las metáforas gastro-sexuales son penosas), un diseño de producción de Suzie Davis (Mr. Turner, Cónclave) y un vestuario de su habitual colaboradora Jacqueline Durran (La bella y la bestia, Barbie) que incurren más en la forzada extravagancia de un barroco-pop de pega con un cierto tufo de princesas Disney que en la originalidad visual que se pretende crear.La extravagancia caprichosa, la modernidad impostada y la trasgresión comercialmente calculada son la marca de esta película que busca gustar epatando o epatar gustando mientras explota a conciencia los rostros y los cuerpos de una entregada Robbie y un menos convincente (como actor) Elordi, más Can Yaman o William Levy que Heathcliff. Ninguno logra hacer creer que son sus personajes. El resultado es un hueco ejercicio de interpretación a brochazos de un texto extraordinario al que se le extirpan sus muchas posibilidades de lecturas más oscuras, arrebatadas, salvajes y críticas.Como toda traducción es también interpretación, además de las versiones de Wyler y Buñuel, recomiendo a quien no la haya leído la extraordinaria traducción de Carmen Martín Gaite (Alba Editorial) que hace sentir lo que Virginia Woolf escribió sobre Cumbres borrascosas: “Con un par de pinceladas Emily Brontë podía conseguir retratar el espíritu de una cara de modo que no precisara cuerpo; al hablar del páramo conseguía hacer que el viento soplara y el trueno rugiera”. En esta película hay cuerpos, casi es lo único que hay, pero no caracteres. Y no se oye, por mucho ruido que los efectos y la banda sonora metan, oír ni el viento ni el trueno. El problema no es la libertad con la que un texto se reinterprete, sino que se tunee reduciéndolo a telenovela. (Carlos Colón) (Translation)
Esto enfrenta al espectador a cierta incomodidad, también impulsada por la banda sonora compuesta por Charli XCX, que incluye 12 canciones originales, cuyo estilo introduce un contrapunto irónico, subrayando la tensión entre lo sublime y lo vulgar.Cumbres Borrascosas mantiene viva la confrontación y el debate en la relación entre Catherine y Heathcliff, que despliega, como en un campo de batalla, las clases sociales y las pulsiones íntimas, también limitadas, algo esperable en esta directora.Robbie le aporta a Catherine sensaciones que oscilan entre la fragilidad y la crueldad, mientras Elordi encarna un Heathcliff menos espectral y más humano, mucho más frágil, atrapado en la contradicción entre deseo y resentimiento. La película insiste en que el amor aquí no es redentor; sino destructivo: un vínculo que corroe y arrastra hasta morir. Juzguen ustedes. (Daniel Rojas Chía) (Translation)
It's a complicated feeling to love a film's "look" while feeling like it's fundamentally re-writing the very characters that give the story its weight and it begs the question: why is our modern lens so obsessed with hypersexualising female pain?By turning Isabella's trauma into a consensual, BDSM-coded transactional relationship, we've traded her actual human resilience for a hollow, edgy trope.We don't need these women to be hyper-competent or hypersexual to be interesting; we just need them to be allowed the messy, un-sexy humanity Emily Brontë actually gave them. (Madison Scott)
In the case of Wuthering Heights, the album sometimes feels as if Charli committed fully to her concept, but didn’t allow herself to branch out even further, reach higher, express – or even abandon – more. It is a symphony, but not quite an opus. Yet as it stands, this might actually be her most successful album: re-imagining herself as bravely as she has many times, but shedding the fur coat. And in that, this is likely a more valid, lasting and, surprisingly, necessary adaptation than Fennell could have managed. (John Wohlmacher)
Charli was tasked with creating work that fits both a time-honored novel and a flawed film adaptation; “Wuthering Heights” straddles the two remarkably well. Despite the general perception of the film thus far, Charli’s album is absolutely worth a listen. (Alexander Hernandez Gonzalez and Eliza Martin)
Fa gairebé 50 anys, Kate Bush es va inspirar en Wuthering heights (i el seu acte final) en una cançó d’halo sobrenatural, i ara és Charlie XCX qui aconsegueix interpretar l’angoixa anímica del relat de Brontë en una bonica obra inquietant. Un àlbum amb entitat pròpia, al marge del seu rol de score, on aquest anhel de l’amor impossible i punyent flota fins al final (i més enllà). (Jordi Bianciotto) (Translation)
'The Tenant of Wildfell Hall' by Anne BrontëThe Brontë novel that feels shockingly most modern didn't originate from Emily or Charlotte, but the youngest sister, Anne. Her heroine, Helen Graham, is a woman fleeing a disastrous marriage and facing social exile because of that choice. She arrives at Wildfell Hall with her young son and a cloud of suspicion trailing her.Like her older sister's work, The Tenant of Wildfell Hall is about control, reputation, and survival, but from the perspective of someone determined not to be destroyed by love. And it deserves a film adaptation that treats Helen as the quietly radical figure she is, choosing autonomy over love, independence over conformity, Realism over Romanticism. This one's for the Moor-loving feminists, you guys. (Jessica Toomer)
Lucy becomes an independent headmistress of her own school, similar to Madame Beck, further emphasising the unconventionality of such a story. In an era that continues to be dictated by the interests of patriarchal value systems, forcing women to navigate impossible expectations, Lucy Snowe’s rejection of romantic fulfilment and an acceptance of a life built on her own terms reminds the readers of the value in living a truly unapologetic life despite its uncertainties and fears. Nearly two centuries later, her quiet rebellion in Villette feels more urgent than ever. (Anoushka Chaudhary)
The book I could never read againNever say never. I promise I’ll try Charlotte Brontë’s Jane Eyre and Villette again, just not right now, OK?
A period drama directed by a praised writer and director has been winning over fans who call it 'beyond incredible', and it's now on the BBC iPlayer.To Walk Invisible: The Brontë Sisters, which first aired on the BBC in 2016, is a period drama about the intense three-year period when sisters Charlotte, Emily, and Anne Brontë secretly published their groundbreaking novels, using masculine pseudonyms of Currer, Ellis and Acton Bell. The series sees the trio overcome societal barriers, driven by their difficult home life, ailing father, and their brother Branwell's destructive addiction, ultimately leading to their individual literary fame but also personal tragedy as they fight for recognition.Written and directed by Sally Wainwright, who has created other period dramas including Gentleman Jack, the series stars Finn Atkins as Charlotte, Chloe Pirrie as Emily, Charlie Murphy as Anne and Jonathan Pryce as their father. (Niamh Spence)
Rising star Owen Cooper and Saltburn's Jacob Elordi were captured congratulating each other for their respective wins on Sunday night. Jacob, who won Best Supporting Actor for his role in Frankenstein, smiled from ear to ear as he reunited with his Wuthering Heights co-star Owen, who picked up the going for Best Supporting Actor in a Limited Series for his role in Adolescence.The two actors are set to share the big screen in February in Emerald Fennell's hotly anticipated adaptation of Emily Brontë's gothic classic Wuthering Heights. Jacob stars as Heathcliff opposite Margot Robbie's Catherine Earnshaw, while Owen portrays a younger version of Heathcliff.With an all-star cast, this bold reimagining of the much-loved tale, which is released just in time for Valentine's Day on 13 February, is set to be one of the biggest films of 2026. (Nicky Morris)
HeathcliffFresh from his turn as a disconcertingly hunky humanoid in Guillermo del Toro’s Frankenstein, Jacob Elordi will spend 2026 cementing his position as one of Hollywood’s few bona fide gen Z leading men. In the spring, he’ll front Ridley Scott’s post-apocalyptic thriller The Dog Stars (in cinemas 27 March), but first he reunites with Saltburn writer-director Emerald Fennell for her gleefully irreverent, erotic take on Wuthering Heights (13 February). Starring opposite fellow Aussie Margot Robbie, all eyes will be on Elordi’s Heathcliff, whose transformation from rural waif to gentleman brute will be soundtracked by Charli xcx and bestowed upon the world just in time for Valentine’s Day. (Rachel Aoresti)
Although not explicitly named, Brussels was the inspiration for the setting in Charlotte Brontë’s Villette. Brontë’s experience studying and later teaching at a girls' school, Pensionnat Heger in 1842-1843, profoundly shaped the novel, both emotionally and artistically.The story follows Lucy Snowe, an Englishwoman who moves to a fictional city, Villette. There she teaches at a girls' school while navigating isolation, emotional repression, religious conflict and ambiguous romantic attachments.
Wuthering Heights | Warner Bros.Domestic Opening Weekend Range: $20M – $25MDirector Emerald Fennell follows up on the specialty success of edgy titles Promising Young Woman and Saltburn with an adaptation of Emile Brontë’s celebrated novel, timed to release over Valentine’s Day weekend.
More websites are talking about the film (or the soundtrack). The Hollywood Reporter, The Huffinton Post, The Fashion Journal, Muzikalia, Diario de Colima, Forbes Argentina, inkl, El-Balad, CNews, Moviebreak, Techradar, Daily Maverick, Vogue Australia,...
Brontë fans may have been puzzled by the trailer for Emerald Fennell’s forthcoming adaptation of “Wuthering Heights,” which bills the film as “inspired by the greatest love story of all time.” The tragic novel teems with passion, yes, but also with cruelty, obsession, classism and revenge — and of course those mists that roll across the moors, cloaking this Gothic masterpiece in an otherworldly aura. (Jennifer Harlan)
El próximo febrero llegará a los cines la nueva versión de 'Cumbres borrascosas', inspirada en la novela de Emily Brontë y dirigida por Emerald Fennell y con Margot Robbie y Jacob Elordi como protagonistas. 'Brontëana' (Garbuix Books), de Paulina Spucches, viaja a Yorkshire para hablar de las Brontë, sobre todo de la hermana pequeña, Anne, autora de Agnes Grey y La inquilina de Wildfell Hall. (Ana Fernández Abad) (Translation)
Elise Dumpleton: Hi, Sadie! Can you tell our readers a bit about yourself?S.T. : Hi! I’m the author of Tidespeaker, a gloomy, gothic YA Fantasy about a girl with the power to command the tides who secures a position serving a noble family on an isolated tidal island, only to learn that her best friend drowned there and her new employers are hiding dark secrets. My writing draws on my own experiences as an undiagnosed neurodivergent teen—I eventually got an autism diagnosis in my thirties—as well as various literary inspirations including the works of Jane Austen and the Brontës. When not writing fiction, I write marketing copy, play classic CRPGs, and wrestle with my out-of-control to-read pile! I live in the UK with my family.
Pendant mes vacances, j’ai relu – ou peut-être lu car je n’en avais pas grand souvenir – Hurlevent, l’unique roman de l’écrivaine anglaise Emily Brontë, publié sous pseudonyme masculin en 1847 sous le titre original Wuthering Heights. Un livre absolument incroyable quand on songe au contexte dans lequel il a été pensé et écrit, un livre hanté, effroyable, d’une noirceur et d’une étrangeté exceptionnelles. (Lucile Commeaux) (Translation)
Have a Brontë bonanzaIt’s going to be a year of Brontë for me. Recently I picked up Charlotte B’s Villette — prompted by a Times recommendation from the author Kaliane Bradley, who described it as “superb” and “horny” — and while I can’t exactly say I’m racing through it, the narrator is a remarkable heroine: bitter, wry, self-hating, kind of like a corseted Fleabag. Next goal: wrap up Villette in time to read Emily’s Wuthering Heights before the “sexed-up” movie with Margot Robbie comes out (February 13), so I can criticise it smugly but authoritatively. And then, I suppose out of fairness, it’s time to find out whether Anne Brontë’s The Tenant of Wildfell Hall is utterly brilliant or a weird story about rental agreements. (Neil Fisher)
Haworth village is one of the most picturesque, fascinating, and best places to visit in Yorkshire. Here are our top five things to do in Haworth that will persuade you to put it at the top of your bucket list for 2026.1. It is the home of the Literature Queens, the Brontë SistersOne of the things that Haworth is most famous for is being the home of the talented Brontë sisters. The authors of such works, including Wuthering Heights, Jane Eyre, and The Tenant of Wildfell Hall, have left their legacy in Haworth. They continue to attract thousands of visitors to the village each year.Here are some of the main attractions linked to the Brontë Sisters you must see when you visit Haworth:The Brontë Parsonage MuseumThe famous home of the Brontë family is now a fascinating museum. At the Brontë Parsonage Museum, you’ll discover the world’s largest variety of original Brontë items, including furniture, books, paintings, clothes, and much more. Throughout the year, there are family activities, insightful talks, and special exhibitions.Haworth Parish ChurchAfter visiting the Brontë Parsonage Museum, you should take a look at Haworth Parish Church, located right next door. It has deep connections with the family. Firstly, Patrick Brontë, the sisters’ father, was the parish minister for 41 years. Also, Emily, Charlotte, Bramwell (their brother), and Patrick are all buried here. It is a must-visit when wandering Brontë Country.Top WithensTop Withens is an iconic landmark in Haworth. This ruined, isolated farmhouse located on Haworth Moor is roughly a 3.5-mile walk from the village’s main street. It is widely considered a significant inspiration for Emily Brontë’s novel Wuthering Heights. With this connection mixed with the beautifully wild landscapes, it is a highly popular spot for walkers.Black BullAfter a long day walking and sightseeing, you might very well want to stop for a hard-earned drink. If you want a cosy pub but also want to keep discovering more about the Brontës, then look no further than the Black Bull. The pub is famous as it was the favourite drinking spot of Branwell Brontë, the sisters’ brother. An excellent creative in his own right, he was a regular visitor to the pub, and you’ll still find his famous masonic seat. The pub also appeared in a BBC drama ‘To Walk Invisible’, which tells the story of Bramwell and his family. (Eddie Brickdale)
Hazel Rickett, from leading small-group tour operator Rabbie’s, has recommended six incredible destinations, perfect for a staycation in the new year to keep the January blues at bay. (...)And finally, Haworth, located in West Yorkshire, was her sixth recommendation for anyone seeking a relaxing started to 2026.Best known for being the home of the Brontë sisters, the village and surrounding moorlands are incredibly atmospheric at this time of year.She added: “Here, people can explore the cobbled, Victorian streets or plan a visit to the Brontë Parsonage Museum, before warming up in one of Haworth’s traditional pubs after a crisp winter walk. (Ruth Warrander)
The dales and moors of Yorkshire are a well-established muse for writers and visual artists. Most recently, the region has served as the romantic location for “Wuthering Heights” and “Downton Abbey: The Grand Finale.” The North Yorkshire Moors Railway and the Yorkshire Dales make appearances in both and are a must-see when visiting. Make sure to squeeze in a visit to the Brontë Parsonage Museum, where the Brontë family lived from 1820 to 1861. The historic space offers fascinating insight into the lives of the three Brontë sisters and the world that inspired “Wuthering Heights.”
The trailer for Emerald Fennell’s “ravishingly stylish” adaptation of Emily Brontë’s only novel sent much of the internet into a “tizzy”, said Jack King in GQ. This “definitely isn’t the ‘Wuthering Heights’ you read for your GCSEs”. As you would expect from the director of “Saltburn”, the trailer was “factory-made to provoke a reaction”. In her “gleefully anachronistic romance”, Margot Robbie (pictured above) and Jacob Elordi take on the starring roles of Catherine and Heathcliff, while Charli XCX has contributed some “absolute bangers” to the soundtrack. Is it a surprise Fennell’s film “seemingly sticks a middle finger up at the source material? More to the point: does it really matter, when it looks like this much of a laugh?” (Irene Forshaw)
While Emerald Fennell’s forthcoming film is already stirring up conversation thanks to its surprising costumes, Margot Robbie and stylist Andrew Mukamal are already plotting a fashion fantasia for the press tour. “The couture shows are in January. So we can see what comes out of that,” Robbie told British Vogue. Maybe, if we’re lucky, co-star Jacob Elordi will break out the cravat again. (Hannah Jackson)
4. «Wuthering Heights» de Charli XCXEl próximo 13 de febrero los fans de Charli XCX estarán de celebración, y es que la artista anunció hace unas semanas que el segundo mes de 2026 llegaría por todo lo alto con un nuevo disco bajo el brazo: «Wuthering Heights». Un disco que se presenta como algo muy distinto a lo que ha hecho hasta ahora y del cual ya hemos conocido los temas «Chains of Love» y «House», tema que compuso para la banda sonora de la adaptación de «Cumbres Borrascosas» y que parece ser que es un muy buen chivatazo de lo que se viene con el disco en conjunto. Tal y como ella ha contado, hizo un disco completo para conseguir introducirse en el personaje, y de hecho ha creado este álbum junto al autor de la banda sonora de la película, Finn Keane. (Translation)
Best Opera PerformanceAnna Sideris - Jane Eyre - Arcola Theatre 33%Anna Netrebko - Tosca - Royal Ballet And Opera 29%Laura Mekhail - Jane Eyre - Arcola Theatre 22%Hector Bloggs - Jane Eyre - Arcola Theatre 15%Best Opera ProductionJane Eyre - Arcola Theatre 48%Tosca - Royal Ballet And Opera 29%Saul - Glyndebourne 23%
Mononoke The Movie: Chapter II – The Ashes of Rage (Kenji Nakamura/Toei Animation/Netflix)Rage burns incandescent. This film is hardly the first literary work to note that women's rage, in particular, is hard to extinguish (though it might be the most visually striking). Honestly, I feel like the closest comparisons are Charlotte Brontë's Jane Eyre and Charlotte Perkins Gilman's The Yellow Wallpaper.
Why I recommend it: My second-greatest tip for getting back into reading is to revisit the first book you ever loved, and I do that every year with Wuthering Heights. It’s a classic novel about — and I can’t believe I’m saying this — the toxic situationship between two monstrous people. Catherine and Heathcliff both suck, but they’re more than soulmates, and their impossible love, set against the gloomy backdrop of the English moors, never gets boring. It helps that Emily Brontë’s pen is unmatched: “Be with me always — take any form — drive me mad.” That’s the hottest line ever written. I’m so mad at her for dying before she could write anything else.It is impossible to talk about Wuthering Heights without noting that there’s a new movie adaptation coming in February 2026 — your homework is to read this before then, and don’t fall for the rage-bait of whatever inevitable inconsistencies the Margot Robbie and Jacob Elordi version has. They’re different media, for goodness’ sake! Let Emerald Fennell (the notoriously polarizing director) have a little fun with it!
Also, what’s up with Millie’s room in the attic, which features a window that won’t open, a door that locks from the outside, and a serious Jane Eyre-meets-Gaslight vibe? (David Fear)
They also installed the first visitor toilets at the Brontë Parsonage Museum; relocated the Peace Museum to Salts Mill where its annual visitors increased from 3,000 per year to more than 50,000; and they installed a lift at Ilkley Playhouse. None of that is sexy. But in a city with a council that by its own admission faces financial challenges which rank “among the most significant in local government nationally”, it is work that simply would not have happened otherwise. (Lanre Bakare)
Consideration of book sizes was sparked recently by noticing my spouse and I were both reading books from the Oxford World’s Classics series, her Austen’s “Emma” and me Brontë’s “Jane Eyre.” Both were small Aldus portables, but her “Emma” was noticeably larger at 4½ inches by 6½, while “Jane” was merely 4 by 6. The type in “Jane” was a bit smaller, too, as was the price. Published by Oxford Press in 1999, “Emma” cost $13, while “Jane” was published in 1986 by Avenel, a New York company, for $2.99. (Greg Hill)
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O Período Vitoriano:
Rastros literários e desdobramentosEdited by Sandra Sirangelo Maggio and Valter Henrique de Castro FritschEditora ZOUKISBN: 978-65-5778-130-22024A obra O Período Vitoriano: rastros literários e desdobramentos, organizada pelos pesquisadores Sandra Sirangelo Maggio e Valter Henrique Fritsch, mergulha profundamente na intrincada teia da literatura vitoriana, revelando suas nuances e complexidades em meio ao contexto social, político e cultural do século XIX britânico.Essa coletânea oferece uma abordagem meticulosa das obras e temas que caracterizaram a literatura da época, apresentando renomados autores como Charles Dickens, Charlotte Brontë e Mary Shelley. Com vinte e quatro capítulos elaborados com rigor acadêmico por pesquisadores de destaque, a obra ressalta o papel da literatura como um espelho fiel das tensões e contradições da sociedade vitoriana.Cada capítulo constitui uma janela para um aspecto distinto da literatura vitoriana, investigando desde as questões filosóficas e morais até as nuances do romance e do gótico. Os autores exploram adaptações, ficção derivativa e temas que ressoam na literatura contemporânea, cinema e outras formas de expressão artística.Fruto de uma colaboração entre o Programa de Pós-Graduação em Letras da UFRGS e a Editora Zouk, este trabalho transcende o escopo meramente acadêmico, constituindo-se como um convite à reflexão intelectual pelos corredores da literatura vitoriana, onde o passado dialoga de forma cativante e elucidativa com o presente.
A reinvenção de Jane Eyre no graphic novel Jane, de Aline Brosh McKenna by Débora Almeida de OliveiraMarionette: o entrelugar da mulher crioula em Wide Sargasso Sea by Deborah Mondadori Simionato and Marcela Zaccaro Chisté.The influence of water and air in Wuthering Heights and Jane Eyre by Caroline MouraA coloniser’s trauma and possible dialogues in Villette by Alan Noronha
by Heather HindPalgrave MacMillanPalgrave Studies in Nineteenth-Century Writing and Culture (PNWC)Hardcover ISBN 978-3-031-78778-2Published: 20 October 2025eBook ISBN: 978-3-031-78779-9Published: 19 October 2025Softcover ISBN: 978-3-031-78781-2Due: 03 November 2026This book presents an original and engaging study of the cultural history and literary significance of hairwork – the crafting of decorative objects, such as jewellery, from human hair – in Victorian Britain. Hairwork became increasingly fashionable and commercialised in the mid-nineteenth century, before swiftly declining in popularity. Yet, in the Victorian imagination, hairwork held a peculiar capacity to emerge from and capture moments of tension: it was made to mark relationships as they were redefined or consolidated; to process transitions and articulate hope for the future; and to express identities as they were questioned and explored. This book reconstructs and interprets the role of hairwork in revealing and negotiating such desires and anxieties by studying its historical trajectory, surviving artefacts, and practices alongside its literary representations in works by Charlotte Brontë, Emily Brontë, Wilkie Collins, and Margaret Oliphant. It shows how the combination of hairwork’s matter, form, and craft – the material of hair, the designs and uses of hairwork, and the processes of its making – expose the complexities and tensions within identity, affective relationships, and social relations and thus contributed to its unique place in Victorian culture.
Wisconsin writer Jane Hamilton’s eighth novel – the “A Map of the World” writer’s first since “The Excellent Lombards” in 2016 – is of a familiar type. It’s a summer-that-changed-everything story that focuses on Phoebe, who is 17, very dramatic, obsessed with “Jane Eyre,” frustrated with her mother Greta and eager for her life to begin, particularly if it does not include her do-gooding mom. (Chris Hewitt)
Growing up, the White Lotus star felt a "deep need" to be "normal", but she realised it was OK to be different like the people she admired, including Jane Eyre - the fictional bildungsroman in the novel Jane Eyre by Charlotte Bronte.Aimee explained: "Growing up, I felt a deep need to be 'normal', but then I realised all my favourite people, all the people I admired, were weird - even my favourite characters, like Jane Eyre.
Richard - It's something called Ignis Fatuus, which I guess is Latin for foolish flame. It's a luminous phenomenon witnessed over the centuries by observers around the world. People have attributed all types of things to it, often pretty scary, lost souls, babies that haven't been baptized who have died, all types of folklore. It was reported in the literature by the Chinese long ago. William Shakespeare refers to it, and Henry IV, even Charlotte Bronte has it in Jane Eyre, this Ignis Fatuus, or Will of the Wisp, as it's often called.
An enriching and haunting tale of grief, generational trauma and the weight of the past, Emily Brontë’s stunning novel “Wuthering Heights” is a must-read for lovers of literature. Brontë spins a tale of unresolved agonies that tear their way into the present, as a new tenant finds himself unraveling the tangle of broken relationships that rose and fell between his own house and the estate on the nearby moors.A masterwork of the gothic style, a sense of mourning clings to every page of “Wuthering Heights” like creeping fog on the moors. The tempestuous relationship between the headstrong Catherine and the sullen Heathcliff is threatened by external and internal forces alike; what is left unsaid between them echoes outwards and pulls the ones around them into their tragedy. Brontë writes with incredible force, decisively exploring how abuse and grief send ripples of pain into future generations through just a handful of characters.Gothic novels are already best suited to being read in the colder, darker months of the year, and “Wuthering Heights” is so exceptional among them that it deserves top priority on your list for this autumn. Thrilling, tragic and ultimately, rather hopeful, “Wuthering Heights” is a stunning work of literature undeniably deserving of the title of “classic.” (Natalie Salter)
This Rogers Park Author Combined ‘Wuthering Heights’ And Ice Dancing Into A Bestseller. (...)The names Katarina and Heath may bring to mind another famous fictional romance. Undertones from Charlotte Brontë’s (!!!) gothic classic “Wuthering Heights” are plentiful in “The Favorites,” including a sibling ice-dancing pair that the couple competes against (the Lins, standing in for the Lintons in the book). You can also find some Brontë pseudonyms as character names. (...)“When I first came up with the idea, I completely doubted it. And even the whole time I was writing it, I was kind of like, ‘I’m really into this, but will anyone else like this? Like ‘Wuthering Heights’ and ice dancers?'” (Gwen Ihnat)
Jane Eyre – Charlotte Brontë (1847)If “Pride and Prejudice” is the pinnacle of Romantic Comedy, then “Jane Eyre” can certainly be nominated for the coveted title of Greatest Love Story Ever Written. It was actually Charlotte Brontë's second novel, but the first to be published, her earlier effort being “The Professor” which did not appear in print until much later.One of the most passionate novels of all time, it was regarded as revolutionary on its publication due to its heroine's conscious awakening, her thoughts and feelings becoming the focus of the narrative.Jane is morally conservative, but the book deals with more radical notions including sexuality, religion and proto-feminism due to the nature of her fierce spiritual outlook, which is consistently at its core, driving the novel's questioning and searching tone.Finding love and attaining happiness with the Byronic Mr Rochester is the crux of the tale, and there is a fair amount of hand- wringing heartbreak along the way.
Ever since I read Wuthering Heights during my senior year of high school, I’ve had a fascination with the moors. (And, okay, maybe Heathcliff, too.) Is it any wonder, then, that said fascination would translate to the current British countryside style trend sweeping the … well, not the moors, but the fashion world? (Jamie Allison Sanders)
So, when the latest trailer for Emerald Fennell’s Wuthering Heights was released to the soundtrack of Charli XCX, you would think that my natural inclination for era crossing would be satisfied? Truthfully, I’m not entirely sure.You see, as much as I enjoyed watching A Knight’s Tale inject a modernised soundtrack into a medieval tale, I can’t say it added much artistic edge. It was simply an easy trope to ignite entertainment and an elementary level of joy. Ultimately, I think there is a similar argument to be made in the case of Fennell’s upcoming project.She has dialled the sexuality of this Victorian love story up to ten and has enlisted the voice of modern pop culture to do so. While you may say the same can be said for Bridgerton, which regularly used string quartet adaptations of chart hits, I would argue that the project did so to open the doors of accessibility to what has traditionally been a very secular genre. (...)Wuthering Heights, however, feels more obnoxious in its approach. It’s playing to a gallery of viewers obsessed with highlight reels, soundbites, not songs, and not to thought-out artistic crossovers that they can quickly label “iconic”. I don’t genuinely see what purpose is served to Charli XCX, an artist who has perennially pushed traditions in pursuit of sonic innovation, by juxtaposing her music with a salacious and misrepresented tale of Victorian romance. (Callum MacHattie)
In another scene, you can spot Kat reading "The Brontës: Three Great Novels," a compilation of three of the Brontë sisters' most famous works: "Jane Eyre," "Wuthering Heights," and "The Tenant of Wildfell Hall." (Gabbi Shaw)
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Pierce Brosnan’s Bond still feels like a classy elder statesman of action stories, while Timothy Dalton represented a kind of Byronic take on Bond, the sort of Bond that our moms loved because he felt like a brooding hero out of a Brontë novel. (Dalton’s Heathcliffe in the 1970 Wuthering Heights remains unmatched.) (Ryan Britt)
A little harsh. Bella’s self-abasing devotion is hardly new. “You can have my soul. I don’t want it without you – it’s yours already,” she tells Edward, like an overwritten Cathy talking to Heathcliff. The titles New Moon and Eclipse describe Bella’s total darkness with Edward gone. It’s not far from Jane Eyre on that monster Rochester: “He stood between me and every thought of religion, as an eclipse intervenes between man and the broad sun.”
El cómic está pintado a mano con témpera sobre papel y evoca la época victoriana, pero con colores rojos, malvas y verdes, que son los que dominan en el paisaje que la autora vio en su viaje en solitario al pueblo de Haworth, en el condado de Yorkshire, donde residían las hermanas.Para dibujar a Anna, Spucches se basó en retratos reales, en concreto uno realizado a mano el 17 de abril de 1833, cuando tenía 13 años.Con la obra, la ilustradora quiere transmitir al lector su pasión por el mundo de las hermanas Brontë, “poniendo una piedrita y adelantando a la hermana menor” y contando, además, la hermandad entre ellas y su amor al arte, a la naturaleza y a los derechos de la mujer. (Begoña Fernández) (Translation)
¿Qué libro, película, serie, disco y obra de arte salvaría en un diluvio o un incendio?Cumbres Borrascosas, de Emily Brontë; Ben-Hur, de William Wyler; The Wall, de Pink Floyd; y Saturno devorando a su hijo, de Goya. (Translation)
Ce soir, l’émission est consacrée à la façon dont les classiques ont influencé les lecteurs et les auteurs. Quel est votre « classique » préféré ?Les Hauts de Hurlevent, d’Emily Brontë, grand roman du XIXe siècle, à la lisière entre le romantisme et l’ère victorienne. Je l’ai lu une bonne dizaine de fois, car j’en ai fait le sujet de mes études. C’est, pour moi, ce qui se rapproche le plus d’un chef-d’oeuvre, et c’est la plus grande histoire d’amour de tous les temps. (Translation)
Charlotte Brontë’s Villette is often overshadowed by Jane Eyre and Wuthering Heights, but hidden inside its pages is a Victorian secret that shaped women’s lives in ways we rarely hear about.In this special Victober bonus video, I explore the world behind Villette, uncovering the real social pressures, the so-called ‘surplus women problem’, and the challenges faced by single women in Victorian Britain. From governesses and teachers to women who managed to carve out independent lives, this is the reality Charlotte Brontë was weaving into Lucy Snowe’s story.So was Villette simply fiction, or was Charlotte drawing from her own life and the world she knew so well? This video peels back the layers to show how deeply personal and socially revealing the novel really is.
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