Let's open with the new cartoon by Tom Gauld for the latest issue of New Scientist:  The final twist reveals that the true source of terror is not ghosts, but Marta Carver, a disturbed woman who has been secretly living within the house. This shift from supernatural horror to human menace, similar to renowned gothic stories like Charlotte Brontë's Jane Eyre, makes the story more unsettling and grounded. Country Living lists the UK's most inspiring gardens to visit this summer: Best restoration Parnham Park, Dorset (...) Just ten minutes from the Jurassic Coast, the gardens at Parnham are being thoughtfully brought back to life as part of a dramatic restoration of both house and grounds. The house was devastated by a fire several years ago, lending the estate a romantic, distinctly Jane Eyre feel as it slowly returns to glory. (Helen Daly)
Good Housekeeping has a quiz with one-sentence descriptions of "love stories or romance novels". Can you guess this one: 8. A young woman falls for the wealthy, mysterious man whose dark secrets threaten their future together. (Joanne Finney) TVInsider recommends some films for streaming: Don’t expect high fidelity to Emily Brontë’s 1847 novel about lovers brooding on the 19th-century English moors. Only the novel’s first half is covered here with Margot Robbie as the ill-fated Cathy and Jacob Elordi as her paramour Heathcliff. The bold costumes and sets make up for storytelling liberties. Streaming now, HBO Max (Michael Fell) Libero Magazine (Italy) and others comment on a recent edition of the local version of Wheel of Fortune, La Ruota della Fortuna. They decided to use Wuthering Heights for one of their panels, but they were quite sloppy. The episode of 19 June 2026 featured a literary round called Se la sai raddoppi, themed entirely around Wuthering Heights (Cime Tempestose), and it produced two separate errors about the same book. Error 1: "Set in the Victorian era" Contestant Francesco failed to solve this clue, which turned out to be the answer anyway — and the answer was wrong. The novel runs from 1771 to 1802, firmly pre-Victorian. The Victorian era begins in 1837 with Queen Victoria's reign and ends in the early twentieth century. Error 2: "A love story on the English moors" Francesco did solve this one and went on to win the episode. The show seems to confuse the book with its recent film adaptation throughout, getting both the historical period and the thematic substance wrong.
Finally, a German radio alert. Bayern 2 Salon – Buchgefühl: Emily Brontë, Sturmhöhe (Saturday 27 June 2026, 14:05–15:00 CET; also available as podcast via ARD Sounds). In this episode of Bayern 2's literary reading-and-conversation format, host Judith Heitkamp talks with prize-winning Dutch author Anjet Daanje — whose novel Das Lied von Storch und Dromedar (recently longlisted for the International Booker Prize) imagines the afterlife of Emily Brontë through literature — about why Wuthering Heights has fascinated her since childhood. Daanje argues that film adaptations almost always cover only the first half of the novel, losing something essential: Brontë's portrait of how the next generation survives after the parental one has burned itself out. She also reflects on Brontë's elusiveness as a biographical subject ("you learn more about the biographers than about Emily Brontë herself"). Readings are performed by Irina Wanka, the German voice of Sophie Marceau. In German. A new British Library publication with some Brontë-related content: Edited by Elizabeth Dearnley British Library Publishing British Library Tales of the Weird ISBN: 9780712369459 June 2026
Authors: Emily Brontë, Andrew Michael Hurley, Sylvia Plath, Charlotte Brontë, Joseph Thomas Sheridan Le Fanu, Ted Hughes, Arthur Machen, Sabine Baring-Gould, Gertrude Atherton, L.T.C. Rolt, E. F. Benson, Phyllis Bentley, Lettice Galbraith, Michael Temple, F. W. Moorman.
The stars gave light enough for me to discern the figure as that of a man, but I could scarcely discover more. “Dark night, this,” I said. “Darker below,” he muttered, as though to himself; “darker, darker, darker.”
Yorkshire: a land entwined with a distinctive tradition of uncanny literature and folklore, home to twilit towns thronging with restless ghosts, woods alive with the whispers of fairies and vast moorlands stalked by boggarts and barghests after dark. Exploring Yorkshire’s position as a heartland of British supernatural fiction, the stories and poems gathered here trace its weird literary heritage from medieval tales of shapeshifting spirits to the Gothic worlds of the Brontë sisters, and from wartime hauntings to modern folk horror. Including local legends from rare sources and unsettling stories from Arthur Machen, Sylvia Plath, Ted Hughes, Andrew Michael Hurley and many more, this collection offers glimpses of a stranger England hidden among the shadows of the dales.
The Nerd Daily shares an excerpt from 4 Janes by Marian Yee. Through time, space, and the transcendence of maternal love, Charlotte Brontë’s Jane Eyre is reimagined in the parallel lives of one soul searching for meaning, connection, and a place to belong. Intrigued? Read on to discover the synopsis and an excerpt from 4 Janes by Marian Yee, which releases on June 30th 2026. Jane Eyre is a missionary’s wife. A bookseller in Vietnam. A time traveler. A hero in a modern gothic tale. What if Jane’s story didn’t end with her marriage to Edward Rochester? What if she never married him at all? In one lifetime, Jane travels to India and Burma as Mrs. St. John Rivers. In another, she’s Trang, a young woman selling books in Vietnam, vying for the love of the local priest. Yet another picks up where Brontë left her, now grieving the loss of her child and crossing time and space to find him. And finally, a young Vietnamese-American man searching for himself in Boston, a tutor whose relationship with a veteran feels strangely, achingly familiar… Each thread tells Jane’s story in sweeping, heartbreaking shades of loss, vulnerability, yearning, and the fierce love of mother and child that withstands time and space. While she may long for something more out of a life she didn’t get to choose, she can still decide what to make of it. (Elise Dumpleton)
Chapter One Marseilles, France, 1851 Jane Eyre is dead. The plain gold band on my finger is the sign of her demise. I am Jane Rivers now. Or, more accurately, Mrs. St. John Rivers. Mrs. St. John Rivers. I try on the name like a pair of new calfskin gloves. The syllables glide along my tongue smoothly enough once I get over the little bump at the beginning. Then I study the small hands lying calmly in my lap. They are encased in soft, pale-yellow leather, and like my new name, they seem to belong to somebody else. I have been a missionary’s wife for barely a week. I wait at one of the fashionable coffeehouses on La Canebière, surrounded by wonders: gilding, mirrors, paintings, tapestries, and a large revolving clock in the center that gives the time on three continents. They bring together the charms of this port city as if in miniature. I look about, my senses heightened: The drink served here is not to my liking, but I savor its rich, smoky aroma. For these moments at least, I sit alone. St. John is at the purser’s office, seeing to our cabins and passage. We arrived at this bustling French port last night, and were deposited, along with the English mail that had departed on the London train with us, in a damp heap along the quay. This followed a Channel crossing that was in itself a trial. I spent most of that time huffing short, shallow breaths and moaning miserably into my handkerchief while my stomach roiled. St. John held my hand dutifully while I battled nausea, but I could not entirely dismiss a sense that his patience was forced, that he hid his disapprobation at finding me such a poor traveler before we had even ventured beyond Europe. No matter. Now all is near ready. We have said our goodbyes. I wait with our few belongings, only the baggage we will need on the crossing, hardly enough for a journey of nearly two months. Fortunately, our present needs are few, and the rest of our trunks will be sent along. In our haste to depart we left them to Diana and Mary—his sisters, my cousins—to assemble, to cord, to nail the cards that would direct them to our final destination. They will chase us from port to port until we are reunited—only six weeks from now!—in India. At that point, we will open them with a sense of wonder that such luxuries and extravagances exist; we will puzzle what to do with calfskin gloves and fur muffs in the blazing heat of a sun-drowned continent. As I wait, I return to the book I laid aside and open it to the point where a folded sheet of paper divides the unread pages from the finished ones. The paper is nothing more, or less, than the very letter that started me off on this journey, having arrived for Mary two months ago from a friend in ⸺shire. As Mary shared its contents with Diana and me, one set of ears heard, with distant concern and casual curiosity, the misfortune of others that did not touch upon itself, while another set heard the end of the world. It was news of a devastating fire at Thornfield: The entire estate had been burned to the ground, and no one there had survived the destruction. No one. God forgive me, there was only one who mattered in that moment, only one whose death meant my own. I could barely bring myself to whisper his name. Edward. I recall Mary’s voice droning on, then pausing; Diana’s sharp oh dear. Was it for the news or at my fainting dead away? I was told afterward that I had collapsed in a wordless heap. I have no recollection of those hours, those days (five, they told me) immediately following, when I drifted in a haze of blankness. Feeling fled me; I was disembodied, perceiving only strange scraps. A slight stirring in the current of air let into the sickroom. Fragments of hushed speech floating in and out of range. Gradually, shadowy forms constellated into people coming in and going out, though one body remained the longest, hovering near my orbit like a constant moon. As the boundaries of my vision drew in, the blurred edges slowly sharpened into clear features: twin orbs of blue that floated, then settled upon a finely boned visage. “Jane.” The eyes probed my face. “You know me.” “Yes, St. John.” He heaved a sigh. “You have been gone a long time.” “I have been right here,” I said, bewildered. “In this bed. I have not moved.” Indeed, I felt stiff all over, for I had been practicing the pose of a corpse. “Stay,” he gently implored. “I am right here,” I repeated. “Nay, you were drifting again, Jane. To that place you have been these past five days, five years, it seemed. Sorrow’s shores. Come back to the living, Jane.” And then I remembered.
The Chosun Daily recommends Fanny Britt’s 2013 graphic novel Jane, le renard et moi, illustrated by Isabelle Arsenault. As a university literature professor, I often recommend Charlotte Brontë’s *Jane Eyre* to students who find classics daunting. It is relatively accessible among so-called classics and, above all, unexpectedly entertaining. However, Hélène, the protagonist of Fanny Britt’s graphic novel *Jane, the Fox, and Me* (illustrated by Isabelle Arsenault, 2013), reads *Jane Eyre* for a different reason. Bullied at school, Hélène pulls out her book on the bus. *Jane Eyre* is her sole escape. At an age when emotions run raw, the wounds inflicted by classmates are sharp enough to drain the color from a teenager’s world—gray corridors, ashen faces. Arsenault renders Hélène’s world in drab black and white, while the scenes Hélène imagines from *Jane Eyre* bloom in cheerful pastel watercolors. Jane, an orphan, poor, and far from conventionally beautiful, never relinquishes her dignity. But Hélène is not Jane. The girl confesses to the reader: “I am a sausage. Jane Eyre may be an orphan, ugly, abused, lonely, and abandoned, but she was never a sausage. Never was, never will be—a fat sausage.” The pair of sausages drawn on facing book covers, though initially comical, evoke a grotesque imagery reminiscent of Kafka. This is, of course, a visual metaphor for Hélène’s alienation. The climax arrives when Hélène, at a nature camp, is approached by a fox. Its gaze is gentle. Untamed yet unafraid to meet her eyes, the beautiful creature seems to sense her loneliness without a word. Though the fox vanishes like a mirage, this brief encounter grants Hélène a crucial realization. As she acts on it, her world finally blossoms like spring flowers—and swiftly fills with vibrant hues. What exactly Hélène realizes is for readers to discover within the pages. (Shin Seung-han)
A contributor to NR Today lists places to visit in literary Britain. The wild Yorkshire moors of northern England feature prominently in the 19th-century novels “Wuthering Heights” and “Jane Eyre,” by Emily and Charlotte Brontë. The sisters spent most of their lives in the village of Haworth, where you can visit the Brontë Parsonage Museum, which includes their manuscripts and writing desks. To see the landscape that inspired their work, you can take a five-mile roundtrip across Haworth Moor to the Brontë Waterfall. (Jane Green) The Brontë Sisters UK has a new full-length video on the Brontë diary papers — the scattered journal fragments left by Charlotte, Emily, and Anne, covering everyday life at Haworth from the 1830s through the 1840s.
Time travel, Brontës and crime novel. What's not to like? A new instalment of Miss Darcy Investigates:  by Amelia Blackwell Macmillan ISBN: 9781035054145 June 2026
Georgina Darcy travels through time to save the Brontës from a killer in The Haunting of a Brontë, a wildly amusing cosy crime adventure from Amelia Blackwell, author of A Crime Through Time.
Pemberley, 1799. Like many a Regency heroine, Georgiana Darcy is pining for the man she loves. The difference being, her lover is in 1995, while she has been left behind in 1799 waiting for the mysterious device that transports her through time to re-activate.
Thorp Green Hall, 1845. But when her Motorola pager finally comes back to life, Georgiana finds herself transported only forty-six years into the future to gloomy Thorp Green Hall, where Branwell and Anne Brontë are the tutor and governess. Georgiana assumes she will soon come across a murder to investigate, but even before she discovers the cook’s father dead on a chopping block, she finds herself entangled in a web of passion, deception, and danger centred on the eccentric Branwell Brontë. Branwell is engaged in a perilous affair with the mistress of the house and experiences a series of sinister omens and terrifying encounters. As Georgiana uncovers the mysteries of Thorp Green Hall, and learns more about the origins of her time-travelling capabilities, she must find the killer and save the Brontë siblings from an evil plot to prevent a most terrible loss to readers everywhere . . . The second entertaining entry in the Miss Darcy Investigates series of timeslip mysteries. Start here, or go back to the beginning with A Crime Through Time.
First of all, here's wishing Branwell Brontë a happy 209th birthday.
After the release of the trailer of this year's adaptation of Jane Austen's Sense and Sensibility, Stylist claims 2026 is a great year for period drama lovers. It’s safe to say that we’ve been well and truly spoiled for choice this year when it comes to period dramas. Whether it’s Wuthering Heights, The Other Bennet Sister, The Forsytes or Little House On The Prairie, if you’re a fan of the genre, there are plenty of titles vying for a much-coveted spot on your watchlist. (Abby Allen) Metro also comments on the trailer: This is no Wuthering Heights wild interpretation, but the film, directed by Georgia Oakley (Blue Jean), looks like it has more than a whiff of award season prestige – while also offering up a few surprises. (Tori Brazier) Slant Magazine lists the best albums of 2026 so far and one of them is Charli XCX, Wuthering Heights Charli’s Wuthering Heights soundtrack sonically mirrors the film’s penchant for bodice-ripping bombast and grief while standing on its own. It’s often loud and discordant, filled with droning synths and screeching strings that underlie Charli’s digitally manipulated vocals. And yet, somehow the album manages to be as startling and satisfying as a clandestine carriage-house hook-up. Many of its highlights spring from the production styles crashing up against or bleeding into one another. The strings, arranged by Gareth Murphy, prove a welcome addition to Charli’s usual soundscape, bringing a wry grandeur to her hyper-pop instincts that anachronizes and cinematizes her music a la early Lana del Rey. In less than 90 seconds, the interlude “Open Up” nearly wordlessly evokes the fatalistic heartache forever embedded in the rock walls of Wuthering Heights—the kind of tragedy that feels both timeless and as pressing as ever. (Savio)
Vulture has an article on how Charli XCX met John Cale. It started when she was working on the song “House,” for the Wuthering Heights soundtrack, and remembered Cale saying, in a documentary, that he wanted to make his strings sound “both elegant and brutal.” Given that she’d had a similar goal for “House,” she suddenly had an idea. “I thought, Do you think I could reach out to John Cale?” she says to host Bella Freud. “I started asking the question out loud, not sure what the answer would have been.” She found a way to get into contact with him, and they set up a call. Unfortunately, on the day of the chat, she forgot it was happening. “The day that we were supposed to speak, I was having a really bad day,” Charli recalled. “I was my very unregulated self.” In the midst of crying with her husband, George Daniel, she got a call. “I picked up the phone, and there was this voice on the end that was gravelly and deep and Welsh,” she said. “I was like, ‘Who is this?’” It was John Cale. “I was like, Oh my God, John Cale is calling me mid-breakdown,” Charli remembered. “I told him, ‘I’m having a bad day, John, but speaking to you on the phone is making me feel so much better.’” Clearly, it worked out. (Jason P. Frank)
Hindustan Times discusses 'Why TV and movies are saying Yes Yes Yes to steamy scenes'. Even the classics are getting explicit. Emerald Fennell’s Wuthering Heights (2026) wraps both Margot Robbie and Jacob Elordi in yearning, with BDSM scenes featuring one woman getting whipped in a horse bridle, another chained to the fireplace, crawling on all fours as a willing pet. None of this was in Emily Brontë’s book. Neither was the pink bedroom that we’re told it’s the exact colour of Cathy’s naked skin. (Kritika Kapoor) Two forthcoming Most Wuthering Heights Days Ever: at the Pacific Beach Library on July 18 as reported by The San Diego Union-Tribute and on the lawns next to the Wagga Wagga Civic Theatre on 19 July 2026 as reported by the City of Wagga Wagga. A columnist from La Diaria (Uruguay) comments on all things Wuthering Heights. More Recent Articles
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