BBC Countryfile features '10 landscapes that inspired literary masterpieces by the UK’s most beloved authors' including Wuthering Heights, Emily Brontë When 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)
This is a new scholarly book with Brontë-related content:
by LauraRamírez Sainz (Volume editor) Carmen Cayetana Castro Moreno (Volume editor) Series: Studien zur Translation und Interkulturellen Kommunikation in der Romania, Volume 15 Peter Lang Publishers ISBN: 9783631924983 2025
El 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 book contains the essay:
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) Index 1. Introduction 2. Emily Brontë and the Brontëan cultural dissemination of Wuthering Heights (1847): A Publishing Phenomenon in Spain 3. Analysis: Translating the cultural heritage of the novel 3.1. The translation by Montoliu (1921) 3.2. The translation by Castillo (1989) 4. Conclusions 5. Works Cited
A columnist from The Guardian considers a trip to Haworth and the talk Emerald Fennell gave at the Brontë women’s writing festival a 'crash course in Brontëmania'. 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.”
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)
Variety has Gwyneth Paltrow and Jacob Elordi talk to each other.
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) Elle looks ahead to 'The fashion and beauty trends expected to rule 2026'. 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) TimesNowNews discusses why 'characters from Classic Books Feel More Real Than People in Our Lives'. A contributor to Her Campus wonders, " Why Can’t We Get ‘ Wuthering Heights’ Right?' A contributor to BookRiot describes Within These Wicked Walls by Lauren Blackwood as 'A Gloomy Jane Eyre Reimagining for Your Inner Wednesday Addams'. The Eyre Guide posts about the recent reunion of Ruth Wilson and Toby Stephens to talk about their time filming Jane Eyre 2006. Werewolves and Jane Eyre. The mashup fever lingers on.
by J.L. Murray Hellzapoppin Press ASIN : B0FBKSH79X June 2025
The 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)
Business Insider has a list of '23 books you should read before they're turned into movies next year' including Wuthering Heights If 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)
Harper's Bazaar has some suggestions on 'Where to Go, Stay, and Relax in England as a Certified Period-Drama Lover'. 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)
The Nerd Daily shares an excerpt from the novel How To Grieve Like A Victorian by Amy Carol Reeves. “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.
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