Love Horror reviews Wuthering Heights: The House of the Damned. Heathcliff and Catherine’s doomed romance has always carried more than a hint of the macabre, but Wuthering Heights: The House of the Damned is taking that darkness much further. The new British horror reworking of Emily Brontë’s classic novel transforms Catherine into a vengeful ghost and Heathcliff into a man prepared to kill in order to bring her back. Directed by Rebecca J Matthews, the film will be released to own next month through Signature Entertainment, offering a supernatural reinterpretation of one of literature’s most famously destructive relationships. The story begins after Catherine’s death, with her spirit haunting the halls of Wuthering Heights and terrorising those who remain there. Heathcliff, consumed by grief and obsession, becomes convinced that her continued presence depends on bloodshed and begins carrying out sacrifices in the hope that Catherine might eventually possess a living body. That arrangement is disrupted by the arrival of Mr Lockwood, a new tenant at a neighbouring property whose curiosity draws him into the increasingly dangerous affairs of the house. As his health deteriorates and his grip on reality begins to falter, Lockwood encounters Catherine’s tortured apparition while gradually discovering just how far Heathcliff is willing to go. Liana Failla wrote the screenplay, drawing on Brontë’s 1847 novel while pushing the material firmly into supernatural horror. Rather than treating Catherine’s presence as an ambiguous gothic element, the film makes her ghost central to the action, with Heathcliff’s grief transformed into a murderous devotion. Filming took place in Brechin, Scotland, giving the production a suitably remote backdrop for its reimagining of the isolated Yorkshire estate. The project joins a long line of screen adaptations inspired by Wuthering Heights, although its emphasis on possession, sacrifice and explicitly supernatural violence takes the material in a markedly different direction from the more traditional romantic and period-drama interpretations. The House of the Damned recasts Catherine and Heathcliff’s relationship as something much more dangerous, turning romantic obsession into the engine for a full gothic horror story. (Emily Bennett)
A columnist from The Guardian wonders, 'Why stop at Wuthering Heights: House of the Damned? Bring on Mrs Dalloway’s Rampage!' In which case, you really have to applaud whoever came up with the idea of Wuthering Heights: The House of the Damned. Available on digital platforms in three short weeks (on 19 October in fact), it is a remake of Emily Brontë’s classic novel, only scarier. In the film, as far as I am able to tell, Cathy has died and her ghost starts haunting Heathcliff to the point that he starts murdering everyone. Is it any good? All signs point to not really, especially since the trailer contains a shot where Cathy seems to become a zombie so that she can punch through a window and strangle someone to death. But will I watch it? Oh God, try to stop me. You can see what’s happening here, can’t you? Emerald Fennell made a Wuthering Heights film this year and it was wildly successful, currently the 19th biggest film of 2026. But Wuthering Heights was published 179 years ago, so anyone can do whatever they want with it. Fennell’s film proved this all too well, with its rubbing and squishing and skin-coloured rooms. But it also means that someone else can hop on the back of it and turn it into a hammy horror about a zombie in a bridal gown. It’s not like the Brontës are around to sue, is it? (Stuart Heritage)
A sad case of 'Wisdom has been chasing you, but you've always been faster' in another article of The Guardian, though. Rain came in with the wind and I got absolutely drenched on the final approach to Haworth. But soon after, I was entering Bradford’s prettiest township and thinking about coffee and cake. The walk officially ends at Penistone Hill country park, but after taking walking therapy a few years ago, I am no longer a completist – and was satisfied with my walk and mini achievement. I bowed out on Haworth high street, without so much as a glance at the Brontë Parsonage Museum. (Chris Moss)
Are we really supposed to cheer that on now?
For The Sun, Haworth is 'the most autumnal English destination EVER' Cobbled streets, vintage shops, pubs with roaring fires all surrounded by rolling countryside hills – you’ll find it all in this Yorkshire village. There’s no better time to visit than autumn, as the whole village gets a seasonal overhaul with huge shop displays and twinkling lights for the dark evenings. The West Yorkshire village called Haworth has absolutely everything associated with autumn from cobbled streets to charming cottages and cosy cafes. [...] The town has literature connections too as it was home of the Brontë sisters, who between them wrote books like Wuthering Heights and Jane Eyre. Yorkshire.com explained: “Home of the famous Brontë sisters, Haworth is an undisputed literary mecca, attracting visitors from all around the world." (Alice Penwill)
A contributor to The Conversation discusses why 'the places we love in books can never quite be found in real life'. From the Brontës' Haworth to Jane Austen's Bath, Wordsworth's Lake District and Thomas Hardy's Dorset, literary places continue to exert a powerful hold over readers. Literary tourism appears to be enjoying renewed popularity, from visits inspired by classic novels to the TikTok trend of turning books into travel itineraries. But what exactly are literary tourists hoping to find when they get there? The answer is more complicated than it might seem. Haworth, Bath and Dorset all exist, obviously. They can be found on a map and visited. But the Brontë moors, Austen's Bath, Wordsworth's Lakes and Hardy's Wessex are also literary reimaginings of those places. They may never have existed in quite the form readers imagine. Our fascination with literary places has a long history. Literary geography, which combines physical geography with literary studies, emerged in the late 19th century as the novel grew in popularity and, in many ways, developed alongside literary tourism. In 1899, William Lyon Phelps created his Literary Map of England, marking locations associated with authors and literary works. A few years later, William Sharp's Literary Geography (1904) mapped regions such as "Dickens land," "the Brontë country" and the literary geography of the English lakes. These early literary maps invited readers to see where fictional and geographical worlds appeared to overlap. More than a century later, readers are still seeking those points of intersection. [...] When visitors reach Haworth, Grasmere or Dorset, they are not encountering those places for the first time. They have already visited them in their imagination. Their version of the landscape has been assembled from books, films, photographs, places they have visited and other cultural references. When they arrive, they compare the physical location with that imagined one. [...] At Haworth, visitors move through domestic spaces associated with the Brontë family while simultaneously encountering the imaginative worlds of Jane Eyre and Wuthering Heights. The Brontë Parsonage Museum in Haworth derives much of its power from bringing biography, landscape, family tragedy and fiction together in one place. [...] From the earliest maps of Dickens land and Brontë country to today’s literary pilgrimages, the goal has remained remarkably consistent: to find the point at which real and fictional worlds collide. Literary geography suggests that this point may never quite be reachable. Perhaps that is precisely why readers keep looking for it. (Rebecca Hutcheon)
There was a time when putting Jane Eyre on a school reading list would have been regarded as a fairly ordinary educational decision. A teacher might have thought that young readers could benefit from encountering a spirited orphan, a brooding gentleman, a Gothic mansion and a complex moral journey. CNN, however, has discovered that the matter may be considerably more sinister. The appearance of Charlotte Bronte's novel on a Chinese reading list, it suggests, is evidence of something called ideology. This is an impressive burden to place on a book. A novel that has survived Victorian moralists, modern feminists, postcolonial critics, film directors, television producers and generations of adolescent readers must now also survive the investigative imagination of cable news. According to CNN, the Chinese authorities see Jane Eyre as a corrective to the superficial romantic fantasies of the social-media age. That interpretation is not especially difficult to understand. The novel does, after all, present a young woman who values dignity, independence and moral self-respect more than money or social position. Jane refuses to become Rochester's mistress even though she loves him. She rejects St John's proposal because it offers duty without affection. Her famous declaration — "I care for myself" — is hardly a ringing endorsement of passive obedience. Yet CNN appears determined to treat the inclusion of an extracurricular classic as a coded ideological communique. One begins to wonder whether every alteration to a school reading list must now be examined for signs of a change in the authority's philosophical weather. If a book is added, it is a signal. If a book is removed, it is another signal. If a book remains where it was, perhaps that is the most ominous signal of all. There is, of course, a legitimate discussion to be had about Jane Eyre. The novel was published in London in 1847, and its treatment of Bertha Mason, the "mad woman in the attic", has rightly attracted criticism. Its depiction of colonialism, race and imperial wealth deserves scrutiny. Rochester's conduct, too, may strike contemporary readers as less than an ideal model of romantic behaviour. But literary criticism requires a modest acquaintance with history. Bronte was writing in the nineteenth century, not drafting a relationship guide for the year 2026. To read an old novel critically is sensible; to demand that it conform entirely to present-day moral vocabulary is to confuse literature with an updated terms-of-service agreement. A classic's value does not depend on its being ideologically spotless. Jane Eyre has generated a vast critical literature, inspired countless adaptations for stage and screen, and remained influential across cultures for nearly two centuries. Its endurance is not proof that every idea in it is beyond question. It is proof that the novel contains enough artistic power, psychological complexity and unresolved contradiction to keep readers arguing. [...] A reading list is usually a reading list. Sometimes a book is chosen because it is good, sometimes because it is available, and occasionally because someone has actually read it. That last possibility may be less dramatic than ideological intrigue, but it is probably worth considering. (Li Yang)
In the fall semester of 2026, the British literary classic Jane Eyre was included in the ninth-grade Chinese language curriculum as part of the "whole-book reading" list. CNN reported on the news, but described China's textbooks as being "tightly curated by the state," claiming that the inclusion of such a British romantic classic was "surprising." But what is so "surprising" about Jane Eyre being included in Chinese middle school curriculum? Thornfield Hall, Rochester, the secret in the attic, and Jane Eyre herself - a petite woman of plain appearance who refuses to yield to fate - have long been part of the shared literary memory of generations of Chinese readers. As early as 1917, "A Sketch of Western Women Novelists" published in Women's Magazine, a magazine founded in Shanghai in 1915, introduced Charlotte Bronte and Jane Eyre. In July 1925, Zhou Shoujuan's translation Chong Guang Ji is believed to be the earliest Chinese translation of the novel. In 1979, the film Jane Eyre was released in China. In 1980, the Shanghai Translation Publishing House published Zhu Qingying's translation, with an initial print run of about 270,000 copies. How could it be "surprising" that a work read in China for over a century - given its immense popularity - has become part of the required reading list for Chinese students? Is it that CNN's understanding of China is too outdated, or that it simply refuses to take off its colored glasses? The Chinese Ministry of Education has clearly stated that Chinese language textbooks include "a wide range of classical and contemporary works from both China and abroad." Many foreign literary classics such as Resurrection, One Hundred Years of Solitude, Hamlet, and To the Skylark have already been included in Chinese language textbooks. CNN's reporters may not even be aware that former US president Abraham Lincoln's Gettysburg Address has also been included in the People's Education Press high school elective curriculum. What is even more puzzling is that in its report, CNN specifically interviewed several Chinese parents and scholars who opposed the inclusion of Jane Eyre, citing concerns that the book might "teach girls in class that their brain should being wrongly ruled by love." While questioning whether it helps adolescents develop "healthy values," it made no mention of the broad public appreciation for the novel in China. When quoting coverage from the Beijing Daily, CNN also selectively omitted student reflections from a Jane Eyre reading session - insights that touched on core themes of love, respect, growth, and emotional resonance with remarkable precision. Great literature transcends language, nationality, and time. The enduring resonance of Jane Eyre among Chinese readers is a testament to the success of cultural exchange between China and the world. The CNN report, which repeatedly emphasized "surprise," does not appear to be an attempt to challenge stereotypes about China, but rather to reinforce them under a different guise.
To be quite honest, we weren't expecting to see Jane Eyre embroiled in international politics, but that's the Brontës' incessantly busy afterlife for you.
Church Times reviews Susan Dunne's book Charlotte Brontë and Elizabeth Gaskell: Their lives, friendship and writings. Part III is the most original in the book. Entitled “The Unlucky Book” (1855-60), its chapters chart the story of Elizabeth’s research for The Life of Charlotte Brontë and the several libel cases that followed its too hasty publication. Vivid vignettes abound, as when Elizabeth and Catherine Winkworth travel to Haworth by train to find the parsonage still deep in mourning and both clergymen breaking down in tears, and when the biographer enlists the help of her daughters and some of her many visitors in copying Brontë letters. Her rash comments on Lydia Robinson, Branwell Brontë’s femme fatale (literally), and Cowan Bridge School got her into even more trouble than had Mary Barton and Ruth. Changes were made in a later edition, and Elizabeth swore never to write another biography. Religion shaped these writers’ lives but is ignored here. The book contains many typos and is printed on inferior paper. Nevertheless, it remains a page-turner. (Dr Michael Wheeler)
Located in Thornton, Bradford, the birthplace of the famous literary family welcomed more than 100 visitors during a special open day held on Sunday, September 13, as part of a scheme of free heritage open days. The exhibition, titled From Butcher's Shop to Birthplace: The Story of the Brontë Birthplace, focused on the building’s transformation after the Brontë family left Thornton. Thomas Haigh, vice chair of the Brontë Birthplace, said: "Visitors loved the exhibition, and it was really nice to see the Brontë Birthplace attracting new audiences who aren't necessarily Brontë fans. "One visitor said the exhibition was so informative, and it was a wonderful experience to learn about the butcher’s shop as well as the Brontës history. "The building is so iconic because it is the birthplace of the famous Brontë authors." The Brontës lived in Thornton for five years before moving to Haworth. The exhibition traced the building’s later life, including its time as a butcher’s shop run by Reg Lovette for more than 40 years. Mr Haigh said the highlight of the day was their VIP guests Barbara, the daughter of Mr Lovette and her husband Alan. "Barbara was there throughout the day sharing more memories and greeting visitors as they came to learn more about one of Thornton's Master Butchers." (Amelia Short)
An alert for today, September 18, at the Brontë Parsonage Museum:
Fri 18 Sept, 5:00pm Research Library, Brontë Parsonage Museum
180 years ago, the first publication by the “Bells” appeared: an obscure volume of poems which sold only two copies. Eighteen months later, Jane Eyre would become a bestseller. This Parsonage Unwrapped will be delivered by author, teacher and Museum volunteer Tamar Yellin and Principal Curator Ann Dinsdale. They will be exploring the history of Poems by Currer, Ellis and Acton Bell through Museum objects and artefacts related to the publication.
Join us from 5pm for a complimentary drink. The event will then start at 5:30pm.
Bonnie Greer was a joiner. She was on the board of everything, from the Women’s prize for fiction to the British Museum, she was president of the Brontë society – she got stuck in. (Zoe Williams) Role in the Brontë Society A lifelong admirer of literature, Greer brought a fresh perspective to the organisation, which is dedicated to preserving the legacy of sisters Charlotte, Emily and Anne Brontë and operates the famous Brontë Parsonage Museum in Haworth. During her presidency, Greer championed efforts to broaden the appeal of the Brontës’ work and attract more diverse audiences. She argued that the Brontës belonged to the world rather than a narrow literary elite and wanted the society to connect with younger people and communities across Yorkshire, including Bradford’s large and varied population. After several months of internal disagreements, she resigned as president in June 2015. (Amelia Short)
Many sites are also reporting that Jane Eyre is now mandatory reading for teenagers in China. From CNN: When teenagers went back to school in China earlier this month, one book on their new mandatory reading list stood out: the 19th century English novel “Jane Eyre.” The literary classic, originally considered a trailblazing tale of female empowerment, might seem a surprising choice in a country where textbooks are tightly curated by the state to ensure ideological conformity. But Beijing sees another message in Charlotte Brontë’s work –– the value of finding true love. The story presents a counterbalance to the “superficial notions about appearance and wealth” of the social media age, according to the state-run Beijing Daily newspaper. In recent years, online novels and micro dramas featuring outlandish plots of wealth flaunting, wronged lovers, brooding billionaires and ill-fated mistresses plotting revenge have become mainstream entertainment. And that’s attracted the attention of China’s censors. In June, the broadcasting regulator launched a campaign to crack down on “harmful and lowbrow” content seen as promoting “distorted” views on relationships and marriage. But reading the story of Jane Eyre –– an orphan girl who finds her independence while suffering a series of hardships and eventually falls in love with her wealthy employer –– will help China’s 14-year-olds “develop sounder values,” said Beijing Daily. “When children are first beginning to experience romantic feelings and are still naive and inexperienced, it is a crucial stage for developing a healthy character,” it said. The coming-of-age story has been wildly popular in China since it first arrived in the country in 1925 and has been translated, published and adapted into theatre and screen productions countless times. A British film even made its way to Chinese theatres in 1979, following the country’s turbulent Cultural Revolution. Jane Eyre –– who famously says to her future husband “do you think, because I am poor, obscure, plain and little, I am soulless and heartless? You think wrong” –– has long been seen as an anti-repression heroine by the working class in China. And the book has long been accepted by China’s ruling communist party. But its inclusion in the curriculum is striking at a time when other forms of feminist discussion and activism have increasingly come under scrutiny in China. And some parents have questioned whether modern day Chinese youths who have been raised in a relatively comfortable environment, could understand or relate to the deep and complicated love story portrayed in the novel. One parent said that her son had asked whether reading Jane Eyre was “teaching girls in (his) class that their brain should being wrongly ruled by love.” The parent, writing on social media platform Xiaohongshu, said that her son couldn’t understand why Jane chooses to marry a man who was blind, and the whole thing looked like a bad deal. Qin Shiwen, a recent Chinese literature graduate in Beijing told CNN that including a classic like Jane Eyre into primary education “is very necessary.” “China’s basic education system places a heavy emphasis on academic knowledge and high achievement, but very, very little focus on love or character development,” said Shiwen. But the book, first published in 1847, has in recent years been criticized for its treatment of a character Brontë often describes as a ‘mad woman.” “The more I think about it, the more problematic I find it,” said Yan Hairong, a sociology scholar at Beijing’s Tsinghua University, pointing to the portrayal of the “mad woman in the attic” and the book’s “underlying themes of colonialism.” Yan has doubts whether the novel will help Chinese teenagers build up healthy values, saying some students may just absorb it “without critically examining the problematic ideas embedded within it.” “I have some concerns about teaching the novel at the middle-school level, particularly if it is presented as a textbook or as an example of profound romantic love,” Yan told CNN. (Sylvie Zhuang)
Beijing, however, sees a message about the importance of true love in the novel. According to the state-run Beijing Daily newspaper, the book offers a counterbalance to the “superficial notions about appearance and wealth” that have become widespread in the social media age. In recent years, online novels and short dramas featuring plots about flaunting wealth, unrequited love, billionaires and revenge have become popular entertainment. In June, China’s regulator launched a campaign against “harmful and lowbrow” content, including material portraying “distorted” views of marriage and relationships. According to Beijing Daily, the story of Jane Eyre – an orphan who goes through a series of hardships, asserts her independence and falls in love with her wealthy employer – could help 14-year-old students develop “sounder values.” “When children are first beginning to experience romantic feelings and are still naive and inexperienced, it is a crucial stage for developing a healthy character,” the publication said. The novel has been popular in China since 1925 and has been translated, published and adapted for the stage and screen many times. Jane Eyre has long been seen in the country as a heroine who stands against oppression, and the novel has also been accepted by China’s ruling Communist Party. Its inclusion in the curriculum, however, comes at a time when feminist debate and activism in China have come under increased scrutiny.
The Guardian never misses a chance to put down Emerald Fennell's Wuthering Heights. Reviewing Charli xcx's Music, Fashion, Film tour: a windswept soundtrack that more or less saved the otherwise dreadful Wuthering Heights (Adrian Horton) Quick lightning round! Tell us: The [book] that made you want to become an author: Wuthering Heights by Emily Brontë (Elise Dumpleton)
Collider has selected and ranked 'The 8 Greatest Gothic Horror Books of the Last 25 Years' and one of them is Virginia Feito's Victorian Psycho, described like a cross between Jane Eyre and an especially nasty slasher movie. (Luc Haasbroek) Bonnie Greer, the American-born British playwright, novelist, critic and broadcaster, died on 15 September 2026, aged 77. For Brontëblog readers, Greer will be remembered for serving as President of the Brontë Society in 2011, a position she held until June 2015. She had already been involved with the Society's activities in Haworth, and her appointment reflected her longstanding admiration for the Brontës. She later said that she had accepted the presidency because
One of the reasons that I accepted the Presidency is not only because I love the work of the Brontës, but because both the members and the Council have been welcoming and supportive. And because of Yorkshire - the people and the region. (Brontë Parsonage Blog, November 2014) Her particular interest was Emily Brontë and Wuthering Heights. At the 2011 Ilkley Literature Festival, she discussed Emily's language and its musical quality, as well as Heathcliff, race and abolitionism. In 2012, during a Brontë Society Annual weekend, Greer participated in a discussion of Wuthering Heights (A Regular Black: The Hidden Wuthering Heights, with Terry Eagleton and Caryl Phillips) and revealed that she was writing a screenplay based on the speculation that Emily Brontë had met Frederick Douglass in Leeds in 18471. The connection between Emily Brontë and Douglass remained important to Greer. In 2015, in a Brussels Brontë Group weekend talk, she was still discussing possible Brontë links with the abolitionist, while also working to make the Brontës more accessible to younger and more diverse audiences. Also in 2015 she led, with Judith Watts, a Jane Eyre fan-fiction workshop at The Trouble Club in London. Greer resigned as president in June 2015 in a particularly agitated Brontë Society moment. Her Jimmy Choo moment at that year's AGM has become something almost legendary: According to witnesses, the meeting saw Bonnie Greer, the writer and President of the Society, keep order using her Jimmy Choo heel on the top table, as critics from both sides waiting to hear how the Brontë name should best be preserved. ( The Telegraph, June 2015)
Not any Jimmy Choo, though: Greer said she took a high-heeled shoe to Saturday's meeting as a light-hearted prop to use to keep order. "I brought my shoe because it's been, for some of us, so grim, that I thought, I'm going to make this funny," she told BBC Radio 4's The World At One. "So I brought out the shoe, made for me by Jimmy Choo himself, and said, 'I'm going to bang this if it gets out of control'." ( BBC News, June 2015)
Her association with the Brontës nevertheless continued. In 2018 she participated in a Liverpool panel discussion connected with Lily Cole's short film Balls, an Emily Brontë bicentenary project inspired partly by Wuthering Heights. There was also a Brontë connection in Greer's own creative writing. Her 2021 play Douglass, commissioned by The Faction and performed by Jude Owusu, explored the life and inner world of Frederick Douglass. A contemporary review noted that Greer's text incorporated quotations from Shakespeare, Emily Brontë and Douglass himself. 1. Something that was explored a bit later by Deborah Denenholz Morse in "The House of Trauma": The Influence of Frederick Douglass on Heathcliff in Emily Brontë's Wuthering Heights, Victorians: A Journal of Culture and Literature, Number 140, Winter 2021, pp. 164-177. ↩
Broadway World announces that Jane Eyre the Musical now has a trailer. Southwark Playhouse has posted a trailer for its production of Jane Eyre, offering a first glimpse of the musical currently running at Southwark Playhouse Elephant. The clip previews the atmosphere of the staging, which brings Charlotte Brontë's novel to the stage through what the theatre describes as a lush and sweeping score. [...] The staging marks the UK premiere of the musical, running at Southwark Playhouse Elephant through 24 October. The trailer was shot by videographer Adam Nightingale. (Michael Major)
And here it is:
Still on stage, Northern Arts Review is looking forward to York Settlement Community Players' The Other Other Brontë, which opens at Theatre@41 on Monkgate on October 13th. The show by Sarah Gordon, which premiered in 2024 at The National Theatre London, will be performed at Theatre@41 on Monkgate from the 13th to the 17th October. It tells the story of the rivalry between the Brontë sisters from Charlotte’s perspective, and reveals some truths behind why we only know Anne as the ‘third sister’, or the Other Other Brontë. Director Claire Morley, who last directed for YSCP in 2014 with Brecht’s Drums in the Night says: “Directing Underdog really appealed to me because whilst it tells the story of this incredible literary family who are so entwined in the national (and Yorkshire!) cultural fabric, it doesn’t put them on a pedestal. We see them as flawed human beings. The dialogue and stagecraft is also very contemporary, which I love. I am looking forward to reflecting that further in aspects like the soundtrack. Expect current chart hits rather than choral music!” Lara Stafford (last seen as the title character in Anne Boleyn with Black Treacle Theatre at Theatre@41), YSCP regular Jess Murray, and University of York MA Theatre-Making student Millie Rhodes lead the cast as Charlotte, Emily, and Anne Brontë. They are joined by a multi-rolling ensemble made up of local actors Nick Patrick Jones, Jon Cook, Maggie Smales, and Pamela Gourley. “We’re so thrilled to bring this very Yorkshire literary play to Theatre@41 this October,” says YSCP Chair, Natalie Roe, “We went on a cast and crew trip to the Brontë Parsonage in Haworth, which helped everyone get into the world of the play. There’s such a great energy in the team already, we can’t wait to share Underdog with you.”
According to Biba (France), Lilia Hassaine's JE is a firm candidate to the Prix Goncourt. Ce livre d'une journaliste et chroniqueuse déjà connue du prix Goncourt se dessine comme un des favoris du concours. [...] Il s'appelle Je, mais ce n'est pas une autobiographie. Même si on ne connait pas la vie personnelle de l'autrice, il ne peut pas s'agir de cela car le roman se passe en 1831. On lit : "Île de la Jamaïque, 1831. Antoinette Cosway, créole de bonne famille, s'éprend d'Edward Rochester, un Anglais aussi impénétrable que fascinant. Mais à la séduction enflammée succèdent rapidement des scènes vénéneuses, où les baisers sont des blessures, où toute une société livre la jeune femme à son bourreau. Des années plus tard, Antoinette tente de conquérir sa propre histoire. "JE" se situe à mi-chemin entre roman victorien et thriller intimiste contemporain. Lilia Hassaine s'est inspirée du personnage de la première femme de Rochester dans Jane Eyre, le roman culte de Charlotte Brontë. Elle a choisi de lui donner une voix, un corps, une destinée." [...] Avec déjà une sélection par le passé, Lilia Hassaine devient déjà une habituée de ce concours. Cela pourrait l'avantager. Avec toutes les autres distinctions que le livre a déjà, il a vraiment ses chances. Enfin, la référence à un classique de la littérature peut aussi l'avantager. Outre cela, il n'est pas pour autant premier des ventes. Pour l'instant, C'était ça ou mourir D'Orélien Thélyson est numéro un des ventes, considéré comme le phénomène littéraire de l'année, il s'apparente comme le favori qui au final perd. Alors que "Je" est dixième du classement Datalib. En tout cas, les lecteurs semblent adorer. Babelio lui donne la belle note de 4,25/5. On peut lire entre autres : Livre de la rentrée littéraire 2026 et ce fut un coup de cœur ! Un livre magnifique, une plume efficace, un récit captivant. (…) Le roman met en lumière une autre vision de cette femme, victime de son temps, du patriarcat, de son époux, et des machinations l'ayant conduite à être enfermée et considérée comme "folle". Je ne pouvais pas lâcher ce livre." (Paul Mocka) (Translation)
Yorkshire Live recommends '10 best autumn walks in Yorkshire where you take in the stunning countryside' including Haworth A town near Bradford, Haworth is surrounded by stunning autumn walking trails. Whether you want to see the Brontë Waterfall or just the town itsel, the Victorian style of the town never fails to give off a great autumnal feel. (Sebastian McCormick)
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