The Telegraph and Argus features the new book The Birthplace of Dreams by Mark Davis and Steven Stanworth. Now the Brontës’ Thornton legacy is explored in a new book, launched today, highlighting their lives in the village and the impact it had on the family. The Birthplace of Dreams is written by Bradford photographer and historian Mark Davis and Steven Stanworth, who has spent more than 25 years looking after Thornton’s old Bell Chapel and is a founder member and former vice chair of the group that purchased and restored the Market Street property. Illustrated with vibrant photographs, by Mark Davis, of the house and surroundings, and paintings of the Brontës by John Ellis, this fascinating book delves into aspects of the family’s story that we don’t normally hear about. Says Mark Davis: “There has already been so much written about the family. There are so many interpretations, of their work and personalities. But there seemed to be something missing. It’s surprising how many people hold the common misconception that Haworth, with its quaint cobbles and pretty views, is the one stop Brontë location and that Haworth Parsonage holds their literary lives, from cradle to grave. “The Birthplace of Dreams was borne out of us wanting to break that myth. Our little book, we believe, is unique in that the focus rests on the very place where the literary giants known today across the globe, Charlotte, Emily and Anne, first breathed in Yorkshire air in the front parlour of the humble little house on Market Street. Although the family only spent five years in Thornton, they were incredibly important years. Patrick in later life would refer to his years there as being his ‘happiest time’.” From Patrick’s birth in Emdale, County Down, the first of 10 children in a poor rural family, to his death aged 84, surviving all six of his children, the book traces his journey to Cambridge, where he was a prize-winning student, and beyond, to curate positions around the country. From Essex and Shropshire he came to Yorkshire, arriving in Dewsbury aged 32 to be curate of All Saints Church, now the Minster. He moved on to Hartshead in the Spen Valley, where Luddites were attacking wagons delivering machinery to mills, then to Thornton. Along the way the book takes us to places such as Woodhouse Grove, the Apperley Bridge school where Patrick visited his friend, the headmaster, whose housekeeper was Maria Branwell - the young woman who became Patrick’s wife - St Oswald’s Church in Guiseley, where the couple got married, and their home in Hightown near Hartshead. The book pays tribute to significant figures in the family’s lives, not least Nancy De Garrs, who was 13 when the Brontës employed her as the children’s nanny in Thornton and had outlived them all by the time of her death, age 82, in Bradford Workhouse. And Tabitha Aykroyd, the family’s housekeeper at Haworth and the inspiration for Nelly Dean in Wuthering Heights and Martha, a servant in Charlotte’s novel Shirley. The book highlights life in Thornton when Patrick was perpetual curate at the Bell Chapel, and residents who became friends, including Elizabeth Firth of Kipping House who was godmother to Patrick and Maria’s daughters Elizabeth and Anne. “The social life the family enjoyed at Thornton was in stark contrast to life at Hartshead Moor, dominated by the Luddite movement,” says Mark. “The family met Elizabeth Firth and her father within days of arriving and a warm friendship blossomed. Elizabeth invited the family to dinner regularly at Kipping House. Such was the relationship between the families that Patrick, looking for a new wife and stepmother for his six motherless children, asked Elizabeth for her hand in marriage, of which she refused.” Elizabeth’s diary provides a glimpse of the relationship between the families. “The entries were no more than bullet points but show a mutual support structure in place throughout the Brontës’ time in Thornton. When Elizabeth died it was the money she left Anne that financed her last tragic trip to Scarborough.” Adds Mark: “It’s interesting to see how the family’s life in Thornton overlapped to Haworth. Through the book, we take in Haworth, the sisters’ education, achievements and deaths. We return to Thornton to explore the birthplace history and evolution to the present. “The Birthplace of Dreams is so much more than just another Brontë book. We bring 72-74 Market Street out of the shadows. The house, where three seemingly ordinary girls were born; three girls who dared to dream and would take on a male dominated 19th century literary world and whose names continue to inspire people to dream.” (Emma Clayton)
The authors of the book, Mark Davis and Steven Stanworth, have penned an article for The Yorkshire Post. Even though the very last member of the Brontë family died in 1861, when Patrick passed away in early June of that year, the good reverend having witnessed his wife and all of his children being laid to rest in the family vault below the flagstones in St Michael and All Angels’ Church before him, the Brontë legacy lives and breathes on. The story is by no way finished, pray, it’s still in its infancy, given the literary genius of the Brontë sisters and the worldwide interest by young and old alike in both them and their ill-fated yet well-meaning brother Branwell. There has already been so much written about the family since their deaths and that will continue, long after we are all but dust. There are so many interpretations, both of their work and personalities. But yet, there always seemed to be something missing. It is surprising just how many people hold the common misconception that the picturesque, rugged moorland village of Haworth with its quaint cobbles and pretty views, as the one-stop Brontë location and believe that Haworth Parsonage holds their literary lives completely, from the cradle to the grave. Our new title, the Birthplace of Dreams, was borne out of us wanting to break that myth, our little book, filled to capacity, we believe is unique, in that the focus rests on the very place that saw the literary giants known today across the globe, Charlotte, Emily and Anne Brontë, first breathed in Yorkshire air as their divine literary spark entered the world, in front of the fireplace in the front parlour of the humble little house that is the former parsonage on Market Street, Thornton. Although the Brontë family only spent five years in Thornton, they were incredibly important years. Patrick in later life would refer to his years there as being “his happiest time”. Given the tragedy that followed just a year after the family left the village in 1820, it is a statement, no one could ever dispute. The genteel social life the family enjoyed at Thornton was in stark contrast to the previous harsher life at Hartshead Moor, which was dominated then by the revolutionary Luddite movement. The family met the young Elizabeth Firth, and her father within days of arriving in Thornton, after which a warm friendship blossomed. Elizabeth was to become godmother to Elizabeth and Anne and invite the Brontë family to dinner regularly at Kipping House, her comfortable family residence she shared with her father, close by on Lower Kipping Lane. Such was the relationship between the Brontë and Firth family, that Patrick, looking for a new wife and stepmother for his six motherless children after the tragic premature death of his wife Maria, felt comfortable enough to ask Elizabeth for her hand in marriage, of which she refused. In 1815, the year in which the families first met, Elizabeth, who 17 years Patrick’s junior, was mourning the death of her mother the previous year and like her father a committed churchgoer. We know much more about the inter-family relationship between the Brontës and Firths, than we would normally expect because Elizabeth kept a basic diary. The entries were in essence no more than bullet points; however, they show a consistent mutual support structure in place throughout the time the Brontës were in Thornton. When Elizabeth, died in 1837, it was the money she had left Anne, that financed her last tragic trip to Scarborough. It is interesting to see how the family’s lives in Thornton, overlapped to nearby Haworth, certainly for the first few years in any event. Through the pages of the book, we of course take in Haworth, the sister’s education, achievements and sadly their premature, in today’s terms, deaths. Towards the end we return to Thornton to explore the birthplace history and evolution up to the present day in 2025. The Birthplace of Dreams is so much more than just another Brontë book, through its written content, of which is enhanced by the inclusion of striking colour images, we bring the mostly unknown 72-74 Market Street, out of the shadows in literary form. The very house, where three seemingly ordinary girls were born, three girls who dared to dream, who dared to reach for excellence beyond their wildest dreams and surpassed them all. Three girls who would take on a male-dominated 19th century literary world and whose names two hundred years after they were born would continue to inspire people to dream beyond all their expectations. Haworth may justifiably lay claim to the Brontë sister’s literary success, having penned some of the most groundbreaking novels in the history of English literature there, however there is no changing the fact that their first spark of life, quite rightly belongs to Thornton. In the inspirational composed and written words of Queen Camilla, “Be More Brontë.”
‘The Invention of Charlotte Brontë: A New Life’ by Graham Watson Who was the author of “Jane Eyre”? Charlotte Brontë kept much to herself, and after her death at age 38, her story was muddied by a biography written by her friend Elizabeth Gaskell. Literary historian Watson examines Brontë’s letters to create a clear-eyed portrait of the beloved 19th-century novelist.
The Boar has an article about Wuthering Heights. It’s safe to say that upon opening my copy of Wuthering Heights, I had high expectations. It is impossible not to have expectations of one of the most famous romance novels of all time. Even before reading the novel, I knew that the name ‘Heathcliff’ is commonly circulated as a representative of the brooding romantic interest. However, I found him to be a less likeable character than I expected. Throughout the novel, my feelings surrounding Heathcliff oscillated between pity, bafflement, and dislike. His character is as complex and disturbed as Shakespeare’s Hamlet. And there are similarities between the two – they are both haunted by loved ones and both suffer from dysfunctional family situations. Heathcliff comes to be viewed by the narrator, Ellen Dean, as a black tide that threatens to sweep away the building blocks that Wuthering Heights is built on. He’s always on the fringes of the Earnshaw family, symbolised by his lack of adoption of the name ‘Earnshaw’. He grew up with Catherine, but he is never quite her sibling. Similarly, he loved Catherine but was never quite her husband. Heathcliff’s story is filled with tantalising almosts that serve to torture the readers as well as himself. The entire novel feels real and yet not; incestuous undertones combined with the isolated characters create a disturbed dreamscape where nothing is ever quite right. Wuthering Heights is an isolated bubble that no other part of the world can touch. Indeed, their world is so separate that Cathy Linton at one stage asks Ellen Dean what lies beyond the hills, having no knowledge of the world beyond, like Rapunzel in her tower. They operate as a society within themselves, but both as a group and individually, they never find a way to operate in a way that makes complete sense. For example, Heathcliff’s normal order of life and death is flipped completely – whilst alive, he continuously suffers as though in hell, and it is only when his mortal life ends that he can reach self-actualisation by haunting the moors immortally with Catherine by his side. What makes the reader more uneasy is that they are completely reliant on a first-person perspective, which is usually more unreliable than the third person, since they are much closer to the story. I was initially surprised that it was not from the perspective of any of the most central characters, but primarily Ellen Dean, a servant who is a close confidante of many family members. She is always on the fringes of every story she encounters, be it Heathcliff and Catherine or Linton and Cathy; this makes her the most well-equipped character to relate the history of Wuthering Heights to Lockwood, since she has the unique ability to hear and acknowledge multiple perspectives. Reasonable and kind, yet firm when it was necessary, I thought she made a good narrator. Her being indirectly involved in the action likely means that she can be relied upon to be as unbiased as possible. However, this also means that there are likely large pieces of the story that she missed out on. She saw a lot, heard a lot, and was confided in a lot, but it intentionally leaves the reader to wonder what she didn’t see. Because of this, the true intricacies of relationships, especially Catherine and Heathcliff’s, remain a mystery. For example, it leaves the reader wondering when the moment Catherine and Heathcliff fell in love was. Their love for each other is all-encompassing; it ruins both of their lives in what to an outsider seems to be a melodramatic way. What was particularly baffling to me was that Catherine practically willed her premature death into existence after her husband asked her to choose between him and Heathcliff. Her love for Heathcliff was so strong that it was destructive – she literally died of a broken heart. After her death, Heathcliff’s world turns into a hellscape in which he becomes the devil. If he can’t have love, he wants revenge. Heathcliff seeks to punish everyone around him for the actions of people they are associated with. And during this time, he is haunted – literally by Catherine, and figuratively by her descendants. For the rest of his life, Heathcliff is doomed to suffer from an existence in which Catherine is never quite there. Perhaps this is one reason why he turns into a tyrant. This seems to be the lesson that Wuthering Heights teaches: those who suffer from a privation of love will become a source of evil. (Ella Davey)
The Guardian ranks Charli xcx’s 20 best songs and her new, Wuthering Hieghts-related one makes it to #12. 12. House (2025) However you might have expected Charli xcx to follow up Brat, it’s unlikely that you expected this, from the forthcoming soundtrack to Wuthering Heights: a warped electronic homage to the Velvet Underground, filled with drones, shards of noise and a guest appearance from John Cale, which bursts into furious distortion-laden industrial noise at its climax. (Alexis Petridis)
The Week has former deputy PM and president of global affairs at Meta Nick Clegg pick his five favourite books and one of them is Wide Sargasso Sea Jean Rhys, 1966 A prequel to “Jane Eyre”, which takes us to Jamaica, through the life and marriage of the soon-to-be Mrs Rochester, the madwoman of the attic. An agonisingly poignant novel, made all the more so by the fact that Jean Rhys wrote it while living in poverty and obscurity; the recognition it earned her came far too late.
FarOut Magazine shares Joan Didion's list of favourite books, which includes Wuthering Heights.
A recently published book with Brontë-related content:
by Bansari Mitra Wilderness House Press ISBN: 978-1257769841 September 2025
This book focuses on genre studies and examines Gothic's outstanding characteristics like loose plot, hidden crimes and ruined settings. Anne Brontë redefines Gothic by writing in a fragmentary way. This storytelling is further examined in Jane Eyre. The story resists closure because Jane cannot establish peace with the characters that haunt her. The adage "no happy woman writes" makes us reflect on the unhappy life of Mary Shelley which led her to write her "monstrous" novel, Frankenstein. Instead of literary criticism that stems from Romantic and feminist sensibilities, there is a new interpretation of the non-western character, Safie, whose story is a variation from the other tales of catastrophes. Broad categories fail to define genres, like Eliade and Devi's works, Bengal Nights and Na Hanyate. We reexamine the limitations of various forms of life-writing like memoirs and autobiographies and the encounters and clashes between eastern and western cultures. We also examine the form of Gothic and swashbucklers, two popular, successful types of film. Western and eastern cultures differ, especially when settings and plots are reinvented to create blockbusters, and themes are revised to suit the palates of eastern audiences. The last essay focuses on transformations of Gothic from Victorian to contemporary times. In a wide assortment of mysteries, the common themes of a missing woman and misinterpretations of the detective heroine show how settings of Gothic have changed from 18th to 21st Century. Bicentenaries of Shelley and Brontës were recently celebrated, discussing their impact on contemporary times, so it is time to look at their novels in a new way.
Doug Holder : You explain that Shelley and the Bronte Sisters have been celebrated for their impact on contemporary times. Explain. BM: I think that Artificial Intelligence is causing such controversies now that Frankenstein can be examined as the kind of science fiction that is a cautionary tale, very relevant for our times. Also, I feel that there could be a new interpretation by focusing on the only non-western character, Safie, who is generally regarded as a shadow of the other women characters. Anne Brontë has always been eclipsed by her famous sisters, Charlotte and Emily, but she wrote the “first sustained feminist novel” according to Winifred Gérin. She is now being recognized as a writer who would have earned a place much earlier in the canon like Fanny Burney and Elizabeth Gaskell. Although Charlotte Brontë’s Jane Eyre has always enjoyed a great deal of attention from critics, we can examine the growth of a feminist heroine through her progress during the five stages of her journey from urban to rural settings. How Nature is represented in the novel as a pagan goddess, thus reinventing the Cinderella myth set in the Victorian Age. Fairy tales continue to fascinate readers throughout ages, and Brontës grew up on them, borrowing patterns from them to design the plots of their novels. Thus generic revisions are effected in their novels.
This contributor to Slash Film begs moviegoers to wait until after they have seen Wuthering Heights to share their opinion. People are, as the disgraced Drake once said, in their feelings about Emerald Fennell's upcoming adaptation of "Wuthering Heights." To be fair, I understand why. Fennell, who could most politely be described as a "divisive" director, is an interesting choice to helm a take on Emily Brontë's only novel. As Tina Fey famously and correctly stated on the "Las Culturistas" podcast about the Oscar winner's body of work and overall vibe, "What are you going to do when Emerald Fennell calls you about her next project, where you play Carey Mulligan's co-worker in the bridal section of Harrods and then Act 3 takes a sexually violent turn and you have to pretend to be surprised by that turn?" Margot Robbie and Jacob Elordi are set to play windswept and doomed lovers Catherine and Heathcliff, despite Robbie being nearly a full decade older than Elordi (and Heathcliff not being white), and in general, fans of Brontë are speaking out. In the YouTube comments underneath the movie's trailer, @Raul-j6t took umbrage with the film's tagline, writing, "'The greatest love story of all time' I don't think we've read the same book." Someone else, user @me-sunnyg, quipped, "If you listen really closely, at the end you can hear Emily [Brontë] screaming from beyond the grave." These are, frankly, funny takes on Fennell's upcoming movie, and I understand; anyone who's really attached to the novel is going to have issues with a clearly anachronistic and offbeat adaptation. (The original Charli XCX soundtrack definitely isn't helping either.) Personally, I think people are right to be concerned about this movie, but I also think there's something else at play here ... which is that people are getting into the habit of passing judgment on movies way before they even release. If you're not a big Emily Brontë-head and haven't revisited "Wuthering Heights" since you read it in 11th-grade AP English, let me refresh your memory. The novel, which Brontë published under a male pen name (Ellis Bell, to be specific), is widely considered to be one of the best literary works in the English canon, and it's also unrelentingly dark. (Check trigger warnings before you read it, is all I'll say to that effect.) Through the eyes of a housekeeper named Ellen "Nelly" Dean, who will be played by Oscar nominee Hong Chau in Emerald Fennell's movie, we learn about Margot Robbie's wealthy and highborn Catherine Earnshaw and her torrid and troubled love affair with Jacob Elordi's famously brooding Heathcliff, an orphan taken in by Catherine's father. Though Catherine's father loves Heathcliff and treats him like family, after his death, Catherine's cruel brother essentially discards the young man and is even violent with him, leading Catherine to take care of Heathcliff by showing him affection. "Wuthering Heights" takes place across many years and is a difficult, fraught, and even disturbing book about domestic abuse, generational trauma, the impossible Victorian class system, and a whole host of other issues that were distinctly of their time but are still relevant today. My point here is that Fennell is a truly crazy choice to direct "Wuthering Heights" based on her first two movies, "Promising Young Woman" and "Saltburn," the former of which I'd argue works much better than the latter — but she's still a super-heightened, stylistically strange, and often unfocused director for such a harrowing tale. Still, I also think we need to reserve judgment, because the movie isn't out yet, and that issue is becoming its own problem. (...) "Wuthering Heights" could absolutely be a disaster and feature that "sexually violent turn" that makes the entire movie sort of absurd, especially because the back half of this story has a bunch of ghosts in it. (Fennell could always do what the "MacGruber" movie did if she really wants to make headlines, but I digress.) Still, I am begging moviegoers to stop making assumptions about films that nobody has seen yet and then proclaiming those assumptions like self-appointed town criers. We really need to let the films speak for themselves, and on February 13, 2026, in the United States — just in time for Valentine's Day — Fennell's "Wuthering Heights" will get the chance to stand on its own two feet and earn scorn, acclaim, or some perverse mixture of the two. For now, let's give the movie a chance to prove itself ... and if it's a dud, I'll meet you right back here to dunk on it next year. (Nina Starner)
The Brussels Brontë Blog posts about a carefully-planned trip to Brussels following on the footsteps of Charlotte and Emily. A new amateur production of Jane Eyre opens today, November 20, in Jamestown, ND:
Jamestown High School presents Adapted by Thomas Hischak November 20 & 21 at 7 p.m. JHS Theater, 1509 10th St NE, Jamestown, ND 58401, USA
Drama Director Tony McIntyre said Charlotte Brontë's classic comes to the stage with Thomas Hischak's adaptation of the 1847 novel. The story follows a young girl who has lost her family as she grows and becomes a governess employed by the mysterious Mr. Rochester. After saving Rochester from an attempt on his life by a shadowy figure, Jane finds herself on a journey to become a "free and self-reliant" person. Brontë's novel has stood the test of time with its mystery, romance and reflection on the human experience, McIntyre said. "When I was looking for a show for this fall, I was hoping to find something that really fit our cast and crew and allowed us to try a new style," McIntyre said. "It also is a way for our students to interact with classic literature and bring some to the community. It's also exciting to see the students show off their skills in acting, design, construction and all of the elements that go into making a great night of theater for Jamestown." The adaptation attempts to pack in the entire book into around two and a half hours, McIntyre said. Hischak uses three Janes to tell the story: a young Jane, an adult Jane and an older Jane who narrates the tale. "It's a lot of story to fit in, but Hischak's version is able to capture a lot of why people are still interested in Brontë's tale," McIntyre said.
SlashFilm predicts that Emerald Fennell's Wuthering Heights 'Could Be The First Big Box Office Hit Of 2026'. After just a handful of days, the YouTube version of the trailer has amassed more than 21 million views. While trailers go out all over the internet these days, based on that number alone, it's in good company, and interest is very high. Given that WB spent in the $80 million range to make this movie happen, that's good news. [...] For the sake of comparison, A24's "Materialists," another romantic drama, had its main trailer rack up 23 million lifetime trailer views on YouTube. It went on to make $105 million worldwide. Mind you, "Wuthering Heights" only released its new trailer several days ago. The main trailer for Ryan Coogler's "Sinners" similarly racked up 31 million lifetime views on YouTube, with "Sinners" itself ultimately becoming a smash hit, pulling in $368 million worldwide. The trailer for Fennell's latest could easily touch an identical number. Another film to look at might be "The Conjuring: Last Rites," with its main trailer earning 25 million lifetime views on YouTube. It's one of 2025's biggest hits with $494 million worldwide. [...] Warner Bros. and Fennell have declined to release much of a synopsis for their movie, but it is said to be "loosely based" on the novel. YouTube trailer views alone aren't an indicator of what a movie will eventually do at the box office, but it's sure as heck an indicator of interest. To that end, the teaser for "Wuthering Heights" racked up 11 million views. What we're seeing, in this case, is a rapidly increasing level of interest from prospective ticket buyers. It certainly doesn't hurt that this is a romantic, seemingly very horny movie that is coming out over Valentine's Day weekend. (Ryan Scott)
Hunger claims that, 'Literary adaptations are getting lusty again — Emerald Fennell’s Wuthering Heights is making sure of it'. Emerald Fennell’s Wuthering Heights is quickly shaping up to be one of 2026’s most exciting, ambitious and creatively unapologetic literary adaptations. It’s a version of Emily Brontë’s novel that leans into everything that has made it unforgettable for nearly two centuries: the passion, the danger, the destructive love and the primal pull of its central relationship. With Margot Robbie and Jacob Elordi leading the cast as Catherine Earnshaw and Heathcliff, and Charli xcx composing an original album inspired by the story, the film is designed not simply to revisit Brontë’s work, but to electrify it for a new generation. Earlier this autumn, Fennell spoke about the project publicly for the first time in Brontë’s hometown of Haworth. “I wanted to make something that made me feel like I felt when I first read it,” she told the BBC, recalling her teenage reaction to the book. “It’s an emotional response to something. It’s, like, primal. Sexual.” For Fennell, whose previous films Promising Young Woman (2020) and Saltburn (2023) showcase a bold, psychologically-charged filmmaking style, Wuthering Heights represents both a long-held dream and a profound creative risk. The director has described the 1847 novel as “so sexy”, “so horrible” and “so devastating”, and has cited it as the film she’s wanted to make the “most desperately” for years. Now, after the success of Saltburn, Fennell has finally had the freedom to choose it as her next project. “I’ve been obsessed. I’ve been driven mad by this book,” she has admitted. That intensity shapes every artistic decision. Though retaining much of Brontë’s original dialogue in the adaptation, Fennell has been open about her decision to take liberties casting-wise — Robbie and Elordi are older than Brontë’s teenage characters. Fennell, however, saw something uncanny in both leads. Elordi, fresh off a career-defining run that began with the director’s own Saltburn and, most recently, included Guillermo del Toro’s Frankenstein, struck Fennell immediately. On the set of Saltburn, she’s alleged to have said the actor looked “exactly like the illustration of Heathcliff on the first book that I read”. Robbie’s Catherine, meanwhile, channels an almost mythic charisma. “She’s not like anyone I’ve ever met,” Fennell has said. Her performance promises to capture Catherine’s contradictions with force and sophistication. Supporting the film’s emotional landscape is Charli xcx, whose forthcoming album Wuthering Heights (out on 13 February 13 2026) serves as a companion piece. xcx has already released two singles , ‘House’ featuring John Cale, and a few days later, ‘Chains of Love’. Her involvement signals the project’s contemporary sensibility — a willingness to bridge Brontë’s nineteenth-century ferocity with the urgent, emotionally-charged world of modern pop. But rather than updating the story, the music amplifies it, reinforcing the passion, fire and pulse Fennell sees in the original text. Ultimately, what sets this Wuthering Heights apart is its clarity of purpose. Fennell is making a film driven by emotion — primal, sensual and unsettling. It is a Wuthering Heights that embraces complexity rather than avoiding it. One that sees the novel not as a fragile artifact, but as a living, breathing, overwhelming force. The trailer is full of longing stares, sexual tension and tightened corsets, exploring a story of obsessive love in an adaptation that’s as steamy as it is artistic. And it’s no better proven than in the film’s costume design, which sees Robbie in a white, glittery wedding dress, centuries ahead of its time. Highlighting Fennell’s distinctive aesthetic, it’s less about period accuracy and more about creating a heightened, visually-intoxicating world. The trailer, then, has only intensified the debate circling the film months ahead of its release. Viewers remain divided over the casting and the adaptation’s unapologetic eroticism. Marketed as “a bold and original imagining of one of the greatest love stories of all time”, the argument rages on: was Wuthering Heights ever a love story to begin with? Either way, with its powerhouse cast, visionary director, impressive set design and an album that promises to become a cultural moment in its own right, Wuthering Heights is poised to redefine what a classic adaptation can be. It is ready to be experienced passionately, provocatively and without apology on 13 February next year. (Flore Boitel)
AnOther shares 'The Story Behind Charli xcx’s Gothic New Wuthering Heights Music Video'.
CrimeReads lists '5 Novels Set in the Wild British Moors'. If you’re unfamiliar with British moorland, I urge you to listen to Wuthering Heights by Kate Bush to get into the right mood, and then dive into these atmospheric classics. The moors really are “wily” and “windy,” with vast open spaces, craggy rocks and plenty of thick heather in which you could easily hide a body…. [...] Emily Brontë, Wuthering Heights Wuthering Heights is as weird, esoteric, experimental and challenging now as it was at publication in 1847. Structured like a conch shell, with stories with stories, shifting perspectives and unreliable narrators, Wuthering Heights is a book that keeps readers on their toes and demands attention. If this makes it sound like hard work, I’m doing it a disservice – it’s an absolute riot to read. Originally published under an androgynous pseudonym, Ellis Bell, it was controversial from the get-go due to its subject matter which includes mental crises, brutal domestic violence, the subjugation of women, the dangers of childbirth, religion and the rigid Victorian class system. With the furore surrounding the recent trailer for Emerald Fennel’s reimagined movie adaptation, it’s clear this is still a story with the power to shock and surprise. Charlotte Brontë, Jane Eyre The Brontës are well represented here. All three of the Brontë sisters that made it to adulthood became writers, and all three set their stories in the Yorkshire of their upbringing. As a result, a swathe of land in the North of England is known (almost) officially as Brontë Country. Jane Eyre bristles with social criticism, sharp observations and an introspective first person narrative that still feels fresh and bold. Orphaned Jane grapples with her identity and sense of belonging, finally escaping her abusive childhood through employment. She becomes governess at Thornfield Hall, a gloomy, isolated and gothic manor house large enough to have multiple apparently disused rooms and, of course, a deeply disturbed character secreted on one of the upper floors. It was billed as a romance, and there is dark passion at its heart, but it is also a mystery, a character study, and a sly manifesto for social change and personal growth. (Holly Seddon)
The EveryGirl lists '16 Classic Lit Movies to Stream if You Can’t Stop Thinking About ‘Frankenstein’' such as 1. Jane Eyre If you love Jane Austen adaptations, the 2011 version of Charlotte Brontë’s Jane Eyre will be an instant favorite. The story centers on Jane, an orphan abused by her aunt and later sent to the harsh Lowood School. As an adult, she becomes a governess at Thornfield Hall, where she falls for her employer, the mysterious Edward Rochester. But when she uncovers a dark secret, she’s forced to flee—though she may not be able to stay away for long. 2. Wuthering Heights Before Emerald Fennell’s upcoming Wuthering Heights adaptation drops, revisit the iconic ’90s version starring Ralph Fiennes as the brooding Heathcliff. If you don’t know the plot of Emily Brontë’s famous story, it follows an orphan, Heathcliff, after he is adopted into the wealthy Earnshaw family. He moves into their estate and strikes up a strong bond with his foster sister, Cathy. Cathy gives in to societal pressures and marries Edgar Linton, a man of higher standing. But Heathcliff vows to get her back, no matter what. (Lauren Blue)
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