In the British Library’s Treasures Collection, I recently discovered a number of original manuscripts, including those of Charlotte Brontë, Jane Eyre and Virginia Woolf.

Looking at the physical pages, I was struck by how handwriting itself can also hint at a person’s personality and character, that digital texts by comparison can sometimes be inhibiting as a method of expression.

The manuscripts gave the impression of “working pages”, with parts of sentences crossed out, words inserted and phrasing adjusted.

It reminded me of the care involved with crafting a manuscript or original document – first in setting the words down on the page, second in perfecting them, and third in the process of editing and eliminating to reach an improved overall effect.

Skipping the written word in favour of digital convenience may quietly limit both our creativity and the quality of our work. The slower pace of handwriting gives us space to consider our words more carefully, refining both clarity and intent as we go. (Louise Janovsky)

The 10th novel by Perth-based Natasha Lester boldly blends the beloved story of Jane Eyre with the vibrant history of Hollywood from the 1950s to the 1970s. After the death of her parents, young Aria Jones is sent to live with her reclusive starlet aunt at the Chateau Marmont, a hotel on Hollywood Boulevard with a notorious reputation. After learning a secret that will haunt her childhood, Aria finds solace and anonymity in the hotel's library. When the hotel is sold to a mysterious rock star and his troubled daughter, Aria has the opportunity to be much more than invisible.

The Making of Merle Oberon: Anglo-American Cinema's First South Asian Star

Fri 17 Apr, 7:30pm

Join us for this special online event with Mayukh Sen, author of Love, Queenie: Merle Oberon, Hollywood’s First South Asian Star. We will be delving into the life of Merle Oberon who famously portrayed Catherine Earnshaw in William Wyler’s 1939 adaptation of Wuthering Heights and learning how this Hollywood legend’s life was just as dramatic as Emily Brontë’s novel.

Mayukh’s biography of Oberon is the first in over 40 years and is a finalist for the 2025 National Book Critics Circle Award for Biography. Mayukh is a 2026 United States Artists Fellow, and he teaches film and television journalism at New York University. In a past professional life, he was the James Beard Award-winning author of Taste Makers (2021).

The saving grace of this film, however, is the gorgeous cinematography. Each shot is picturesque, which is characteristic of Fennell’s previous films Saltburn and Promising Young Woman.

Each scene is heavily considered, and the setting captures the gothic aesthetic of the original novel. Catherine’s wedding scene is haunting, with moving tulle and muted colors. Fog fills several scenes and leaves a lasting impression of mystery and the cold world of Wuthering Heights.

Overall, this film is beautiful to look at. However, it could have stood to have more time in the writing room. In fact, it may have benefited if the film had not been loosely inspired by Wuthering Heights. Many of the references hold the film back, and it could have made a lasting impression as its own unique narrative. (Sky Briggs)

The film is “based” on the 1847 novel (which I finally read) in the same way Monty Python’s “Life of Brian” is based on Scripture, and “travesty” is too anodyne a word to describe what director Emerald Fennell did to poor Emily Brontë’s creation.  (Msgr. Richard Antall)