Voice of Emirates (UAE) lists women's novels "that sparked controversy and brought about major transformations":
Jane Eyre – Charlotte Brontë (1847) Charlotte Brontë presented an independent heroine who refused to submit to social constraints, a bold proposition at the time. Despite initial criticism, the novel later became one of the most prominent and influential English novels.
Wuthering Heights – Emily Brontë (1847) The novel caused widespread shock due to its complex characters and gloomy atmosphere, but over time it has become one of the greatest romantic and psychological novels in world literature. (Medhat Elsheikh)
The Yorkshire Post publishes the frontal opposition of the Brontë Parsonage to the Calderdale Energy Park proposal: Calderdale Energy Park: Brontë Parsonage 'totally opposed' to wind farm proposal The director of Yorkshire’s Brontë Parsonage has said the group behind the museum is “totally opposed” to plans for the Calderdale Energy Park development. Located in Haworth and previously home to the prolific family of writers, the Brontë Parsonage Museum is one of the region’s most well known attractions for tourists. But according to the museum’s director, the proposed Calderdale Energy Park wind farm scheme could put tourist numbers at risk of dropping. The project would see the creation of around 34 wind turbines between Haworth and Hebden Bridge, standing at a maximum height of 200m. In a statement given to The Yorkshire Post, Rebecca Yorke, director of the Brontë Parsonage Museum, said: “The Brontë Society is totally opposed to Calderdale Energy Park. “The location is environmentally sensitive, and we believe the development would have a significant and detrimental impact on an iconic local viewpoint and world-renowned landscape. “People walk the moorland between Haworth and Hebden Bridge for reflection, inspiration and to understand how the natural surroundings influenced the Brontes’ work; it’s a unique place which allows the literary tourist to physically travel through the landscapes of the Brontës’ imaginations and the worlds of their novels and poetry. “The Museum welcomes over 75,000 visitors each year and for many of them, the walk to Top Withins from Haworth is a form of pilgrimage: the connection between the landscape and literature cannot be ignored.” (Michael Crossland)
Deadline mourns the death of Joe Caldwell, co-creator of the character of Barnabas Collins in Dark Shadows: The vampire saved the show from imminent cancelation, prompting a spike in ratings and a new direction away from a moody Jane Eyre-like gothic romance style to outright supernatural (if unintentionally campy) horror. (Greg Evans)
Elizabeth Heffernan: What is one book that changed your life? Shady Cosgrove: I can’t limit it to one! My life was transformed by Jeanette Winterson’s The Passion, Charlotte Brontë’s Jane Eyre and Jean Rhys’s Wide Sargasso Sea.
Si vives tu amor en plan Heathcliff y Catherine en 'Cumbres Borrascosas', como una tormenta de arrebatos emocionales y montándote una película mental 24/7 y conviertes un 'crush' platónico en 'ups & downs' anímicos para que tu objeto de deseo te corresponda, toca pararse a reflexionar sobre dónde está la línea entre una relación sana y una obsesiva. (Rosa Alvares) Britain’s Favourite Railway Stations (C4, 5pm) The rerun More4 series chugs along, with Siddy Holloway taking a trip on West Yorkshire’s “Brontë line”, as seen in The Railway Children. Si King experiences the Snowdon Mountain Railway, and Damion Burrows extols the architecture of Wemyss Bay station. (John Dugdale)
Some more articles about The Most Wuthering Heights Day Ever in Dublin and other places: The Irish Times, The Journal, DPA Inernational... Livejournal user drush1891 reviews Wuthering Heights 1992.
3 Jul - 7 Aug 2026 Frith Street Gallery 17–18 Golden Square, London, W1F 9JJ
Multiple Narratives brings together works by eight gallery artists. The pieces are linked through their use of repetition, series and classification; some are narrative-driven, while others focus on visual exploration. Spanning drawing, sculpture, photography and found objects, the exhibition ranges from the minimal and abstract to the richly figurative. The show includes Fiona Banner aka The Vanity Press, Anna Barriball, Tacita Dean, Shilpa Gupta, Cornelia Parker, Raqs Media Collective, Thomas Schütte, and Dayanita Singh.
Adjacent is Parker’s Brontëan Abstracts (2006) – photographs of Charlotte Brontë’s original manuscripts for Jane Eyre which are held in the British Library. These images give us a direct insight into the immediacy of the progress of the celebrated novel. Here Parker invites the viewer to be present at the author’s elbow, we enter Brontë’s consciousness as she edits her masterpiece and become privy to her ideas as they emerge and recede.
The Clare Champion is excited about the visit of Ann Disndale to the Kilkee Brontë Festival: One of the world's leading Brontë experts is to attend the 2026 Kilkee Bronte Festival, which will take place this coming weekend. Ann Dinsdale, principal curator at the Brontë Society and Brontë Parsonage Museum in Haworth, England will be joining the festival in Kilkee, the place where Charlotte Bronte honeymooned, and where the Atlantic coast made such an impression on the famous author. Ms Dinsdale who has 36 years' experience caring for the museum's collection, organising exhibitions and working on important acquisitions will be making her first visit to the festival in Kilkee. Speaking to The Clare Champion this week, Ann said she is really excited to visit the West Clare seaside town, "I have been reading biographies about the Brontës for years - since I was a child really - so all these names of places in Ireland are really familiar to me. (...) (Sharon Dolan D'Arcy)
ArtsHub recommends a visit to the Summer Show of the Frith Street Gallery - Golden Square in London: Multiple Narratives brings together works by eight gallery artists. The pieces are linked through their use of repetition, series and classification, some are narrative-driven, while others focus on visual exploration. Spanning drawing, sculpture, photography and found objects, the exhibition ranges from the minimal and abstract to the richly figurative. The show includes Fiona Banner aka The Vanity Press, Anna Barriball, Tacita Dean, Shilpa Gupta, Cornelia Parker, Raqs Media Collective, Thomas Schütte, and Dayanita Singh. (...) Progressing further into the gallery, the corner features two works by Cornelia Parker. White Cliff Crossings (2024) (...) [and] [a]djacent is Parker’s Brontëan Abstracts (2006) – photographs of Charlotte Brontë’s original manuscripts for Jane Eyre which are held in the British Library. These images give us a direct insight into the immediacy of the progress of the celebrated novel. Here Parker invites the viewer to be present at the author’s elbow, we enter Brontë’s consciousness as she edits her masterpiece and become privy to her ideas as they emerge and recede.
A new installment of the Behind the Glass podcast is online: Sam and Mia are joined by their colleague Murray, who is one of the Museum's curators! Before taking on the role, Murray worked at other Museums and historic houses and undertook a PhD specialising in architectural history. In this episode, we ride the highs and lows of Britain's railways during the 1840s, looking at Branwell's time as a Railway Clerk and the investments the family made into this booming industry..
Collider is a bit extreme when listing Wuthering Heights 2026 among pointless movie remakes that have no reason to exist:
Wuthering Heights is a novel that has never been perfectly adapted, as even the Best Picture-nominated 1939 classic was only based on half of Emily Brontë’s novel. Instead of taking the opportunity to make a more thorough adaption, Emerald Fennell reduced the material even further by cutting out major characters and inserting more raunchiness; this is a complete misreading of the source material, as it is the unfulfilled longing between Catherine Earnshaw (Margot Robbie) and Heathcliff (Jacob Elordi) that is supposed to heighten the sexual tension. Fennell’s film casts actors who are far too old to realistically be playing their characters and uses shock value to visualize Catherine’s sexual awakening; the result is a film that feels made by someone who had only skimmed the novel and didn’t understand what it was actually trying to say about loss and love. (Liam Gaughan)
The Synchro StingRays will be performing to three Kate Bush tracks in the water at Lakeside Adventures in Hartlebury tomorrow (Saturday, July 18). That will be ahead of Kate Bush Day next Sunday, July 26. StingRay choreographer and swim coach Ray Farr will then lead the official Wuthering Heights dance on land before inviting wannabe Kates into the lake to perform the dance there. (Tristan Harris)
It’s classic Hitchcock, but not as a twist but as a pivotal, shocking revelation. When it first came out, I believe it was considered almost a poor man’s Wuthering Heights, but I think Rebecca actually was the more truly gothic one. It’s a masterpiece.
David Canfield: How would you describe that interpretation? I’m curious how you conceive of this character, this scene, when he first presents you with the role, and how it then evolves once you start digging in. Samantha Morton: I did a bit of research into the source material and I bought the Madeline Miller book [Circe]. But I opened that book and then something just stopped me from reading it. The thing about me and my work is, my relationship to a movie script or a play or a TV episode or whatever I’m doing — that’s my special thing. Research is incredibly important for me, but it also depends on who I’m playing. Years ago, I was about 19 years old and I was playing Jane Eyre. It was a big ITV production. It was a TV movie, but they’d spent a lot of money on it. I remember literally carrying the book around with me like the Bible, with passages highlighted and all my notes, and talking to the person who adapted it and going, “Why isn’t this there? This doesn’t make sense.” I was almost in conflict with the script, which was very good, because I had issues with the choices. I vowed to myself moving forward that, while you have to do your research, you have to know what you’re doing, I didn’t want to be bogged down by everybody else’s interpretation, view, opinion, anything.
Aoife Rooney: Who would you most like to go for a pint with? Maggie O'Farrell: I’d like to go for a pint with Charlotte Brontë. I think she’d be very interesting, and it’s probable that she died of extreme morning sickness, so I’d like to talk to her about that. I feel like we lost so many books because she died so young. I’ve also read that she had an Irish accent, and I would love to know if that was true. Her father was Irish and her mother died when she was young.
This is a recent Romanian scholarly book with Brontë-related content:
Mădălina Elena Mandici ProUniversitaria 2023
In this study, the investigative focus is given by the typological analysis of the female reader postulated by three Victorian novelists – Charlotte Brontë, Emily Brontë and George Eliot – in Jane Eyre (1847), Wuthering Heights (1847), Adam Bede (1859), The Mill on the Floss (1860) and Middlemarch (1871-1872). The act of reading performed by fictional women in the English novel of the Victorian period undoubtedly requires clarifications and delimitations. The internal chronology of the texts places the biography of the female reader in the five emblematic mother texts for the Victorian period in a broader historical, cultural, educational and social process that involves, in 19th century England, the proliferation of books of all kinds, the diversification of the reading public, the relativization of the taste for reading, but also the polyvalence of the types of pleasure and instruction offered by it. The central intention of the book is, therefore, to formulate a comprehensive description of the notion of "reading", revolutionized in the Victorian era, when the author-book-reader relationship became impossible to account for, and the female audience became increasingly refined. The book is addressed not only to English scholars, but – thanks to the exegetical methodology used – also to the general, non-specialized public. What new breath can be added to iconic figures of 19th-century English literature and to the female characters created by the pens of the novelists of the time, already turned on all sides? The answer represents an opportune occasion for this work to bring into discussion, through a reader-oriented analysis, the function of reading (active, productive, ultimately propelling the recipient's desire to write and rewrite any complex phenomenon that wins the approval of the text label) – on the scene of identity changes – in the life of the woman-reader/intellectual/educated and, by extension, in the psycho-cultural destiny of the woman who reads, a woman attested historically and culturally. In the Western world, the methodological interest in the act of reading (performed by fictional and historically attested women alike) has reached, in recent decades, countless nuances and refinements. Since the interest in the female reader as represented in the Victorian novel is quite weak in the native space, the indirect aim of the work to contribute to the enrichment of the poetics of reading cannot be ignored either. The choice of the five reading examples discussed at length in the work is not at all arbitrary. In the complex game of reading within the five novels, we can discover the expansion of the English textual consciousness (in the sense of cultural anthropologists): each text refers ad infinitum to other texts, forcing the external reader to (re)read both the mother text and the embedded texts belonging to the predecessors. The ultimate goal of the woman-reader's reading is, as each bundle of hypotheses advanced in the last three sections of the book will indicate, self-reading – the scrutiny of the self through new forms of self-knowledge and legibility.
The book contains the following chapters: The Governess and Textual Reinterpretation: Charlotte Brontë’s Jane Eyre Readers on a Social Spectrum in Wuthering Heights
Lucia plays Anne Brontë, alongside Laura Del Papa and Hilary Scott as sisters Charlotte and Emily Brontë. Told over five days spanning three years, the play unfolds entirely within the Brontë family home, and offers an intimate and unflinching account of the sisters’ artistic ambitions, their pseudonymous path to publication, and the sisterhood that carried them through both. The play illuminates how their experiences echo those of the heroines who live on in their beloved and much interpreted literary classics, including Jane Eyre, Villette, The Tenant of Wildfell Hall, and Wuthering Heights, not to mention the mythology surrounding the sisters themselves. Lucia came to the material with little prior knowledge of the Brontës. “I did all of that research over my audition” — but was quickly won over. What drew her in was not the sisters’ literary genius, so much as [Jordi] Mand’s insistence on their humanity. “They are geniuses. Of course they are. But they’re also real human people, with real human thoughts and struggles and doubts,” she says. That balance is especially pointed for Anne, who is usually overlooked because she lacks a towering masterwork like Jane Eyre or Wuthering Heights to her credit. Lucia found in the role of Anne a portrait richer than the historical record allows: “Jordi does such a beautiful job at bringing her dimension,” she says. “Even though she is the forgotten Brontë sister, she is anything but forgotten in this play.” (Arpita Ghosal)
As England’s largest county, you can expect Yorkshire to be a bit exceptional. It is England in miniature: high fells and moorland for wild walking; soft green valleys for timeless villages and sparkling rivers (waterfalls, too); a bracing coastline for family beaches and fossil-hunting; and rolling farmland dotted with romantic ruined abbeys and sprawling stately homes. Add to the mix a lively dollop of culture – a 500-acre sculpture park, David Hockney, moody Brontë country, museums covering everything from the quaint (toys) to the spectacular (trains) – plus one-off Yorkshire experiences such as steaming across the moors in vintage railway carriages, and everyone should be happy. (Helen Pickles)
Isabella Blow’s niece, Harriet Verney, shares an intimate look at the legendary fashion editor in The Times: But really she was Boudica. Issy had walked out into the fields in those kitten heels and that full look in some kind of Brontë-esque suicide attempt in the rolling hills of Hilles The Economic Times (India) calls the usual suspects to talk about Haworth and the Brontë Parsonage Museum: Stepping inside Haworth feels like turning a page from a classic English novel. Not long ago, digital creator and travel vlogger Farida dropped a video on Instagram, offering glimpses of the charming village. Cobbled streets, stone cottages, rustic bookshops, hazy lamposts and cosy tea rooms dominate the region, where every nook and corner feels like you have stepped back in time. One can also enter the Gothic churches that feel hauntingly beautiful. Literary enthusiasts can visit the famous Brontë Parsonage Museum, where one can witness Emily's mahogany writing desk and Charlotte’s rare miniature books, original manuscripts, and personal letters. Visitors can stand in the dining room where Wuthering Heights was penned, surrounded by the family’s original furniture, clothes, and hauntingly preserved Victorian rooms. Those looking for some adventure can hike through the wild moorlands to the atmospheric ruins of Top Withens, a ruined farmhouse widely believed to be the setting that inspired the desolate Earnshaw home in Emily Brontë's novel. Continuing with the vintage journey, you can board an authentic steam train on the Keighley & Worth Valley Railway. This 5-mile heritage line winds directly through Brontë country, stopping at Haworth’s beautifully restored Edwardian station. (Trisha Dey)
Kelly Creagh named one of her dogs Annabel, after the dead girl in Poe’s last great poem, which tells you roughly everything about where her imagination has spent the last fifteen years. The Nevermore trilogy dragged a cheerleader into Poe’s dreamworld. Phantom Heart rebuilt Leroux’s opera house as a teenage nightmare. Strange Unearthly Things sent three psychics into a Jane Eyre that bled. Across all of it, Creagh borrowed dead authors’ scaffolding to write about grief, duality, and the self we keep in shadow. (Jim McLeod) The Irish Independent channels John Lennon when he imagines a world without Donald Trump. You know, it's easy if you try. There’s a pivotal scene in Wuthering Heights where Heathcliff overhears part of a conversation – the bad part – between his beloved Cathy and the servant Nelly Dean, but has fled in a rage by the time she’s saying the good part. Luckily, some of us are not so hot-headed. Last Sunday morning, after buying my copy of the Sunday Independent, I sat into my car and turned on The Pat Kenny Show on Newstalk just as Kenny was introducing the items on his show. These were the first words I heard him saying: “President Trump has died suddenly.” Now, if I had done a Heathcliff on it, I would of course have been devastated to hear this news, given what a great job Donald Trump is doing. I would have been inconsolable at the loss of his enlightened leadership. I might even have switched off the radio and wept. For about five seconds, my head was spinning at the incalculable significance of this news. Forget about a clunky plot device in Wuthering Heights. Whole movies have been made about such moments, as a character’s life flashes in front of him – a process that spins out for about two hours in the cinema. But something told me that I had only heard the “bad” part, as it were. That there was perhaps more to this than the statement I’d heard from Kenny. Indeed, given the president’s many enemies, one might have expected that the celebrations of his sudden death would have started already. That cars would already be tearing down the street with their horns blaring at the “good” of it all. Sure enough, the Newstalk “listen back” facility revealed that Kenny’s full sentence went like this: “Lindsey Graham, sometime foe but then staunch ally of President Trump, has died suddenly.” (Declan Lynch)
Broadway World reviews the Festival d'Avignon performances of the Trilogia Cadela Força by Carolina Bianchi and Cara de Cavalo: Poets and artists, living and dead, populate the trilogy. Bianchi is not settling scores so much as searching for her place among them. What is poetry in the face of violence, not violence as metaphor, but violence as lived experience? Some figures, particularly the grand metteurs en scène who occupy the pantheon of the Festival d'Avignon, are treated with satirical irreverence while remaining, despite everything, aspirational. Others (Sarah Kane, Emily Brontë, Emily Dickinson) become something like secular saints. Bianchi inhabits their characters, weeps before their portraits as though before religious icons, and clings to their writings like relics. (Wesley Doucette) The Economist reviews Fiona Sampson's new George Sand biography, Becoming George: Nevertheless, some readers may still be tempted to pick up a copy of “Indiana”, “Lélia” or “Mauprat” after they have finished “Becoming George”. For Ms Sampson lays out just how many admirers Sand had, including the Brontë sisters, Fyodor Dostoyevsky and Marcel Proust. Gustave Flaubert, who exchanged letters with Sand for many years, addressed his fellow writer as chère maître (dear master).
Finally, an alert for today, July 17, in Boulder, CO: Friday, Jul 17 2026, 2:00pm - 4:00pm Community Room (2nd Floor), NoBo Library
Do you love the Brontës? Would you like to learn more about them and discuss them with fellow enthusiasts? Come celebrate our favorite literary sisters with light refreshments, trivia, crafts, and more! Period dress and/or fantastic hats encouraged but optional.
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