The Telegraph and Argus reports that tomorrow November 1st, 'A ghost walk with a literary twist will explore the haunted moors that inspired the Brontë sisters'. The guided walk, taking place in Haworth on Sunday, November 1 from 11am to 1pm, will explore the folklore, hauntings and industrial history behind some of Yorkshire’s best-known literary works. Led by poet and Penistone Hill artist-in-residence Kristina Diprose, the event is titled 'What Haunts the Moor?' and will take participants from Haworth to the Penistone Hill trig point. Ms Diprose described the event as a "A ghost walk with a twist. "We'll be going on a short walk from Haworth up to the Penistone Hill trig point, exploring what haunts the landscape from bog lore, its industrial past, and from the archives of the Brontë Parsonage Research Library." The walk will explore stories of bog bodies, ghostly black dogs, forgotten industries, and the enduring mysteries of the moorland that helped shape the imagination of the Brontë sisters. The event is inspired by Ms Diprose’s audio trail, How to Talk to the Moor, which was created during her residency on Penistone Hill. Ms Diprose said: "I've been artist in residence on Penistone Hill from August to October and have loved learning about the hidden history of this iconic landscape. She said "It offers a chance to share some of the stories and facts I've been inspired by in my writing, and to get to know Brontë country as you've perhaps never seen it before." The walk will also touch on the moor’s literary legacy, including references to the supernatural black dogs of Yorkshire folklore, known as the barghest and gytrash. Ms Diprose said: "I love how Charlotte Brontë weaves Yorkshire gytrash folklore into Jane Eyre, using the black dog myth to give Jane's first encounter with Mr Rochester a sinister edge of foreboding." In addition to ghost stories and folklore, the walk will highlight the environmental importance of the Haworth moors as a carbon store and nature reserve. Ms Diprose said: "The Haworth moors aren't just a historical or a literary curiosity – they're a vital carbon store and habitat, including for threatened species of ground nesting birds like the curlew. "Art is one of the ways that we can shine a spotlight on why these places are worth celebrating, exploring and cherishing for future generations." The two-mile walk is expected to take around two hours. It is free to attend, but booking is required. Walkers will meet outside The Old School Room in Haworth. (Amelia Short)
Broadway World reviews the stage production of Jane Eyre at Ottawa Little Theatre. The Ottawa Little Theatre knows how to set the stage for spooky season in the city by selecting a play that falls into the realm of the macabre. This year, OLT chose Charlotte Brontë's gothic romance, Jane Eyre, as its Halloween offering. Adapted for the stage by Erin Shields, this version of the literary classic focuses less on the romance between Jane (Lauren Reisig) and Rochester (Josh Sparks), and more on Jane's intellect, confidence, and free spirit in the face of disparagement and despair. [...] This set, designed by Lindsay Laviolette and Venetia Lawless, is more stripped down than is common for OLT these days. The stage contains a large staircase with an open platform representing the upstairs portion of the house; the far right and left areas are also used to extend the space into a bedroom on one side and an outdoor area on the other. Because the staging is so open and scaled down, it leaves much to the imagination; however, since there are multiple locations in the story, this is a logical way to ensure that the narrative can flow without the need for elaborate sets. Even though I understand why the designers took this route, I still lament the missed opportunity to create a lavish, gothic estate. Dawn Fanjoy’s costumes are period appropriate, and I particularly enjoyed young Jane’s quick change into a pinafore when she left for school. The use of a puppet, designed by Chelsey Prince and Damian Piper to represent Rochester’s dog, Pilot (puppeteered by Prince and Gabrielle Dumonceaux), is unique, even though the dog’s role is limited. Some microphones seemed underpowered on opening night, making certain cast members difficult to understand. This was especially true with Gordon’s singing voice. Hopefully, mics will be adjusted in future performances, and this will not be an ongoing issue. The sound of horse hooves is cleverly paired with a wheeled stagecoach prop, creating a convincing illusion without causing any noticeable disruption to the set (sound design by Jana van Wyk). Roxane Boucher’s lighting design is also highly effective, especially when combined with the boom of clapping thunder to set the scene. Scene changes done after the lights have faded allow them to be accomplished seamlessly. There are many characters in Jane Eyre and as a result, there are multiple double and even triple roles; but because of the story’s distinct chronology, aided by good direction (Lindsay Laviolette), the audience is never in doubt as to who is who. Despite their obvious acting abilities, the chemistry between Sparks and Reisig was a bit stiff on opening night, but it did warm up as the show progressed. Conversely, the chemistry between Reisig and Herrejón, who portrayed St. John, a competitor for Jane’s affection, was immediately apparent. Although not without its flaws, Jane Eyre is a well-executed play that provides an appropriately spooky vibe for this Halloween season. The decision to keep the feminist dimensions of Jane's character at the forefront helps the story remain engaging for modern audiences, as well as literature aficionados. (Courtney Castelino)
According to Elle, 'Victorian-Style Lace-Up Boots Are Autumn’s Most-Wanted Shoe'. The trend arrives as 2026 has reached a new peak of period drama fever, with remakes of Wuthering Heights, Sense and Sensibility and Pride and Prejudice arriving on our screens this year, with the latter two’s costume designers leaning on a range of references from Elizabethan, Georgian and Victorian dress to create the show-stopping pieces spotted on screen. (Chiara Wilkinson) The Brussels Brontë Blog shares 'photos from a very special weekend in Brussels with an Irish Brontë theme'.
An illustrated and bilingual anthology of poems by Emily Brontë has been published in Spain. The book contains the twenty-one poems published in her lifetime and nine others (as a matter of fact, the book seems to be a de facto translation of Penguin Little Black Classic's The Night is Darkening Around Me) and a prologue by Gabriela Mistral ( originally published in 1930) and illustrations by Elena Ferrándiz.
by Emily Brontë Translated by Jordi Doce Illustrated by Elena Ferrándiz Prologue by Gabriela Mistral Nórdica Libros ISBN: 979-13-87922-41-2 October 2026
Una preciosa edición bilingüe ilustrada por Elena Ferrándiz que reivindica la obra poética de Emily Brontë. Los poemas de Emily Jane Brontë, una de las escritoras más relevantes del siglo XIX, son apasionados y poderosos y transmiten la vitalidad del espíritu humano y del mundo natural. Tan solo veintiuno de sus poemas se publicaron en vida. Este volumen, en edición bilingüe, reúne dichos poemas y nueve más que se le atribuyen, con evocadoras ilustraciones de Elena Ferrándiz. Emily Dickinson (1830-1886), amaba los poemas de Emily Brontë y pidió que se leyera «No Coward Soul», incluido en este volumen, en su funeral.
Further information in El Feminista. Illustrations published in Nórdica Editorial's X account.
 
A stellar cast lets the audience fully absorb the story, and the roles of Young Jane (Meara Gordon), Jane (Lauren Reisig), and Mr. Rochester (Josh Sparks) were especially key in this production. In their period costumes and with their accents, we’re brought into their world, their time, their culture, and their struggles. The set and staging were beautifully done, while the music and sound design allowed for seamless transitions, beautiful montage moments marking the passing of time, and added texture to the storytelling. There are a few large tragedies that arise in the story that are represented in strong and creative ways to ensure audiences feel the impacts of these moments. [...] Even if you’re familiar with the story, you’ll appreciate this adaptation and director Lindsay Laviolette’s shepherding of this production. While times have changed in many respects, the themes of the story are still relevant and resonant today. Grab your tickets and enter Thornfield Hall to uncover the mysteries in store. (Samara Caplan and Laura Gauthier)
More Jane Eyre on stage as Northern Arts Review shares the first images of Storyhouse's take on the novel. The play opens at the Chester cultural venue from Tuesday, 10 November to Saturday, 21 November 2026. Storyhouse Creative Director Suzie Henderson said today: “Excitement is building with just two weeks to go until this thrilling new adaptation of Charlotte Brontë’s much-loved masterpiece opens on the Storyhouse stage as one of the undoubted highlights of our autumn season. “Jane Eyre is a Storyhouse Originals production in partnership with the Mercury Theatre at Colchester and Rose Theatre at Kingston, and it’s been an exhilarating collaboration, creating a very special piece of live theatre which under Lily Dible’s exciting direction is both powerful and utterly compelling.”
Politis discusses A Mussel Feast by Birgit Vanderbeke. When I was at university, I developed a quiet resistance to a particular kind of novel. I found myself increasingly irritated by reading lists populated by women who unravelled. Women in attics. Women in unhappy marriages. Women drifting towards breakdown. Women whose inner worlds became more and more fractured until they could no longer function within the worlds around them. Somewhere among them was Birgit Vanderbeke's The Mussel Feast. [...] Many of the books I resisted at university have stayed with me nonetheless. The Yellow Wallpaper. The Bell Jar. Wide Sargasso Sea. Different books, different women, different circumstances. Yet all return in one way or another to the relationship between power and distress. (Emmelia Georgiou)
Author of Call Off the Dark, Hallie Shepherd discusses the Gothic genre on Oprah Daily. Walk into a bookstore today, and you’re likely to see a gothic classic like Shirley Jackson’s The Haunting of Hill House on a display table alongside new gothic novels. On screen, films like Wuthering Heights and Nosferatu remind us of the enduring appeal of gothic romance and horror. And in music, Taylor Swift’s The Tortured Poets Department and Ethel Cain’s Preacher’s Daughter blur the line between bliss and ruin, making love songs feel like psychological landscapes to survive. Why all this darkness lately? I think it’s partly because the genre taps into something emotionally relatable. In a post-pandemic world, so many of us work from home or feel isolated in other ways. We’re tired of being online all the time, and there’s so much uncertainty about what lies ahead. Basically, you don’t have to live in a shadowy castle to feel a little gothic in your head and your heart. Gothic fiction gives voice to our loneliness and dread. On the flip side, gothic stories offer an escape hatch from the ordinariness of our own world. They transport us to richly imagined places that feel deliciously sinister and dramatic. We don’t just read gothic fiction because we’re afraid of the dark. Sometimes we read it because the dark is more interesting.
Vogue recommends '28 Entertaining Book Adaptations to Watch (or Revisit) Now' and one of them is Wuthering Heights (2011) Emerald Fennell’s recent madcap take on Emily Brontë’s operatic tragedy was fun, but if you’re after a more grounded interpretation, consider Andrea Arnold’s blustery, acutely observed vision of Cathy and Heathcliff’s doomed love. It’s the first adaptation to cast Black actors as the Byronic hero—James Howson and Solomon Glave portray his older and younger selves, respectively, opposite Kaya Scodelario and Shannon Beer as Cathy—and captures the rain-soaked, muddy bleakness and beauty of the Yorkshire moors in a way that chimes with the source material. This is a strange, twisty book which, with its layers of narration and disturbing coda, feels almost impossible to translate to the screen—but this adaptation comes close, at least in echoing its wild, unruly spirit. (Radhika Seth, Michelle Ruiz, Chloe Schama, Kristin Auble, Alexandra Hildreth , and Donya Momenian)
Yorkshire Life shares 'A guide to Yorkshire autumn walks for colourful days' and one of them is to Top Withens. In Brontë footsteps A walk that’s full of history as one that the Brontë sisters would have been familiar with on the wild moors. Start at Stanbury bus terminus and walk uphill on Back Lane. At the first road junction, continue following the road as it changes from a hard surface to a rough track. Just beyond a parking area, the rough track divides. Here, take the right-hand track uphill to the gate and cattle grid at the top of the incline. Go through the gate and on to open moorland to where the track divides into three – follow the right-hand track and continue uphill all the way until you reach the ruin of Top Withens farm, thought to have inspired Emily Brontë’s Wuthering Heights. At this point, you can head back down to Stanbury or go a little further for some incredible views. Walk to the rear of the building and take the narrow well-defined path leading steeply uphill and slightly to the right, in a north westerly direction. Follow this narrow path across moorland and keep right when you reach a point where another narrower path bears left. You will shortly see the Delf Hill trig point ahead. At the trig point take in amazing views all around, from Boulsworth Hill and Pendle Hill to the left, across the Yorkshire Dales, and beyond. Back in Stanbury, head to traditional village local, Wuthering Heights Inn. The pub also has a campsite with spectacular views. Top Withens Distance: Around two miles Start/finish: Stanbury bus terminus, Hob Hill, at the western end of Stanbury Main Street Difficulty: Suitable for most reasonably fit occasional walkers Parking: Limited parking near the bus terminus, but there is an informal parking area 300 yards up Back Lane, where the walk route passes. Parking is also available in Haworth village, around 1.7 miles away Pub: Wuthering Heights Inn, Stanbury See the full walk: With longer route options, at visitbradford.com
The Telegraph and many other news outlets report that a Romanov crown jewel is to be auctioned on November 11th, and also to be auctioned is Cartier’s Devonshire black opal tiara and necklace, which is expected to fetch up to £998,000. This item’s last public appearance was at the London premiere of the film Wuthering Heights, when Emerald Fennell, the film’s director, wore it on the red carpet.
A dramatic reading of Wuthering Heights in Sarnico, Italy:
Fiato Ai Libri: Cime Tempestose
Voce narrante: Marika Pensa
Chitarra e sequencer: Omar Nedjari
Auditorium "Iginio Ferrini", Via Cortivo, 30, 24067 Sarnico BG, Italy
Fri Oct 30th 9:00pm
The event offers a theatrical reading based on Emily Brontë’s classic, set on the English moors at the house of Wuthering Heights. The story follows Catherine and Heathcliff, exploring the dynamics of a family history marked by intense passions, social tensions, and bonds that struggle to withstand resentment and injustice. The event includes an introductory talk by Stefania Consonni, Associate Professor of Literary Criticism and Comparative Literature in the Department of Foreign Languages, Literatures and Cultures at the University of Bergamo. Nella brughiera inglese si staglia Wuthering Heights, una casa isolata e battuta dai venti. Attorno a essa, una notte d’autunno, si aggira un fantasma in cerca di redenzione. È Catherine che, obbediente alla preghiera di Heathcliff «perseguitami, non lasciarmi solo in questo abisso dove non posso trovarti», torna, ancora una volta, da lui. Così inizia il racconto di una storia familiare, in cui l’amore, nonostante le sue espressioni più viscerali, cerca di sopravvivere alle ossessioni, al rancore e alla maledizion
dell’ingiustizia sociale.
An alert from the Brotnë Parsonage Museum for today, October 30:
Fri 30 Oct, 6:00pm Brontë event Space in the Old School Room
As part of our 10 year anniversary celebrations of Sally Wainwright’s Brontë biopic To Walk Invisible, we're welcoming production designer Grant Montgomery to share his memories of transforming Main Street back to the 1840s, recreating Church Street on Penistone Hill and the Parsonage interiors on a soundstage in Manchester. Grant Montgomery is an award-winning production designer from Scotland. He is best known for establishing the world of Peaky Blinders for which he was nominated twice for BAFTA awards. His most recent work is the Scott Frank show, Dept. Q, a global No. 1 TV show on Netflix. Montgomery’s love of research, storytelling and history has led him to lecture in universities in Ireland and across the UK, delivering seminars on period production design to postgraduate students at York University.
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