WCIA (Champagne, IL) announces that: The Stars of Tomorrow program of the Twin City Theatre Company’s is debuting its next production this weekend. Director Emily Ritter and Producer Chm. on Saturdays and Sunandra Galloway came on The Morning Show to talk about their organization and to preview their upcoming production: Emily Brontë: Teenage Necromancer. The show will run on Friday, Saturday and Sunday for the next two weekends at Parkland College’s Second Stage Theatre. Performances will be at 7 p.m. on Fridays and at 2 p.days.
A sea of red gathered on the moors for a day of music, movement and literary celebration. A total of 500 people took part in 'Mass Wuthering' in Haworth on July 26, 2026, an annual event inspired by Kate Bush’s iconic Wuthering Heights music video. The gathering saw fans don red dresses and recreate the famous dance against the backdrop of the Yorkshire landscape that inspired Emily Brontë’s novel and Bush’s 1978 hit. (...) Ms [Clare] O’Callaghan said: "We had fans of Kate Bush, fans of the Brontës, and people from all over the world who wanted to share the joy of how literature and the arts can inspire and cultivate community. "It really was a day of community and cohesion, and we’ve been overwhelmed by the brilliant messages we’ve received from people - and those we’ve seen posting on social media - saying it was one of the most memorable experiences of their lives. "We all got drenched on Sunday thanks to the ‘Wuthering’ weather, but it didn’t matter at all - it made it even better and the atmosphere was brilliant." (Amelia Short)
Still locally, The Yorkshire Post tells the story of 'How Wuthering Heights took Yorkshire to Times Square and beyond in Britain's international tourism push'. While the latest adaptation of Wuthering Heights may have divided critics and audiences, the film starring Margot Robbie and Jacob Elordi helped put Yorkshire in the global spotlight. This was symbolised by a huge billboard in New York’s famous Times Square showing Robbie sitting on the Moors alongside a caption reading ‘It’s Not Wuthering Heights Without England’. The billboard was a small part of Visit Britain’s ‘Starring GREAT Britain’ campaign to boost international tourism to the UK which sought to highlight popular TV shows and films as a way of drawing visitors here. Visit Britain worked with international film and TV studios to target ‘high value’ international audiences in countries like the US, France, Germany and Australia and the Gulf. Patricia Yates, chief executive of VisitBritain, explained in the organisation’s most recent results that Wuthering Heights had played a central role in this year’s campaign. “Last year VisitBritain launched its ‘Starring GREAT Britain’ campaign,” she says. “This was the culmination of a monumental effort by VisitBritain teams across the globe who negotiated partnerships with nine studios to produce an incredible campaign platform on which to build. “In its first six months alone, the campaign generated an additional £217m in visitor spend. “Each extra pound represents a boost for the UK economy, a small business supported and a job sustained. The team has not lost momentum. “The release of Bridgerton Series 4 and Emerald Fennell’s adaptation of Wuthering Heights told a compelling story of regional Britain. VisitBritain secured new Wuthering Heights intellectual property for the campaign showing Yorkshire’s iconic moors and hosted media, buyers and influencers from around the world in Yorkshire. [...] While productions like All Creatures Great and Small and Wuthering Heights may be helping to give Yorkshire a wider international profile, there is still much to be done to keep the region’s hard-working tourism businesses deservedly centre-stage. (Chris Burn)
Folger Shakespeare Library publishes an excerpt of Greg Doran's Walking Shadow: Love, Loss and Shakespeare. In the excerpt, Greg Doran describes his visit to Skipton to see the First Folio that is kept at the Craven Museum: I ask Jenny [Hill, lead curator] to tell me how the cotton mill owner got hold of a folio in the first place. Jenny grins at her colleague Charlotte [Craig]. One theory is that it came from nearby Ponden Hall. Ponden had one of the largest private libraries not just in the West Riding, but in the whole of Europe. Charlotte has a theory about some of Ponden Hall’s close neighbours who might have used their library. “Well, Ponden Hall is just two or three miles across the moors from Haworth.” “Oh, no!” I gasp “From Haworth Parsonage, where the Brontë sisters lived?” “That’s right,’ says Charlotte. “I used to work there.” “Are you saying that the Brontë sisters might have read this copy of the First Folio?” “We know they used to borrow books from Ponden Hall. But I can’t prove they read this folio.” “Just say it!” I explode. “Let somebody else disprove it. Oh, that is fantastic. What about that!” James smiles wryly. He thinks I’m mad. Jenny and Charlotte very kindly took the folio out of its case and carried it upstairs for me to examine more closely. While they were doing so, I did a bit of research. I remembered a reference to a letter Charlotte Brontë had written to a school friend about Shakespeare. By the time Jenny and Charlotte had laid out the folio upstairs, I had found the letter online. Jenny points out that the folio is missing quite a few pages, and doesn’t have any of the Comedies. So I tell them about Charlotte’s letter dated 4 July 1834, to Ellen Nussey. “Ellen was her best friend at school,” Charlotte interjects. “If you like poetry let it be first rate, Milton, Shakespeare, Thomson, Goldsmith, Pope (if you will though I don’t admire him), Scott, Byron, Campbell, Wordsworth and Southey. Now Ellen don’t be startled at the names of Shakespeare, and Byron. Both these were great men and their works are like themselves. You will know how to choose the good and avoid the evil, the finest passages are always the purest, the bad are invariably revolting you will never wish to read them over twice. Omit the comedies of Shakespeare.” Omit the comedies of Shakespeare. And the Skipton copy has no comedies. “Perhaps Charlotte ripped them out,” Jenny laughs. “This just gets better and better,” I say. “Charlotte, you’ve got to get this story out there.” Once we have all calmed down a little, I tell Jenny that despite its now even more fascinating history, I think it might be the grubbiest copy of the First Folio I have ever seen. “Could you not say ‘grubbiest,’” Jenny grins. “Could you perhaps say ‘well-loved’?” The well-thumbed Skipton copy has become one of my very favourite copies of the First Folio, whether or not anyone can prove that the Brontë sisters ever read it.
Ocula explores the resurgence of film movies in theatres, an unexpected (by the popes of the AI-driven technofeudalism) trend led by the Gen Z audiences: Earlier this year, Emerald Fennell’s much-maligned, Mills & Boon-coded bonkbuster Wuthering Heights (2026) proved a great litmus test for how both film critics and film-industry tech bros have been failing to read the room. Fennell turned down Netflix’s $150 million distribution offer and its associated Faustian pact which demanded that the film go straight to streaming. Instead, she went for Warner Bros for $70-$80 million, with whom she got her theatrical release. On the day I watched Wuthering Heights in the cinema this February, Variety reported that it had already grossed $151.7 million worldwide against an $80 million production budget. This certainly wasn’t because it had been lauded in the press: the film was widely ripped to shreds by critics. Yet I can assure you that the much younger audience alongside which I saw it didn’t seem to care. It turns out that audiences are not brute forces capable only of liking or disliking, but sensitive instruments that might derive their enjoyment from camp, irony, strangeness, or the purely preposterous. (Sophia Satchell-Baeza) Vogue reviews Cat Cohen's last show, Broad Strokes: When Cohen first walks out onstage, she is wide-eyed and holding a candlestick. Before long, she launches into her first song, “By the Sea,” a catchy tune that also helps to explain the Victorian aesthetic of both her costume and the set. (While working with scenic designer Derek McLane, Cohen was variously inspired by Wuthering Heights and images of Gothic palaces and sanatoriums on Pinterest.) “I always wanted to be the main character and the author and the lighthouse,” she tells the audience. (Alex Jhamb Burns) Los Angeles Times recommends '17 page-turning beach reads for the ultimate summer escape' including ‘The Chateau on Sunset’ by Natasha Lester “If you must get into trouble, do it at the Marmont,” reads the opening of this gothic novel set at the Chateau Marmont in 1950s Hollywood. It’s hard to imagine getting into good trouble these days at the Chateau — a relic of a bygone era. Thankfully our protagonist, Aria Jones, does it for us. A midcentury reimagining of “Jane Eyre,” the novel captures the feverish glamour and underlying chaos of the studio era, with each character proving more cunning and bewildering than the last. The result is a gothic tale with a distinctly Old Hollywood twist, paying homage to the enduring mystique of the Chateau Marmont. The dialogue is so taut and snappy, you’ll find yourself holding your breath. Madness, cruelty and difficult women are welcome bedfellows at “The Chateau on Sunset.” (Maddie Connors)
“Flirting is a woman’s trade, one must keep in practice.” (Charlotte Brontë, Jane Eyre) Which is, of course, not by Charlotte Brontë. It's a quote from the screenplay of Becoming Jane... which was a film about Jane Austen. Double Blunder!
LaSexta (Spain) posts about Wuthering Heights. This is a German publication with a sort of compilation of poetry, quotes, excerpts, and... well, anything Brontë:
Eine Sammlung der schönsten Gedichte, Geschichten, Zitate und Briefauszüge zum Herbst – Die perfekte Lektüre für gemütliche Stunden ISBN: 9783150149225 13 Jul 2026
»Und dieser Wind, der in den Kiefern vor den Fenstern heult. Lass mich ihn bitte spüren, er kommt direkt vom Moor herunter. Lass mich nur einen Atemzug tun!« Sturmumwehte Anwesen und nebelbedeckte Moore bilden die ikonischen Schauplätze der Romane der Schwestern Charlotte, Emily und Anne Brontë. Ob in Jane Eyre, Sturmhöhe oder Agnes Grey – mit ihrem aufmerksamen wie auch verträumten Blick gelingt es jeder Schwester, die herbstliche Melancholie auf ganz eigene Weise literarisch einzufangen.
Claire O'Callaghan reviews Deborah Lutz's This Dark Night: Emily Brontë. A Life for History Today: In telling the story of Brontë’s life, Lutz’s method is demarcated by two commitments. First is her interest in Brontë’s world and her place in it. To pursue this, she reconstructs what Brontë ‘wore, saw, heard, smelled, and felt along her skin’ using, among other things, weather reports, the diaries of her neighbours, and local newspapers. This attention to the everyday and the senses offers a thoughtful (and relatively new) approach in Brontë biography, and it is one well suited to Lutz’s established interests, which readers of her 2015 work, The Brontë Cabinet: Three Lives in Nine Objects, will recognise. The second is that This Dark Night joins an established tradition that frames Brontë in relation to the natural world and foregrounds the environment as context for understanding her. For Lutz, as for many before her, Brontë ‘brought the open sky, birdsong, and the peat bogs to life on the page’. The imagery is vivid and compelling, participating in a romantic imaginary that tries to enter the inner mind of a woman who conjured some 200 poems (or thereabouts, that we know of and survive) and, of course, Wuthering Heights. At the same time, Lutz’ environmental emphasis also opens onto Brontë’s preoccupation with darker worlds, such as the dungeons, caves, and graves that dominate her writing, as well as ‘the mortal body’. Neither strand is, in itself, entirely new, but the way Lutz binds them together through sustained sensorial attentiveness feels fresh and it sharpens our historical understanding of Brontë as a multifaceted and complex woman. Importantly, This Dark Night delves into territories that earlier biographers have overlooked, such as, for example, the practical question of how the Brontë sisters managed menstruation, which Lutz answers by drawing on broader health histories rather than evidence specific to the Brontës. This kind of detail may not deepen our understanding of Brontë as a writer, but that is not its purpose. Rather, it is a reminder that the sisters were flesh-and-blood women negotiating a monthly cycle that shapes women’s lives – a seemingly obvious fact that can easily be forgotten amid the iconography and fandom that surround them. It is these reflections that exemplify This Dark Night at its best: Lutz’s care for the material, embodied conditions of Victorian womanhood, which lends biography historic specificity.
The Yorkshire Post publishes a photo gallery of the Most Wuthering Heights Day Ever event that took place in Haworth last Sunday: Wuthering Heights: 500 people gather at Penistone Country Park in Haworth for celebration. Participants gathered at Penistone Country Park in Haworth for Actually the Most Wuthering Heights Day Ever on Sunday - a celebration of all things Wuthering Heights, Kate Bush and Emily Brontë. The gathering was in the stunning setting of the Haworth moors. 500 people took part in the mass 'Wuther' in a joyful, windswept, red-dress sea of Cathys dancing for charity, supporting Women’s Aid. (DanieL Sheridan)
Hindustan Times publishes a variation on a classic logical puzzle: Irresistible, isn't it? Eleven classic novels stand in a row on a bookshelf in a library. I find each of them tempting, but in the end, I pick up only one of them.(1) The horror classics Frankenstein and Dracula both stand to the right of the book I chose. (2) Moby Dick and Animal Farm both stand to the left of the book I chose. (3) Two of the books are by Jane Austen. Of these, Pride and Prejudice stands somewhere right of Emma. (4) Pride and Prejudice also stands somewhere right of Frankenstein. (5) There are two titles by two of the Brontë sisters, Wuthering Heights and Jane Eyre, with two other books (not by the sisters) standing between them. (6) Two books stand between Wuthering Heights and Moby Dick (7) Great Expectations (right) and Animal Farm (left) stand on either side of Wuthering Heights. (8) I notice two children’s favourites, with Heidi standing somewhere to the left of Oliver Twist. There are seven books between these two. (9) Six books stand between Dracula and Wuthering Heights. (10) The book I finally choose stands in the middle of the row of 11, i.e. sixth from either left or right. (Kabir Firaque) Many news outlets cover the Haworth event, or the Folkestone (Kent) one or the Bunbury one or...: London Now, WION, Bunbury Herald, The Independent, Kent Online, Kent Live, La Razón, Corriere della Sera... Collider lists 'romance books that are perfect from the first to the last page":
Jane Eyre by Charlotte Brontë Charlotte Brontë's Jane Eyre is much more than just a love story. The novel follows Jane, an orphan who endures a lonely childhood before becoming a governess at the isolated Thornfield Hall. There, she meets the estate's enigmatic owner, Edward Rochester, whose cold demeanor and mysterious past immediately set him apart from the typical romantic hero. The narrative shows Jane and Rochester growing closer, but their relationship is constantly tested by secrets, painful sacrifices, and impossible moral choices that force Jane to decide whether love is worth compromising her own principles. The best thing about Jane Eyre is that, unlike many romances of its time, it never allows love to overshadow its heroine's individuality. Jane refuses to sacrifice her self-respect and independence, even if that means walking away from the man she loves. That gives the novel a remarkable sense of maturity that has influenced generations of romance writers, but few have matched Brontë's sensibilities. (Safwan Azeem)
Llevaba demasiados años escuchando que Jane Eyre era una de las mejores novelas jamás escritas. Cuando por fin la terminé entendí que no era una exageración. No solo he leído un clásico; he sentido que acababa de descubrir el origen de muchas de las historias románticas y de misterio que vinieron después. Y lo mejor de todo es que, lejos de sentirse antigua, me ha tenido completamente atrapado durante toda la lectura. (...) Cuando cerré Jane Eyre entendí por qué sigue apareciendo en cualquier lista de las mejores novelas de la historia. No es solo una historia de amor inolvidable; es la historia de una mujer que se niega a renunciar a sí misma, incluso cuando hacerlo parece el camino más fácil. Hay clásicos que se leen por obligación o por cultura general. Jane Eyre, en cambio, se disfruta de principio a fin y demuestra que las grandes historias no entienden de siglos, porque siguen emocionando exactamente igual hoy que cuando Charlotte Brontë las escribió. ( Translation)
3. Hathersage Hathersage has strong literary connections - having inspired Charlotte Brontë while she was writing Jane Eyre. The nearby North Lees Hall (pictured here) also became the main inspiration for Thornfield Hall. The Grave of Little John, Robin Hood’s second-in-command, can be found at St. Michael’s Church in the heart of Hathersage. While there is little evidence proving he is buried here, ballads suggest that he originated from Hathersage and settled there again later in his life. (Tom Hardwick)
A few weeks ago, we reported on the concert of Guiem Soldevila at the Fosquets Lithica Festival in Menorca, Spain, performing the songs of his album Brontë. We have been contacted by the communication team of the Festival, which has provided us with a lot of interesting material:
Press Photos - Credits: Joan Carrés
The House Where the Brontës Still Sing
Chronicle of Guiem Soldevila's Brontë concert
Fosquets Lithica Festival, 2 July 2026 (Ciutadella de Menorca, Spain) Guiem Soldevila's sold outinaugural concert, dedicated to the Brontë sisters, captured the spirit of the festival like few others could. The Fosquets Lithica festival is fast becoming an international reference point among world-music festivals in Menorca, and there could be no better fit than a concert by a composer born in Menorca who reaches for the world to prove it. Edition after edition, a carefully curated programme has revealed its identity in an offering that is culture in the fullest sense — not only theatrical, but communal. It is not just the space itself, but how the people who work there inhabit it. From the stonecutters of the past to today's programmers, an unbroken lineage of effort, love and craft. Guiem Soldevila and his group of nine artists joined the expanding ripple of creative energy that was born in the Brontë sisters' house in England in 1845, and which reached us last night in the form of an emotional, vibrant, serene concert. Throughout the concert, writer Carme Cloquells acted as our guide, reading from her logbook of the sea of emotions, painting a literary portrait of each of the sisters. Through thirteen musical settings of poems by the three sisters, we experienced a complete emotional journey. The composition was, without doubt, rich in symbolism. The a cappella trio of voices that opened the concert represented the voices of the three sisters. With Emily Brontë, the music was predominantly built on irregular time signatures, gentle melodies and deep expression. The orchestration, superbly judged, culminated in a small cello-and-flute duet performed by Clara Gorrias and Pau Cardona, evoking the sound of an English Renaissance romance. Anne Brontë, with her soft, clear and committed voice, was represented by a duduk played by Pep Eroles, accompanied throughout by Andreu Marquès's evocative percussion. Perhaps one of the most magical moments of the concert, paired with dance. And yes, magic does exist, and its name is Gêliah. Few people can command the magnetism of attention simply by walking on stage. The cadence of her walk, the lightness of her arms, the intensity of her gaze… Then she dances, yes, or even makes a handkerchief dance, but what she really does is enchant us with her simplicity. When it came to representing Charlotte Brontë, the eldest sister, the music grew more angular, with insistent rhythms, while still finding, amid so much strength, moments of serenity. I found the setting of the poem “On the Death of Anne Brontë” especially inspired, with a deep lament performed by Lluís Gener — perhaps a nod to the laments of Purcell and Dowland — over which the elegiac voices of Guiem, Neus and Clara rested. This was a concert to be praised not only for the quality of its compositions, but also for the quality of its performers. At the imaginary dinner table ofthe Brontë house sit Clara Gorrias, Neus Ferri, Pau Cardona, Elena Armenteros, Lluís Gener, Andreu Marquès, Pep Eroles, Gêliah and Carme Cloquells. The Brontës are no longer just Guiem's project; for an hour, they also become the home of these nine artists. In a conversation between friends, while the Brontë project was still taking shape, Clara Gorrias confided in me: “I never thought I would immerse myself so deeply in this world, partly drawn in by Guiem's enthusiasm. I had also never seen myself working under the leadership of a man who does it with such care, listening, respect and openness.” Perhaps it is no coincidence that a concert dedicated to three women who wrote from freedom was born from a way of creating rooted in listening. The way we work, too, ends up making its own sound. Pau Marquès i Oleo
The BBC covers the The Most Wuthering Heights Day Ever celebration in Haworth: The sun may be hiding behind grey clouds, but for hundreds of people in flowing red dresses dancing on Yorkshire moorland it'll take more than a threat of rain to dampen their spirits. This is Brontë country, after all, so it's fitting that it's also perfect Brontë weather. The group, swaying in unison, have come together to re-create the music video for Kate Bush's 1978 song Wuthering Heights, inspired by Emily Brontë's novel. Every year, thousands of people around the world don red robes – and in some cases long black wigs – for The Most Wuthering Heights Day Ever. Events have previously taken place in places such as Sydney, Copenhagen, Berlin, Folkestone and Preston. This particular "Mass Wuther" perhaps has an even stronger claim than most – it's held on Penistone Hill, not far from the famous Brontë parsonage in Haworth, in the Pennines. From the field on a clear day can be seen the ruined farmhouse of Top Withens, believed to be the inspiration for the titular farmhouse of Brontë's novel. (Fiona Callow)
The Spinoff (New Zealand) does the same for the Dunedin event: It’s a bitterly cold Dunedin morning when a bright red wave of Kate Bush lookalikes gathers in the Octagon to dance. By noon, the temperature is a brutal four degrees (feels like -0, according to the weather app), and as the winter sun peeks through the grey clouds above Dunedin’s city centre, the group of dancers dressed in red waits quietly. When the opening piano notes of Kate Bush’s song ‘Wuthering Heights’ burst out, they begin to move in unison, lifting their arms and waving them above their heads. As their crimson clothes blow in the icy wind, Bush sings the famous line that today takes on a new meaning: “Heathcliff it’s me, I’m Cathy, I’ve come home… I’m so cold.” (Tara Ward) Or BBC in Bristol, Euronews, The Jonesboro Sun, The Adelaide Advertiser, Hello Rayo, in Folkestone... Parade reminds us how the song was born: For her debut album called The Kick Inside, Bush’s first official single was “Wuthering Heights.” Inspired by the classic novel of the same name by Emily Brontë, Bush wrote the track in the span of one night the year before, when she was just 18 years old. Still a teenager by the time the song officially came out, Bush’s music was an impressive success and a huge start to her career. In particular, “Wuthering Heights” gained a lot of fans. The song is a story told from the perspective of the character Catherine Earnshaw after her death, when she’s a ghost pleading with her former love, Heathcliff. Just like how she wrote the song in a few hours, Bush also recorded her vocals for the tune in one take. The mixing for “Wuthering Heights” took place over the course of one night as well, starting at midnight and going until around six in the morning. Music engineer Jon Kelly recalled working with Bush on the song. (Devon Forward)
And The Times includes Haworth among the most beautiful places in England: 6. Haworth, West Yorkshire A steam train service arrives at Haworth in West Yorkshire, one of the most beautiful places in England You may not think that you know this Yorkshire town, but you’ve probably seen its steep street, which climbs up the valley of the River Worth, on screen. Haworth is popular with location scouts for film and TV, and many of its lugubrious millstone grit houses have become whimsical shops selling everything from hemlock candles and vintage dresses to “fat tyke” biscuits. The town has one foot in another era, especially when the steam locomotives from the Keighley & Worth Valley Railway chunter into its station. The Brontë sisters grew up in the parsonage at the top of the street — it is now a museum that details how claustrophobic and intense their upbringing must have been. Further uphill from the parsonage, the moors beckon anyone who wants to wuther a few heights. We’d recommend staying close to the Brontë parsonage in the thoughtfully renovated boutique guesthouse Weavers of Haworth. (Andrew Eanes)
Cumbres Borrascosas pertenece a ese linaje, y así se lee mayoritariamente: como una historia de amor imposible entre Catherine Earnshaw y Heathcliff, una pasión tan poderosa que ni la muerte logra extinguirla. Es una lectura legítima pero incompleta porque Emily Brontë no escribió solo una historia de amor. Escribió al mismo tiempo una novela de terror. El terror que Brontë explora es más moderno y perturbador que el terror gótico popular en aquella época: el miedo que puede causar la convivencia doméstica con alguien que nos odia. La diferencia esencial entre Cumbres Borrascosas y sus predecesores en el género del amor obsesivo es que aquí la pasión no se consuma ni se frustra en un instante glorioso: se pudre durante décadas, se transforma en rencor sistemático y aplasta a quienes tienen la desgracia de estar cerca. No hay ningún Romeo que muera joven y hermoso. Hay un Heathcliff que vive demasiado tiempo. La pasión de Heathcliff por Catherine es real e irreductible, y la novela la trata con toda su complejidad, tal y como veremos en el apartado siguiente. Frente a esto, lo que define a Heathcliff como personaje no es lo que siente por Catherine, sino lo que hace con ese sentimiento cuando la sociedad —y la propia Catherine— lo rechaza por su origen. Lo que comienza como un malentendido marcado por la confusión entre lo que Catherine siente y lo que cree que debe ser desencadena en Heathcliff un odio que se vuelve sistemáticamente contra quienes no tienen ninguna culpa: Isabella Linton, su esposa, a la que somete con crueldad calculada; y la segunda generación, a la que manipula y arruina sin remedio. (Read more) (Translation) (Eduardo Antuña Zarzuelo)
Wuthering Heights of Opulence. I visited the English region made famous by Wuthering Heights with old-fashioned villages and celeb-visited hotels. (...) Despite the changeable weather – one minute I’d be battered by gusts that pierced like kitchen knives, the next smothered in mist then bathed in sunshine – I instantly fell head over heels in love with the moors. Emily Brontë and her sisters Charlotte and Anne grew to adore these wilds, right on their doorstep. I hiked to ruined farmstead called Top Withens, said to have inspired Wuthering Heights the fictional home of Cathy. A further trek then took me to the Brontë Waterfall, Brontë Bridge, and Brontë Chair rock (in the shape of a seat), which were all places close to the sisters’ hearts. Back in Haworth, the limestone cottages and cobbled main street lined with gift shops, cafes and pubs had an old-fashioned charm. At the sisters’ old home, now the Brontë Parsonage Museum, I saw the simple wooden table where they used to write. (Fiona Whitty)
Washington Blade announces the upcoming production in Washington D.C. of Brontë Sister House Party: Nu Sass, a company that promotes marginalized genders in all aspects of theater, presents Courtney Bailey’s “Brontë Sister House Party” (Aug. 14-Sept. 12) at Van Ness on Main Street (4340 Connecticut Ave., NW). In life, the Brontë Sisters, Emily, Charlotte, and Anne, wrote their 19th century English lit classics in the virtual isolation of their father’s remote York parsonage. Now, stuck in purgatory, they’re suffering through party after party in an endless time loop. For them, hosting is truly hell, until they finally find a way to make it tolerable. (Patrick Folliard) Libreriamo (Italy) unpacks Emily Brontë's Wuthering Heights quote: "I've dreamt in my life dreams that have stayed with me ever after, and changed my ideas: they've gone through and through me, like wine through water, and altered the colour of my mind." Of course, with a sloppy AI illustration: In conclusione, la citazione ci consegna una straordinaria meditazione sull’interiorità umana. Ci ricorda che siamo anche, e forse soprattutto, ciò che abbiamo sognato. Che non tutto ciò che conta deve essere realizzato per essere vero. Che alcune delle nostre trasformazioni più autentiche derivano non da eventi visibili, ma da visioni invisibili, che attraversano il tempo e noi stessi. Ed è forse proprio in questa alterazione silenziosa che si nasconde la vera poesia dell’essere. (Patrizio Lo Votrico) (Translation)
Times Now News compiles some beautiful and/or brutal love confessions in literature (with a lot of sloppy AI illustrations), quoting Wuthering Heights. AnneBrontë.org posts about when Charlotte Brontë quietly used her connections with publisher George Smith to help friend Harriet Martineau attempt a secret, anonymous return to novel-writing in 1851 — a book that was ultimately never published. More Recent Articles
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