Jo-Blo discusses why literary adaptations divide audiences: In his review of Wuthering Heights, our own Chris Bumbray noted that the film would likely divide critics, and we’re certainly seeing that as other reviews roll in. “One thing is for sure—it’s strikingly different as far as adaptations go, with the classic tale reimagined into a corset-loosening erotic drama that at times feels like it owes more to E.L. James than Brontë,” Bumbray wrote. “It’s a defiantly maximalist take on the costume flick, with director Fennell throwing everything but the kitchen sink into her adaptation, which boldly ditches the entire second half of the novel and takes huge liberties with the rest.“ Before the film’s release, Fennell emphasized she never aimed for a definitive version. Her goal was to capture how the novel felt to her as a teen. “That would mean it had a certain amount of wish fulfillment,” she told the Los Angeles Times. “The Gothic, to me, is emotional and it’s about the world reflecting everyone’s interior landscape. This is my personal fan tribute to this work.“ For many classic novel fans, any deviation feels like a betrayal. But Wuthering Heights isn’t the only recent literary adaptation to court controversy. (Kevin Fraser)
Screenrant updates the top ten highest-grossing movies of 2026, so far: 8. Wuthering Heights Margot Robbie and Jacob Elordi teamed up for Emerald Fennell's fresh take on Wuthering Heights, and with that starpower and the book's name recognition, the movie became a hit. It made $241.6 million throughout its theatrical run after launching over Valentine's Day weekend, on February 13. Wuthering Heights' box office is largely due to international audiences. It made $157.6 million (or 65.2%) of its total overseas, with the United Kingdom ($34.3 million), Australia ($14.5 million), and Italy ($12.8 million) driving the most interest. But after making $37.5 million and finishing at #1 in its 4-day domestic opening weekend, it was quickly forgotten and finished with just $83.9 million. (Cooper Hood)
According to the Manchester Evening News, Haworth is among the most affordable towns in the UK for a week's stay in 2026: Haworth, West Yorkshire: Brontë country at its most atmospheric. Cobbled streets, moorland walks, the famous Parsonage Museum, and a nostalgic heritage railway make this a brilliant budget literary escape. (Milo Boyd and Kieran Isgin) Antena 3 (Spain) explores the Barcelona Bridal Fashion Week 2026: Tras una última época en que las novias se carcterizaban por vestidos sencillos y contenidos, para 2027 vuelve a resurgir el drama romántico: una estética más emocional, con corsés visibles como protagonistas, mangas dramáticas, faldas con vuelo y tejidos etéreos. Esta tendencia aparece, en parte, gracias a los estímulos que hemos visto últimamente, con los fenómenos Bridgerton y Cumbres Borrascosas, entre otros. Hace falta destacar que lo que se busca es una reinterpretación de vestidos históricos, por opciones más modernas y fashion. (María Toro) (Translation)
Movie-Locations has updated its Wuthering Heights 1970 section. The Japan Brontë Society's blog reports on the 2026 Brontë Day public lecture, held on 6 June at Waseda University with 56 attendees. Two papers were delivered: one examining Charlotte's autobiographical novels (Jane Eyre and Villette), and another on embodied vision in her work, tracing links to the camera obscura and stereoscope. The day also saw the launch of a Society-supervised picture book on the Brontë siblings.
As reported in The Art Newspaper or Apollo Magazine, an exceptionally rare first edition of Wuthering Heights/Agnes Grey will go under the hammer at the end of this month at Christie's:
Christie's 30 JUN 4:30PM BST | Live auction 24521 Lot 35 Property from a Private Charitable Trust Estimate GBP 400,000 – GBP 600,000
A truly exceptional first edition of Wuthering Heights in the original cloth binding. Preserved within the same historic house library since shortly after its publication in 1847, it is perhaps the finest example remaining in private hands of a masterpiece of English literature. No textually complete copy has appeared at auction in the publisher’s cloth binding since 1908.
Due in part to its distinctive landscape and the wild intensity of its characters, Wuthering Heights ‘has emerged as one of those rare texts, like Frankenstein and Dracula, which has transcended its literary origin to become part of the lexicon of popular culture – the subject of film, song and even comedy. At the same time it has become one of the most written about novels in the language, to the point where the novel’s critical history reads like the history of criticism itself’ (Nestor). Its strangeness troubled early reviewers, especially in light of Charlotte Brontë’s more acceptable Jane Eyre, but its status as one of the great novels in English continues to grow. To Dante Gabriel Rossetti, it was ‘a fiend of a book – an incredible monster’, and to Virginia Woolf it was the result of a ‘gigantic ambition’: to look out ‘upon a world cleft into gigantic disorder and […] unite it in a book’.
Although both Wuthering Heights and Agnes Grey were written and accepted for publication before Charlotte had completed Jane Eyre, it was the latter work which was published first. The immediate and enormous success of Jane Eyre prompted Thomas Cautley Newby to bring forward the release of the present works in order to capitalise on the phenomenon. Perhaps as a result of this hastiness, Charlotte judged that ‘the books are not well got up – they abound in errors of the press.’ She subsequently added that ‘the orthography and punctuation of the books are mortifying to a degree: almost all the errors that were corrected in the proof-sheets appear intact in what should have been the fair copies’. The present set contains the following errors and issue points as noted by Smith: vol. I has p.342 numbered ‘242’; vol. II has the low comma after PUBLISHER on the title, the full stop missing after VOL. in B1, p.382 numbered ‘282’, the headline HEGHTS on pp.71, 163, and 265; vol. III has the full stop missing after VOL. in C1, the headline AGNES GREY on pp.49, 96, 183, 204, 309 and 326, and p.313 numbered ‘213’.
The exact number of copies printed is unknown, but it was suggested by Charlotte that the run was limited to just 250. Of these, examples preserved in any form of publisher’s binding are exceedingly scarce, with those in full cloth being the rarest of all. Smith records five variant publisher’s bindings for the first edition, including examples in boards backed with cloth which ‘were intended for the circulating libraries. Such copies, though quite rare, are more commonly found than copies bound in cloth’. Variants of full-cloth bindings are distinguished by differences in colour, in the central stamps on their covers, in the number of blind-stamped lines in their borders, in the direction of the diagonal ribbing in the cloth, and in the lettering stamped in gilt upon the spine. The example which was given from the Blavatnik-Honresfield Library to the Brotherton Library in 2022 added a further variant in maroon cloth, and the present copy is slightly different again. It shares many of the common characteristics of other variants, including pale yellow endpapers, a four-line border, diamond-shaped and plain-ruled bands on the spine, and the arrangement of the gilt titles, and is perhaps closest to Smith’s variant D, having the publisher’s details at the foot of each spine. It differs in the shape of the central blind-stamped arabesque, the presence of decorative blind-stamped corners, the colour of the cloth, and in the absence of a full stop after the volume number on the spines.
We are aware of only five other examples of the first edition preserved in any variant of the publisher’s full-cloth binding: (1) The Blavatnik-Honresfield copy, Brotherton Library, University of Leeds; (2) Weston Library, University of Oxford; (3) Ashley 2465, British Library; (4) Charlotte Brontë's annotated copy, sold Christie’s New York, 4 December 2009, lot 27 [lacking titles and 6 pages of text]; (5) Anne Brontë's annotated copy, Princeton University Library [see Parish pp.85-87].
References: Parrish, Victorian Lady Novelists pp.85-87; Sadleir 350; Smith 3; Wise pp.97-103.
3 volumes, 12mo (199 x 122mm). (Short marginal tear in L4 of vol. I, occasional very minor spots or marks, lacking the advert leaves R3-4 in vol. III as usual.) Original diagonally-ribbed green-grey cloth, covers with blind-ruled four-line border surrounding blind-stamped floral corners and central arabesque, spines stamped in blind with a band at the head and two at the foot and three diamond-shaped bands in between, lettered in gilt with titles and volume numbers between the first and second diamond bands, and with LONDON / T. C. NEWBY. at the foot, pale yellow endpapers (spines of Wuthering Heights volumes slightly cocked and faded, that of vol. II with vertical crease from textblock bulge and tiny split at upper joint, upper hinge of vol. II and hinges of vol. II cracked but holding, the lower hinge in vol. II revealing binder’s waste from North Ludlow Beamish’s History of the King’s German Legion (London: Thomas and William Boone, 1837; vol. II, p.393), faintly rubbed and marked). Provenance: Lord Harris of Belmont House (George Francis Robert Harris, 3rd Baron Harris GCSI, 1810-1872, who succeeded his father to the barony in 1845; bookplate, contemporary ink shelf numbering on endpapers recording presence of Wuthering Heights volumes on H3 and Agnes Grey on J4) – thence by descent.
The volumes, and all the other auctioned items, will be on display at Christie's from June 26 to June 30: Viewing 26 Jun 9:00 AM – 5:00 PM 27 Jun 12:00 PM – 5:00 PM 28 Jun 12:00 PM – 5:00 PM 29 Jun 9:00 AM – 5:00 PM 30 Jun 9:00 AM – 2:00 PM
The Guardian recommends 70 'brilliant books' for this summer. Including:
This Dark Night by Deborah Lutz Emerald Fennell’s hallucinatory adaptation of Wuthering Heights invited us to consider Emily Brontë in one light; Lutz’s painstaking account shows her in quite another. Far from the eccentric, isolated genius, Lutz’s Brontë is grounded in her material reality, from everyday household tasks to illness and grief.
Charli XCX, Wuthering Heights ★★★★☆ Emerald Fennell’s big-budget, bonk-busting adaptation of Emily Brontë’s classic novel certainly ruffled a few feathers – including mine. But the film had one saving grace, in the form of Charli XCX’s trippy soundtrack, whose songs combine the Velvet Underground’s unparalleled knack for melancholy (John Cale features on the now-viral House) with Nine Inch Nails’s industrial riffs and Charli’s own blurry, distorted vein of electronica. Taken as a follow-up to Charli’s culture-dominating 2024 album Brat, Wuthering Heights makes perfect sense – it’s the tragedies of modern life and love told through one of English literature’s most beloved stories; music you can both cry and dance to. As the 33-year-old pop star wryly put it, Cathy and Heathcliff’s romance descended into ruin “without a cigarette or a pair of sunglasses in sight,” those two items of vice being prominent symbols in Brat, which served as a chewed-up love letter to hedonism. Wuthering Heights consists of just 12 songs, clocking in under 35 minutes. But songs like Dying for You, Chains of Love and Always Everywhere pack such a punch that their conciseness never feels like a curse. (Poppie Platt)
Brockville Daily publishes some audio interviews with the team behind the upcoming production of Brontë. The World Without in Brockville, ON, Canada: Brockville audiences can experience Brontë: The World Without when Youth Opportunities in the Arts stages the production June 19 to 21 at the Arts Hub. Producer Deanna Powers says the play examines the lives and legacy of the Brontë sisters. The three sisters are being played by locals Sarah Paquin, Susannah Burt and Aphra Reimer-Willis with artwork from area artists as well. (Harper Cotie)
Another much-awaited production is the London premiere of Jane Eyre. The Musical. Whatsonstage talks about the cast:
Jane Eyre, a musical by John Caird and Paul Gordon based on the seminal novel by Charlotte Brontë, has announced the lead casting for its UK premiere – 30 years on from its first bow. The production will be co-directed by Caird and Megan McGinnis. Caird previously adapted and co-directed the original production of Les Misérables in the West End and on Broadway, and most recently directed the award-winning stage adaptation of Spirited Away at the London Coliseum. McGinnis has appeared on Broadway in Beauty and the Beast, Little Women and Beetlejuice. Set to appear will be Charlie Burn as Jane and Ashley Gilmour as Rochester, with further names to be revealed. The production is set to run at Southwark Playhouse Elephant from 28 August to 24 October 2026, with tickets on sale now. (Alex Wood)
And if you want a brief glimpse into the production, the West End LIVE event that will take place next June 20 and 21 in Trafalgar Square will include a Jane Eyre performance: Sunday 21 - 3:20pm Jane Eyre - The Musical Then, if you’re in the mood for something a little more romantic, but still gothic and chilling and dangerous feeling, you could check out last year’s sensation/scandal/date movie, Wuthering Heights (HBO Max). If you’re blanking, this is the one your friends were telling you about where Margot Robbie and Jacob Elordi run around in the rain and get it on. Emerald Fennell’s movies are not for everyone, though, so you might need some backup material in case you want to switch over real quick. (Dwyer Murphy) Sure, it takes enough liberties with the original source material that it might make an Emily Brontë nerd's head explode. Still, it's impossible not to be pulled in thanks to director Emerald Fennell's sumptuous vision and Margot Robbie and Jacob Elordi's hot-blooded performances. They play childhood pals whose relationship turns quite complicated as adults when they begin a torrid love affair full of betrayal and resentment. (Brian Truitt) The classic novel comes to life on the big screen once again, this time from Promising Young Woman and Saltburn director Emerald Fennell, and with Margot Robbie and Jacob Elordi in the lead roles. Fennell, an Academy Award winner for her work on Promising Young Woman, has both big fans and big detractors at this point—but her take her, while book purists haven't been thrilled, is a big, visually stunning epic romance. Robbie and Elordi are both up to the task as well, bringing a charged energy to roles that really need it. Alison Oliver, who recently shined on HBO's Task, is another major highlight in a supporting role. An original soundtrack from Charli XCX helps to set the anachronistic mood and feels like a real cherry on top. (aEvn Romano) Gold Derby interviews the actress Fiona Durif:
Debra Birnbaum: What's the craziest fan theory you've seen or read? F.D.: Oh, I'm going to have such a boring answer to this! I'm really careful not to read too much fan stuff, because I feel like I have to keep this bubble going that I'm in so that I don't get self-conscious. Oh, wait — Robby and Whitaker's unconscious love affair. They're like Wuthering Heights, you know what I mean? They're yearning for each other, but can't quite make it happen. I enjoy that. It's also a great joke on set. We really get a lot out of it. A Council has issued stinging criticism of a statutory consultation carried out over controversial proposals to build a giant windfarm on peatland between Haworth and Hebden Bridge. Calderdale Energy Park’s statutory consultation is not up to standard and should be done again, says Calderdale Council. In a highly-critical response to the Calderdale Energy Park (CEP) consultation over its plans to build 34 giant wind turbines on Walshaw Moor, Calderdale has requested the developer starts again. CEP rejects the criticism and says the consultation was carried out in line with planning legislation requirements and its own statement of community consultation. The company has already extended a deadline for some people to resubmit their responses to the consultation into early July due to a glitch. The site is on Calderdale moorland, located between Hebden Bridge and Haworth, the village associated with the Bronte sisters, but the council will not decide whether the proposals can go ahead.
Diario Yaqui (México) also briefly discusses the film. An alert for today, June 13, at the Oundle Festival of Literature:
Saturday, June 13 2026, 2:30pm Fletton House, Oundle, Peterborough PE8 4JA, United Kingdom
Dr Diana Hallam examines the destructive passion between Catherine Earnshaw and Heathcliff that lies at the core of 'Wuthering Heights'. Bronte's brooding Gothic novel weaves themes of love and obsession, jealousy and revenge, social class conflicts, and the supernatural, set against the evocative backdrop of the wild and rugged Yorkshire moors. Dr Diana Hallam is an Oxford graduate and experienced English teacher and lecturer, with the skill to draw out interesting themes and new viewpoints from well-loved texts. Join us for a wonderful afternoon of literature as we celebrate this classic book, with the addition of hot drinks and a selection of homemade cakes. Doors open at 2pm for refreshments, the lecture begins at 2.30pm.
The New York Times reviews Deborah Lutz's biography of Emily Brontë. Emily Brontë did not care about being likable. She was described as introverted, odd, guarded to the point of taciturnity, and her “extreme reserve seemed impenetrable,” said her friend Ellen Nussey. “Except to go to church or take a walk on the hills,” wrote her sister Charlotte, “she rarely crossed the threshold of home.” Her one published novel, the darkly Gothic “Wuthering Heights,” was met with bafflement, but has come to be regarded as a work of genius, and Brontë is also today considered a poet of unusual power. This, combined with her early death and sparsely documented life, has led to a public image as a farouche outsider artist leaping around the Yorkshire moors like a Victorian Kate Bush. As the scholar Deborah Lutz writes in her engaging new biography, “This Dark Night,” it’s not quite that simple. Emily was indeed a knotty character of “devilish ferocity,” but she was also informed, engaged, even cosmopolitan in her reading and outlook. Emily left behind tantalizingly little ephemera. Much of this biography ends up being speculative. But by drawing on a wide range of contemporary sources, the author is able to evoke the comets and heat waves her subject would surely have experienced; the local suicides she would doubtless have read about; the inn where she conceivably might have stayed. No detail goes unaccounted for, from (probable) feminine hygiene practices to (likely) interaction with a mesmerist. Lutz pulls off this sometimes tricky approach with élan, partly because she isn’t wedded to one thesis. (Sadie Stein)
Variety has an exclusive on the UK cast of Jane Eyre. The Musical. Charlie Burn and Ashley Gilmour are set to lead the cast of “Jane Eyre,” the musical by John Caird and Paul Gordon, when the show makes its U.K. premiere at Southwark Playhouse Elephant in London. The play opens Aug. 28 and plays through Oct. 24. Burn, who recently starred as Cady Heron in “Mean Girls” at the Savoy Theatre and has played Cosette in multiple productions of “Les Misérables,” will take on the role of Jane. Gilmour – currently in the West End run of “The Phantom of the Opera” and previously the lead in the U.K. and international tour and West End production of “Miss Saigon” – will play Rochester. “I’m so honored to be joining the cast of the U.K. premiere of ‘Jane Eyre,’ a sweepingly beautiful musical that brings one of literature’s most beloved female icons to life,” Burn said. “The opportunity to work with theatrical royalty like John Caird, Paul Gordon and Megan McGinnis is incredibly special, and I can’t wait to get started.” “It’s hugely exciting to join the cast of this wonderful musical, marking the first time it has been seen on U.K. stages,” Gilmour added. “Playing alongside the great Charlie Burn is set to be a thrill and I can’t wait to bring this epic story to the intimate setting of Southwark Playhouse, Elephant.” The production will be co-directed by Caird, the Olivier and Tony Award-winning director who adapted and co-directed the original “Les Misérables” for the West End and Broadway and most recently helmed the stage adaptation of “Spirited Away” at the London Coliseum. He will share directorial duties with Megan McGinnis, the Broadway actress known for “Beauty and the Beast,” “Little Women” and “Beetlejuice.” The musical – based on Charlotte Brontë’s novel and tracing Jane’s path from orphaned childhood to independence, set against the gothic atmosphere of Thornfield Hall and her relationship with the conflicted Rochester – originally premiered in Toronto in 1996 before transferring to Broadway in 2000, where it received five Tony Award nominations. The Southwark production is being staged in the show’s 30th anniversary year and is produced by Adam Blanshay Productions in partnership with original Canadian producers David and Hannah Mirvish. (Naman Ramachandran)
Greeted by a Jane Eyre in drag offering us biscuits, we took our seats in the Bread and Roses Theatre, transformed for this night into the community hall, hosting the first ever Jane Eyre Convention. Describing itself as an "ill advised enactment of Charlotte Brontë's Jane Eyre", we were served up a performance where four actors played out the main scenes from the more than excellent novel by Charlotte Brontë. Perhaps the instruction to familiarise ourselves with the emergency exits, like those of a cabin crew just in case the flight hits some shaky patch or worse, was not exactly a metaphor but more a warning of where to run to if the show should crash and burn. For a comedy the night was surprisingly silent and short of laughs. Was it because of the references to dealing with some of the cast member's issues and neurosis, dealt with in a heavy or clumsy way. We were also reminded that this was a story of survival and it was easy to empathise with Jane's plight if you were in the audience that night. It was easy to get the feeling that this play didn't really make the most of the massive amount of material from the novel. It had a fair attempt, and at a running time of just over an hour, you could be forgiven for thinking this was not everything the writer has to offer. The stark difference between attitudes towards many things from the period and the way the modern world would shred, criticise or destroy those opinions now-a-days was not entirely exploited. This major difference in the way people view the world could have been used, whether PC or not, to produce something more dynamic and funny; but it all depends on the amount of reverence you have for the source material. Though I have never thought parody or just crude piss-taking was ever a show of disrespect for the creator but more an expression of the writer's taste or even an intimate peep into their psyche. On the other hand, the set, costumes and props gave it what I hope was a deliberate aura of tacky "am-dram" and in a way this worked well to adhere to it a certain amount of charm. It tried to get immersive by getting the audience involved by offering them broken "bickies" at half time, and the opportunity to join in by wearing a stupid-looking, though I know, historically accurate bonnet. But it was, for some reason, difficult to get fully committed to the whole thing. Like Dickens and many other titans of the Victorian Novel, Charlotte Brontë provides us with a text that is crammed with more than enough unbelievable twists of the story line, strange characters who turn up for the strangest of reasons, bazaar coincidences that revive what was looking like a derailed plot and so much other stuff to play with that it was a little sad that this wealth of material was not used to its utmost potential. Maybe a rethink is needed, or some additions, some more dynamic acting might make this into a better play and something worth seeing but at the moment it isn't much more than a really nice idea with some dedicated hard-working actors doing their best with what was at hand. I hope this isn't too harsh a comment to make and I hope it is just me who was disappointed. (Robert McLanachan)
Not really a convention at all, but Jane Eyre done quickly. And unfortunately, even though the show lasts barely an hour, not quickly enough. Four Charlotte Brontë stans, donned in bonnets and frocks, meet to enact the famous story of Jane and her relationship with gruff Mr Rochester. The premise may sound promising, but it’s undone by some very unfunny jokes and poor character development. Welcoming the delegates with lanyards and Brontë biscuits, Prof Jane, Jeff Jane and Charlotte Jane begin proceedings only to be interrupted by a latecomer, Jane Air, who knows nothing of the book at all and is only there because her name is almost the same as the titular heroine. This new arrival is brought on stage to help with the retelling. Writer Eleanor Zeal plays Prof Jane, the slightly bossy chairman of the society. Ben Everett Riley is Jeff Jane, who still smarts from his father’s many absences when he was growing up. Charlotte Jane, whose parents are from Jamaica, is played by Georgia Jackson, while Rachel Overd is Jane Air, who confides early, much too early, that her boyfriend is abusive. With such a title, the show surely will attract audiences who are well aware of the identity of the woman in the attic and the subsequent postcolonial readings of the Gothic novel. But the cast does nothing new with these ideas, and Charlotte Jane, eager to highlight the racism within the novel, comes across as overly earnest, a bit of a killjoy. With an unnecessary joke about dyslexia and a panic attack scene involving a Gregg’s paper bag, Jane Eyre Convention struggles to find the right tone. The actors try their best, but the script is thin, the slapstick heavy-handed, and the backstories insultingly weak. Of course, they are acting as amateurs, but even amateurs who love the source material as much as these people apparently do would have better ideas. Brontë deserves better. (Richard Maguire)
USA Today lists 'The best 2026 movies so far' and the list includes 8. 'Wuthering Heights' Sure, it takes enough liberties with the original source material that it might make an Emily Brontë nerd's head explode. Still, it's impossible not to be pulled in thanks to director Emerald Fennell's sumptuous vision and Margot Robbie and Jacob Elordi's hot-blooded performances. They play childhood pals whose relationship turns quite complicated as adults when they begin a torrid love affair full of betrayal and resentment. (Brian Truitt)
Irish Independent looks into 'The Margot Robbie effect: Why the demand for Victorian jewellery is surging'. Bless you, Margot Robbie, for fuelling the trend for weird Victorian jewellery. For the London premiere of Wuthering Heights (2026), the actor wore a bracelet made from human hair. It was a museum-quality replica of a bracelet once owned by Charlotte Brontë and probably woven from the hair of her sisters, Emily and Anne. The original is now in the Brontë Parsonage Museum. Emily Brontë, author of the novel that inspired the film, died in 1848. Anne died five months later, but Charlotte, the last surviving sibling, lived for six more years. She would have commissioned and worn the bracelet as a way of remembering the dead. The replica was woven by Wyedean Weaving in England. It’s beautiful and creepy in equal measure, as is the film.
The i Paper comments on the fact that Skipton in Yorkshire has been named 'the UK’s happiest place to live'. Charlotte Brontë spent an unhappy few months in 1839 on the outskirts of Skipton in North Yorkshire, as governess to the unruly children of John Sidgwick, a wealthy cotton mill owner in the town. Charlotte wrote to her sister Emily that she found the countryside, which is close by the Yorkshire Dales, to be “divine”. But the scenery did not make up for the misbehaviour of the Sidgwick children, whom she found to be “riotous, perverse, unmanageable cubs”. Charlotte did not keep her job long, but she would have seen Skipton as it entered its Victorian heyday, with the chimneys of mills sprouting everywhere, a busy canal linking the town to Liverpool and Leeds, and a big sheep and cattle market in the town centre. Nearly two hundred years after Charlotte was in Skipton, the mills are gone, demolished or converted to other uses, with only one chimney still standing. But the market in the broad high street in the town centre still takes place four days a week, though the cattle and sheep part has moved to a big facility on the edge of town, while the barges on the canal cater for tourists instead of transporting raw cotton, coal and stone from the quarries. As for everyday life, a survey by the property website Rightmove found Skipton to be “the happiest place” to live in the UK, though as Charlotte Brontë knew all too well, happiness is very much a matter of personal circumstance. (Patrick Cockburn)
-¿Crees que la literatura puede contribuir a preservar la memoria de los territorios rurales? -Lleva siglos haciéndolo. Muchas veces conocemos mejor un paisaje por los escritores que por los geógrafos. Pensamos en la Asturias de Clarín, en la Castilla de Delibes, en la Galicia de Emilia Pardo Bazán o en el Yorkshire de las Brontë. La literatura conserva voces, costumbres, formas de hablar y maneras de entender el mundo que de otro modo desaparecerían. No sustituye a la historia ni a la documentación, pero guarda algo igual de importante, y me refiero a la experiencia humana. (Ana Artero) (Translation)
More Recent Articles
|
%20(1).v1.jpg)
