The Rumpus reviews Deborah Lutz's This Dark Night: A lifelong Brontë reader, I received the book eagerly, but did not take its editor’s words literally. Having read it, I realize she meant them that way. There are biographers desperate to know a life from the outside in and the inside out, and there are biographers aware that their subject is fundamentally unknowable. Lutz is the latter, and she works instead to produce a social and domestic history of those closest to Emily, a natural history of the West Yorkshire moors Brontë immortalized in Wuthering Heights, and a material history of Emily’s writing practice which, in the hands of Lutz’s meditative attention, approaches the mystical. “Expertise,” dry and academic, is the wrong word to characterize Lutz’s understanding of the Brontës. Victorianists tend to work exclusively with the established texts of their subjects, but Lutz spent several years immersed in Emily Brontë’s hand-written manuscripts (detailed photographs of these are included in the book) and inhabiting Brontë’s hometown of Haworth, West Yorkshire, and Brussels, where she studied alongside her older sister Charlotte at the Pensionnat Héger. Lutz pored over the local weather reports of Emily’s lifetime and learned the flora and fauna of the moors so integral to Brontë’s life and work (Emily could identify local birds by their song and kept a collection of their feathers she found on her daily walks). In This Dark Night, Lutz’s deep knowledge of Emily Brontë transcends biography and—appropriate for her subject, who wrote one of the most famous ghost stories in Western literature—approaches a haunting. (Emily Van Duyne)
Jane Eyre, the classic novel by acclaimed author Charlotte Brontë, has been beautifully reimagined by director Lily Dyble, as it tours across England, where it made its second stop at the Rose Theatre in Kingston, from 13th - 24th October 2026. What captured the imagination of its spellbound audience, was the accuracy to the timeless storyline, which is what makes it one of the most read novels of our age, whilst also portraying Jane in an incredibly genuine and down to earth way, which could perhaps be argued is missed by the countless movie adaptations of the book. When asked about her thoughts on the play, actress Aamira Challenger, who played both Grace Poole and Diana in this production, commented, "There are so many angles that a director could choose to explore and, in our production, director Lily Dyble wanted to highlight Jane’s capacity for emotion and self-determination. Jane has big feelings, strong will, and the tenacity to challenge the society she is within". Moreover, the staging and special effects utilised in the play, while at first appearing quite modern for such a classic, allow for thought-provoking ideas on dynamics between various characters, as well as showcasing Jane's internal struggle throughout the play. (Ava Sims)
Nella scrittura di Brontë, il paesaggio non accompagna i personaggi: li determina. Il vento, l’isolamento e la natura ostile costituiscono un’estensione delle loro contraddizioni. Evocare la brughiera non basta; occorrerebbe farne una presenza drammatica. Altrimenti lo Yorkshire diventa una cartolina piuttosto malinconica, con il vantaggio di non richiedere neppure un viaggio. Il limite maggiore dell’operazione rimane tuttavia l’incapacità di distinguere la passione dalla sua rappresentazione esteriore. Il tragico nasce dalla tensione fra ciò che viene espresso e ciò che resta impronunciabile. Quando ogni sentimento pretende immediatamente il proprio culmine, la progressione drammatica si annulla. Persino Wagner, che aveva una certa familiarità con gli amori impossibili, sapeva alternare il fortissimo al silenzio. Qui l’intensità rischia di diventare una condizione permanente, con il prevedibile risultato di non impressionare più nessuno. Cime tempestose richiederebbe una regia capace di interrogare l’ambiguità morale dei protagonisti, anziché illustrarne incessantemente le sofferenze. Brontë non aveva scritto un manuale di educazione sentimentale, ma un romanzo nel quale l’amore diventa una forma di sopraffazione. La differenza è sostanziale. Quando il tormento si trasforma in maniera e la crudeltà in convenzione melodrammatica, anche la più feroce delle passioni perde la propria capacità di inquietare. Heathcliff, in fondo, non ha bisogno di gridare per essere terribile. Gli basta esistere. Il resto è meteorologia. (Davide Oliviero) (Translation) Haworth is a popular destination this Halloween, according to the BBC: With its dramatic landscapes and links to the Brontë sisters, Haworth has long been a popular destination for tourists. But recently, the West Yorkshire village has been busier than ever, according to some residents and business owners, and is now attracting a new type of visitor - one brought in by how picturesque the place looks on social media, particularly during autumn. A quick search on platforms like TikTok or Instagram shows a whole host of content promoting Haworth as a must-visit this October. Posts also highlight the queues that can form outside shops, especially during the weekend. (...) Karen Roberts has worked at The Cabinet of Curiosities for nearly 20 years and says the shop has been especially busy this year. "It suddenly started about six weeks ago to the point where we've had queues outside every weekend waiting to come in," she says. "This week, with it being half-term, we've literally had people outside every day." An old-fashioned shop front with large windows showing a Halloween display, with pumpkins and autumn leaves. A queue of people can be seen standing outside the door. Although the business previously had a social media presence, she thinks the reason it "all blew up like this" is due to the sheer amount of people posting independently about the shop, and the village, on their own accounts. "We've always let people film, we've never had a problem with that, but definitely people are asking me now, can they come in and film?," she explains. "Then they share it, and every day you turn on Facebook and you go, 'oh my God, there is more'." Many customers know about the connection to the Brontë family, and the parsonage where they lived is now a museum. Emerald Fennell's 2026 adaption of Wuthering Heights, starring Margot Robbie and Jacob Elordi, also sparked an interest in Brontë country. (...) Enjoying a day off work, Ella and Brian Thomas travelled from Greater Manchester to visit Haworth, inspired by a friend's Instagram post. "With Wuthering Heights coming out, I think a lot of people have been seeing it on TikTok and making videos, so it was me who suggested to come here," Ella says. The couple wanted to find somewhere "nice and autumnal" for a walk, and say they've previously visited York and Edinburgh for a "similar vibe". "I knew it was the home of the Brontës, but I didn't know much more of the history than that," Brian explains. (Fiona Callow)
Haworth has been hailed as one of Britain's prettiest villages, drawing visitors with 70 independent shops, the Brontë Parsonage Museum and stunning autumn countryside walks to the Brontë Waterfall. (...) Haworth is inextricably linked with literary heritage, having been home to the Brontë sisters, whose celebrated works including Jane Eyre and Wuthering Heights have left an indelible mark on English literature. The village is currently adorned in its autumnal finery, though visitors keen to soak up its seasonal splendour are fast running out of time. (Jamie Barlow and Alycia McNamara)
And, of course, being Halloween and all, we cannot avoid having the usual spooky stuff with ghosts, hauntings, and, well... the usual suspects of the season. The Telegraph is full of them in this article about the Brontë Birthplace: Wandering through the Birthplace, one can imagine the young Brontës scurrying around, conjuring up stories. Their move to Haworth, then a poverty-stricken town on the edge of the moors, helped to inspire some of the greatest works in literature – but also brought huge tragedy as death and disease destroyed the family. So it’s no wonder their father, Patrick, always associated Thornton with joy. The recent paranormal occurrences may be a figment of people’s overactive imaginations – a trait abundant in the magnificent Brontë brains. But perhaps the property’s ambitious restoration has inadvertently disturbed the spirits of the country’s most famous literary dynasty, desperate to return to the place where they were happiest and where the spark of genius was first lit. (Lisa Byrne)
Well, if you know us for some time, you probably know what we think about all this hogwash. It makes for some nice nonsense laughs, but the moment people take it too seriously, we don't play the game. Sorry. No. Polish horror films are vindicated in TVP World: Indeed, Janusz Majewski’s 1970 classic Lokis is widely credited as Poland’s first color horror film and a cornerstone of Polish genre cinema after World War II. (...) In a Jane Eyre-esque scenario, the Count’s mother (Zofia Mrozowska) has been locked away for decades, having suffered a mental breakdown after being mauled by a bear on her wedding night. (Maria Kamińska)
La Vanguardia (Spain) talks about the new trends in period dramas: La nueva Cumbres borrascosas ha transformado la novela de Emily Brontë en una fantasía gótica-pop de vestuario deliberadamente anacrónico, erotismo exacerbado y banda sonora de Charli xcx. Ya no se trata únicamente de encontrar nuevas lecturas de los clásicos, sino de remodelarlos abiertamente según los códigos estéticos y emocionales del presente. (Carlos Jonic) (Translation) La Libre (Belgium) interviews Lilia Hassaine, author of JE: En prêtant sa voix à Antoinette, enfermée et présentée pour folle dans "Jane Eyre" de Charlotte Brontë, Lilia Hassaine signe avec "JE" un roman subtil, sombre et contemporain. (...) Quelle est la genèse de "JE" ? C'est suite à une situation vécue que j'ai repensé à ce personnage féminin et que j'ai relu le livre parce que je me suis demandé pourquoi elle se rappelait à mon bon souvenir. Je me suis rendu compte des correspondances et des liens qui m'attachaient à elle. (...) Et pour faire du personnage d'Antoinette la porte d'entrée pour évoquer ces drames dont sont toujours victimes les femmes et de montrer que, finalement aujourd'hui, rien n'a vraiment changé ? Effectivement, ça existe encore aujourd'hui. Il y a des choses qui ont évolué, mais encore une fois, dans la mécanique, dans ce système d'horlogerie qui permet de mettre une femme sous cloche, il y a des mécanismes communs. Comment s'y prend-on pour isoler une femme ? Je voulais vraiment comprendre comment on s'y prenait de manière très concrète. Vous avez eu l'occasion de répéter à plusieurs reprises que vous détestiez les appellations "pervers narcissique" et "emprise" pour décrire ces mécanismes. Pourquoi ? Parce que la littérature n'a rien à faire avec ces mots et ces concepts. On n'a pas besoin de mettre une étiquette. En littérature, je trouve qu'ils n'ont pas nécessairement leur place. Cet homme, Rochester, c'est un manipulateur, un homme dangereux et un minable. C'est pour cela que la littérature est utile. Elle universalise. Quand on se rend compte à quel point c'est banal, on se rend compte aussi à quel point c'est grave, paradoxalement. Ce n'est pas parce que ça ne touche qu'une personne que c'est plus grave. C'est précisément parce que ça se reproduit, parce qu'il y a tout un système qui rend ça possible, que c'est très grave. (Philippe Manche) (Translation)
Stærkt understøttet er balletten af dens musikalske underlag i form af en mesterlig og respektfuld behandling af Mendelssohn-søskendeparret Fanny og Felix’ klaverkompositioner og strygekvartetter, der yderligere perspektiveres af Schubert-værker for samme besætninger. Ikke blot er disse musikalske kilder vævet tæt sammen af komponisten Philip Feeney med stemningsfulde og kontrastfyldte effekter, men samtidig sætter det hele samtiden, hvori dramaet udfolder sig, ind i et sitrende musikalsk lydrum, som løfter både sindet og opmærksomheden. Der er således mange gode takter, musikalsk såvel som koreografisk, i denne ballet. Alligevel reduceres indtrykket noget af den lidt for store trinmæssige monotoni i bevægelsessproget, som med sit forcerede ekspressionistiske udtrykstempo i begge timelange akter fortegner de stærke underliggende følelser. Sikker dans og godt scenisk håndværk er der dog til stede fra først til sidst i dette voldsomme sjælsdrama. (Knud Arne Jürgensen) (Translation)
Far Out Magazine lists the best songs of Jim Steinman. Including It's All Coming Back Now: The first version came from the girl group Pandora’s Box, assembled by Steinman, and was followed by Dion’s version, with Meat Loaf releasing the final recorded version in 2006 for Bat Out of Hell III: The Monster Is Loose. For its story, Steinman parsed Emily Brontë’s 1847 novel Wuthering Heights, imagining the characters in an alternate universe dominated by morbid obsession. “Heathcliff digging up Cathy’s corpse and dancing with it in the cold moonlight,” as he described. Dion’s version is a modified rendition of Pandora’s Box’s recording, and leaves the presence of Roy Bittan’s grand piano; elevated with her signature, soaring vocals and overarching theatrics, as Steinman’s productions typically captured, ‘It’s All Coming Back to Me Now’ hears her transform the song into a proper rock opera. (Paulina Subia)
Spine-tinglingly eerie, Daphne du Maurier’s Rebecca (1938) is a masterpiece of slow-burn storytelling, and the scariest non-horror novel.ç Heavily inspired by Charlotte Brontë’s Jane Eyre (itself pretty spooky at times), Rebecca is a mystery and Gothic romance wrapped up in one, with first-person narration – by a never-named narrator, no less – which expertly draws readers into its finely drawn world of creaky mansions, forgotten boathouses, and whispers in the night. (Steven Lantier)
Jane Eyre is revealed as one of the main influences of María Sanguino's narrative, as mentioned in Vanguardia (Colombia). Ciudad Valencia (Venezuela) publishes an article about Wuthering Heights. The Sun and others publish pictures of Helen Flanagan dressed as Catherine Earnshaw (the Cathy of Emerald Fennell's film, probably) at a Halloween party: Drawing inspiration from lovelorn Wuthering Heights character Catherine Earnshaw, Helen, 36, commanded attention in a cleave-enhancing corset and red skirt as she let her hair down at Soho venue The Box. (Jason Chester) Finally, The Eyre Guide reviews Marian Yee's 4 Janes, "a fascinating read". A walk around Haworth and Brontë country:
1 Nov 2026 11:00 - 13:00 Meet outside The Old School Room, Haworth
Join Penistone Hill artist-in-residence, poet Kristina Diprose, and explore the folklore, natural and industrial history of the Haworth moors. Discover how bog bursts, bog bodies and barghests inspired the Brontës, which birds are missing from our skies, and how old quarry and coal mine sites are rewilding. The walk is approximately 2 miles and is expected to take 2 hours. Bring shoes suitable for hilly, uneven terrain and be prepared for wuthering weather! This guided walk is inspired by Kristina’s new audio trail over Penistone Hill called ‘How to Talk to the Moor’, being launched on 26 October.
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.
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