Tag Archives: Wuthering Heights

Happy Birthday Anne Bronte!

During Anne Bronte‘s time, the expectations of woman’s life was simple: marry upon reaching adulthood, bring children (boys preferably) into the world, support her husband and live a quiet, appropriately feminine life. But Anne Bronte was not just any woman and she did not come just any family.

With her elder sisters Charlotte and Emily, Anne has become one of a handful of 19th century women writers whose influence has lasted long after her brief time on Earth. Her two novels, Agnes Grey and The Tenant of Wildfell Hall, speak to a woman’s condition and what she must endure because she is a woman.

Agnes Grey is about a young woman who works as a governess for wealthy families. Her charges are spoiled and wild, their parents do nothing to curb their bad behavior. The Tenant of Wildfell Hall is about spousal abuse, alcoholism and the choices that some women must make to remove themselves and their children from that environment.

The thing that I love about her books is that they are grounded in the real world, as a pose to the fantasy-ish world of her sister’s novels. An example of this is the romanticizing of Heathcliff in Emily’s Wuthering Heights. Upon the first read, Heathcliff is the romantic hero pining for Catherine Earnshaw. But Heathcliff reveals himself to be a brute and have serious anger issues.

In The Tenant of Wildfell Hall, Anne reveals the harsh truth of what it is to live with an abusive spouse. In her era, divorce was hard to come by and marriage was for life. Women were told to look the other way when their husbands acted less than honorably.

If there is one takeaway I have from both books, it is that the issues that she wrote about are still front and center today. Which is why Anne Bronte and her books are still being read today.

Wherever she is, I wish her a very happy birthday.

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The Bronte Myth Book Review

Among the great writers of the 19th century, the Bronte sisters stand tall. Lionized as proto-feminists and adored in the literary community for their contribution to the world of literature, fans sometimes have to ask themselves where fact ends and fiction begins.

In 2001, Lucasta Miller published The Bronte Myth. The book starts with the brief lives of the Charlotte, Emily and Anne Bronte and follows their posthumous celebrity as their image is shaped to fit the needs of the biographer. In the book, Ms. Miller delves deeply into the facts and the myths of the Brontes and how both have been used to tell the story of the legendary sisters.

When I heard about The Bronte Myth, the concept sounded interesting. I am sorry to report that the concept I had in my head did not meet reality.

The book is not for the casual or virgin Bronte fan. It borders on academic and is probably better suited for a reader who is well versed in the story of the Bronte sisters, their brother Branwell and father Patrick. But my main issue is that Ms. Miller spent most of the book talking about Charlotte. Granted, Charlotte lived the longest of her siblings, but the book is not entitled The Charlotte Bronte Myth. She spends about 60% of the book talking about Charlotte, 20% talking about Emily. The other 20% are given to Anne, Branwell and Patrick. I think I would have liked this book more if all of the Bronte siblings and their father were given equal attention.

Do I recommend it? Sort of.

 

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Filed under Anne Bronte, Book Review, Books, Charlotte Bronte, Emily Bronte, Feminism, History, Jane Eyre, Writing, Wuthering Heights

Buffy the Vampire Slayer and Angel Character Review: Angel

*Warning: This post contains spoilers about the characters from the television series Buffy the Vampire Slayer and Angel. Read at your own risk if you have not watched one or both television series. In this series of character reviews, I will strictly be writing about the characters from the television series, not the 1992 film.

There is something to be said about a well written, human character. They leap off the page and speak to us as if they were right in front us, as flesh and blood human beings, instead of fictional creations.

In this series of weekly blog posts, I will examine character using the characters from Buffy the Vampire Slayer and Angel to explore how writers can create fully dimensional, human characters that audiences and readers can relate to.

Since the beginning of storytelling, there has always been something about the brooding bad boy or girl with a romantic streak.The audience knows that this person might be trouble, but they also fall for the softer side of this character. In Buffy the Vampire Slayer and Angel, this character is Angel (David Boreanaz). Angel makes his first appearance in the Buffy pilot. He appears to be the older, romantic bad boy who often appears in movies or television shows that focus on teenage girls.

But Angel is more than that. He is completely aware of who she is while hiding his own secret. He is vampire who is cursed with a soul. After Buffy and Angel sleep together (and he has a moment of pure happiness), his soul is gone and he reverts to his previous identity, Angelus. Angelus gets off on torturing Buffy until his soul is returned and he must come to terms that his relationship with Buffy is not meant to last.

After leaving Sunnydale, Angel opens his own supernatural detective agency in Los Angeles. Initially aided by Cordelia Chase (Charisma Carpenter) and Doyle (the late Glenn Quinn), Angel works to protect the city from the darkest of supernatural forces. He also becomes a father and continues to fight against evil while protecting those he loves.

To sum it up: While the bad boy with the romantic streak may initially sound appealing, the reality is that the relationship may not last. But then again, not all romantic relationships are meant to last forever. As a character, viewers (myself included), fell in love with Angel. We watched him grow from a Heathcliff type character to a character who, in spite of his past, becomes a hero. That is why nearly twenty years later, fans still return to vampire bad boy turned hero of their younger years.

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Thoughts On Wuthering Heights & Emily Bronte On The Anniversary Of Her Birth

In her lifetime, Emily Bronte saw her first and only novel, Wuthering Heights published.

From the outside looking in (and from the view of Victorian culture), the second to last Miss Bronte was not exactly noteworthy. She was the daughter of a curate in a small Yorkshire town who preferred her animals, her poetry and the small society of her family to the outside world. Uninterested in fashion, marriage, gossip or any of the standard interests of the day for young ladies, she was wholly herself and didn’t give a fig what someone else thought about her.

Today is her 200th birthday.

Wuthering Heights is the tale of tortured love, classicism and revenge. Her protagonists are Healthcliff and Catherine Earnshaw. Catherine is the daughter of a respectable house, Heathcliff is her adopted brother whose origins are unknown. As they grow up, their relationship changes from childhood playmates to young people in love. But then the reality of their world comes crashing down. Catherine marries another man. Healthcliff gives into his long simmering rage. Soon their dysfunctional relationship affects everyone around them, no one remains untouched.

At the time of its publishing, critics didn’t know what to make of this novel. 200 years later, we recognize Emily for the literary genius that she is. Other writers might have romanticized the relationship between Heathcliff and Catherine. But in Emily hand’s, her lead characters are deeply flawed. Heathcliff has a temper and is more than willing to inflict violence on another person if he feels that the situation calls for it. Catherine is spoiled and selfish, too comfortable in her status to choose the man she loves over the comfort of a proper home and a wealthy husband.

In the end, we keep coming back to Wuthering Heights because of those flaws. Emily was adept at creating characters that revealed the best and worst of humanity. She died at the young age of 30, today we can only speculate what she could have done as a writer had she lived longer.

Wherever you are Emily, Happy Birthday.

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Wuthering Heights Character Review: Catherine Linton

*Warning: This post contains spoilers about Emily Bronte’s classic novel, Wuthering Heights. Read at your own risk if you are unfamiliar with the either book or the various adaptations.

There is something to be said about a well written, human character. They leap off the page and speak to us as if they were right in front us, as flesh and blood human beings, instead of fictional creations.

In this series of weekly blog posts, I will examine character using the characters from Wuthering Heights to explore how writers can create fully dimensional, human characters that audiences and readers can relate to.

Whether or not they are aware of it, parents will sometimes pass on their emotional scars to their children. The question is, if and when the child becomes aware that their parents emotional scar has become their scar, do they find a way to heal or let the scar remain open?

Catherine Linton is the living embodiment of emotional scars that are passed from one generation to the next. Her mother, also Catherine Linton (née Earnshaw), died soon after the birth of her daughter, torn between her husband and her soulmate/adopted brother, Heathcliff.  Raised by her indulgent father and Nelly, her late mother’s housekeeper, Catherine is protected from the world.

Then Heathcliff enters Catherine’s life and the emotional scars from the previous generation are brought into the light. Still resenting the loss of his true love to Edgar Linton, Heathcliff (who is also Catherine’s uncle), kidnaps the girl, knowing full well that she is her father’s heir. Catherine is forced to marry her cousin, Linton and watch Heathcliff take Thruthcross Grange as his own after the death of her father.

Soon Catherine becomes a widow herself. Her only consolation is Nelly, who is once more the housekeeper at Wuthering Heights and her other cousin, Hareton Earnshaw. Abused and imprisoned by Heathcliff, Catherine is no shrinking violet. She is her mother’s child and uses every ounce of her energy to hold onto her dignity and self respect. In the end, it is Catherine and Hareton who will walk away from the tragedy that is Wuthering Heights, finally healing the scars of the previous generation.

 

To sum it up: Scars can heal, if we let them. Or we can let them fester. Catherine chooses to let the scars heal. In doing so, the ghosts of the past are finally able to rest and Catherine and Hareton are able to walk off into the sunset together. As writers, we have a choice on how to end our stories. More important than the choice of ending, it has to feel right for the narrative and the characters. In choosing her own version of a happy ending for her novel, Emily Bronte is able to successfully end her narrative with a closing feels natural. If the ending of war is peace, than the ending of Wuthering Heights is as it ought to be.

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Wuthering Heights Character Review: Linton Heathcliff

*Warning: This post contains spoilers about Emily Bronte’s classic novel, Wuthering Heights. Read at your own risk if you are unfamiliar with the either book or the various adaptations.

There is something to be said about a well written, human character. They leap off the page and speak to us as if they were right in front us, as flesh and blood human beings, instead of fictional creations.

In this series of weekly blog posts, I will examine character using the characters from Wuthering Heights to explore how writers can create fully dimensional, human characters that audiences and readers can relate to.

Some characters are unfortunately fated to die young. As much as the writer or the audience would like see the character live into their golden years,  for some it is not simply meant to be.

In Wuthering Heights, this is the fate of Linton Heathcliff. The son of Isabella Linton and Heathcliff, the reader meets Linton as a young man. Hidden in London by his mother, Linton only returns to Thrushcross Grange (the Linton family estate) after his mother’s death. At first, Linton is safe with his uncle Edgar Linton and his cousin, Catherine. Then Heathcliff hears that his boy is back in the neighborhood and demands that Edgar hand over the boy.

Linton is a sickly young man who sometime comes off as spoiled. He is forced to marry his cousin Catherine by his father and dies soon after. The last victim of the emotional turmoil that stretches over the entire narrative, his death marks a turning point that will finally heal the wounds that have remained open for two generations.

To sum it up: As sad as the death of a character can be, it can also represent change and new opportunities. While Linton’s death is indeed sad, it also closes the door on the past and paves the way for Hareton and Catherine to start a new life elsewhere. As writers, we have to remember that death is more than the physical being dying. It can be representative of change, new opportunities and the closing of the door of what was.

 

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Wuthering Heights Character Review: Hareton Earnshaw

*Warning: This post contains spoilers about Emily Bronte’s classic novel, Wuthering Heights. Read at your own risk if you are unfamiliar with the either book or the various adaptations.

There is something to be said about a well written, human character. They leap off the page and speak to us as if they were right in front us, as flesh and blood human beings, instead of fictional creations.

In this series of weekly blog posts, I will examine character using the characters from Wuthering Heights to explore how writers can create fully dimensional, human characters that audiences and readers can relate to.

When we are children, the only environment we know is our family and our small world. The problem is that sometimes, when we grow up, we don’t grow out of the scars that we receive either consciously or unconsciously from our families and the world of our childhoods.

Hareton Earnshaw is the only child and heir to the Earnshaw name and estate. The problem is his father, Hindley Earnshaw drank and gambled away the family fortune after the death of his wife. After his father passes, Hareton is taken in (if you want to call it that) by Heathcliff to be used as a means of revenge.

As an adult, Hareton is treated as a servant in his ancestral home and treated poorly by Heathcliff. His only solace is his cousin, Catherine Linton, who is as imprisoned by Heathcliff as Hareton is.

To sum it up: The thing that always strikes me about Hareton is that despite the fact that is being degraded day after day by Heathcliff, he has a sense of pride. He takes pride in being an Earnshaw, and is not willing to completely bow to his captor. He is also sees an opportunity when Catherine also imprisoned in Wuthering Heights. She teaches him to read and they eventually get together, healing the wounds of the previous generation. When a character has enough pride and enough sense of self, despite a crappy childhood, to find peace within themselves, readers remember that. If a reader can finish a book, feel satisfied and feel like they have learned something about themselves because of a particular character’s journey, then the writer has done his or her job.

 

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Character Review: Isabella Linton

*Warning: This post contains spoilers about Emily Bronte’s classic novel, Wuthering Heights. Read at your own risk if you are unfamiliar with the either book or the various adaptations.

There is something to be said about a well written, human character. They leap off the page and speak to us as if they were right in front us, as flesh and blood human beings, instead of fictional creations.

In this series of weekly blog posts, I will examine character using the characters from Wuthering Heights to explore how writers can create fully dimensional, human characters that audiences and readers can relate to.

Not everyone can have their happy ending. Some of us, no matter how much we try, will never be able to walk into the proverbial sunset. In Wuthering Heights, Isabella Healthcliff (nee Linton) is Catherine Linton’s (nee Earnshaw) sister-in-law. When Heathcliff comes back into Catherine’s life a couple of years after she has married Edgar, Isabella develops a crush on Heathcliff. Why shouldn’t she? He is handsome, wealthy and in every sense of the word, eligible. Isabella is single, of age to marry and ready to marry.

The problem is that neither Catherine or Heathcliff have gotten over each other. Isabella becomes a pawn in their relationship. Running away with Heathcliff, they elope and Isabella is cut off from her brother. She will soon learn about the darker side of her husband. When she can no longer live with Heathcliff, she leaves hims and takes their young son, Linton to London.  She dies young,  hoping to leave her son in her brother’s care. But her husband wants his son back.

To sum it up: While we all wish for a happy ending, both on page with our characters and in our lives as human beings, we  may not get that happy ending. Isabella is unfortunately a character whose happy ending is not what she envisioned. But she does one thing that makes her ending stand out: instead of staying with her abusive husband, she leaves him and takes their son with him.

In 19th century Victorian England, this was a brave choice that is a small, but pivotal change in the way happy endings are portrayed. So in a way, Isabella got her happy ending, but it was on her own terms. In that sense, Bronte flipped the standard happy ending narrative on its ear, creating a new happy ending. If a writer is looking to clear up the loose ends of their story with a happy ending, why not change that ending? Flip that happy ending on it’s ear, make the story even more memorable and leave the reader wanting more.

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Wuthering Heights Character Review: Edgar Linton

*Warning: This post contains spoilers about Emily Bronte’s classic novel, Wuthering Heights. Read at your own risk if you are unfamiliar with the either book or the various adaptations.

There is something to be said about a well written, human character. They leap off the page and speak to us as if they were right in front us, as flesh and blood human beings, instead of fictional creations.

In this series of weekly blog posts, I will examine character using the characters from Wuthering Heights to explore how writers can create fully dimensional, human characters that audiences and readers can relate to.

One of the more common narratives in the romance genre is the love triangle and the question of whom the hero or heroine will choose as their partner.  In Wuthering Heights, the love triangle consists of Catherine Earnshaw at the top of the triangle with Heathcliff and Edgar Linton on the bottom of the triangle.

Edgar Linton is everything Heathcliff is not. He is the son and heir of a respectable landowning family who acts as a gentleman of his class and time is expected to act. His lineage is defined and traceable. His status, income and property mark him as a catch. In modern terms, he is the boy next door that many parents would be thrilled to see their child dating.

Even for all of that, he is not Heathcliff. Even after Catherine has accepted Edgar’s marriage proposal, she admits that the man she loves is not Edgar. While the reader knows that Catherine is marrying Edgar for what could appear to be less than honorable reasons, Edgar will only discover this fact later in the novel.

“My love for Linton is like the foliage in the woods: time will change it, I’m well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Healthcliff! He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.”

To sum it up: For all of his good qualities, Edgar Linton is the loser in the love triangle that is part of the Wuthering Heights narrative. He is the nice guy who may have been in love with the heroine, but she in turn was in love with the bad boy and ultimately chose the bad boy over the nice guy. As a writer, Emily Bronte could have used this very predictable narrative and chose the safe route. Instead she forged her own narrative path and told the story of the conflict between light and dark and how that affects the choices that characters make.

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Wuthering Heights Character Review: Hindley Earnshaw

*Warning: This post contains spoilers about Emily Bronte’s classic novel, Wuthering Heights. Read at your own risk if you are unfamiliar with the either book or the various adaptations.

There is something to be said about a well written, human character. They leap off the page and speak to us as if they were right in front us, as flesh and blood human beings, instead of fictional creations.

In this series of weekly blog posts, I will examine character using the characters from Wuthering Heights to explore how writers can create fully dimensional, human characters that audiences and readers can relate to.

Every protagonist needs an antagonist. Whether that antagonist is an internal or external antagonist, he or she is crucial to the development of the protagonist.  In Wuthering Heights, that antagonist is Hindley Earnshaw. Hindley is Catherine’s older brother, his jealousy and anger over Heathcliff creates a lifetime of rage and abuse on his adopted brother. After Mr. Earnshaw dies and Hindley becomes master of Wuthering Heights, he takes pleasure in reminding Heathcliff of his low status. Hindley also absolves himself of any parental responsibility if his only son, Hareton, after the death of his wife, leaving his child in the path of the vengeful Heathcliff.

To sum it up: Not every character has to be likable or have redeeming qualities. Some characters are just  nasty, rude, don’t give a sh*t, etc. But that’s fine. In creating an irredeemable character like Hindley, Bronte was able perfectly contrast her hero, Heathcliff. While Heathcliff has some goodness in him,  Hindley has none. He is an arrogant angry man who fully takes advantage of his status in society, loses everything in the process and in the end pays for his wicked ways. When it comes to villains, that is how we like it.

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