The Radical Politics of Wuthering Heights 

In 1847, when Emily Brontë published Wuthering Heights under the male pseudonym Ellis Bell, reviewers didn’t quite know what to make of it. Many were dismissive and a handful recognized it as a work of genius, but all were baffled. “This is a strange book,” one succinctly remarked.[1] Charlotte Brontë tossed a further wrench in the literary market machine when she revealed herself and her sisters as women three years later. Emily, by the second printing of her novel in

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Hila Shachar, ‘Walking New Myths: Sally Wainwright’s Brontë Biopic’

Hila Shachar is a Lecturer in English Literature at De Montfort University, Leicester, and a member of the Centre for Adaptations who specialises in the adaptation of literary works and authors in various media including film, television, and ballet. Her book, Cultural Afterlives and Screen Adaptations of Classic Literature (Palgrave Macmillan, 2012), was featured in The New York Times and The International Herald Tribune, as well as nominated for the 2012 Western Australian Premier’s Book Awards. She also works as

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Brontë by Polly Teale

By Charlotte Mathieson, University of Warwick In May 2013, the Capitol Theatre in Manchester staged a production of the play Brontë, by Polly Teale. Originally staged by Shared Experience in 2005 (of which you can view a short trailer online), the play explores the life and writing of the Brontës through key episodes from their lives and scenes from their writing. I went to watch the production with fellow Victorianist and life-writing specialist Amber Regis, and in this filmed conversation

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