More on the manuscript...

Colin Randall (ex-Daily Telegraph, contributor to Abu Dhabi's The National, lives in France) has written a full and clear account of the events at Sotheby's for his France Salut blog:


http://www.francesalut.com/2011/12/bronte-in-paris-shame-about-haworth.html#more


It seems that the the French museum would be very willing to lend the little book to the Parsonage for an exhibition at some time in the future, and that it would have been willing to go up to a million pounds...

Manuscript will not come home

News Release from the Parsonage:

The Brontë Society has been thwarted in its attempts to return an important Charlotte Brontë manuscript to the writer’s home in Haworth, West Yorkshire, now the Brontë Parsonage Museum.

The manuscript, which went under the hammer at Sotheby’s in London on Thursday 15 December, was previously untraced and unpublished. It was expected to fetch between £200,000 - £300,000, though in the end sold for £580,000. The Society had been awarded a grant of £613,140 from the National Heritage Memorial Fund (NHMF), the UK’s fund of last resort for saving great heritage at risk. There was also support from the John Murray Archive, who pledged £20,000, the Friends of National Libraries, £10,000, and many donations in response to a public appeal launched by the Society. 

Unfortunately, this was not enough on the day as the hammer price plus the significant buyer’s commission took the final price to above the amount of money we could raise.

The miniature manuscript, or ‘little book’, measures just 35 x 61mm, but its 20 pages contain more than 4000 words of tiny script, produced by the young Charlotte Brontë in September 1830 when she was 14 years old. It is part of the second series of ‘The Young Men’s Magazines’ inspired by a set of toy soldiers bought for Branwell Brontë by his father in 1826. The series consists of six ‘little books’ four of which are already in the museum’s collection with the final one still remaining untraced.  

Bonnie Greer, President of the Brontë Society, said:

This 'Little Book' puts down in luminous prose not only the daydreams of a little Yorkshire girl, but it also contains the seed of the work of one of the greatest writers in the English language, Charlotte Brontë. It will not be going home, back to the place where it all began, the Parsonage at Haworth. 


Its presence there would have placed it not only at the heart of the proud community in which she was born and raised, but would have brought full circle a Yorkshire story, a Northern story, a British story, a world story. We are hugely grateful to all those who supported our bid to bring this wonderful manuscript back to Haworth, especially the National Heritage Memorial Fund.

These remarkable miniature manuscripts are amongst the most popular of exhibits with visitors to the Brontë Parsonage Museum, but also of great scholarly interest. In particular, they chart Charlotte Brontë’s development as a writer and reveal how many of her early themes carry over into her published novels. The first piece in this manuscript recounts how a murderer is driven to madness after being haunted by his victims, and how ‘an immense fire’ burning in his head causes his bed curtains to set alight, prefiguring the well-known scene in Jane Eyre, in which Rochester’s insane wife sets light to his bed curtains.

Andrew McCarthy, Director, Brontë Parsonage Museum, said:

This is unquestionably the most significant Brontë manuscript to come to light in decades and an important part of our broader literary heritage. It belongs in Haworth and we are bitterly disappointed that scholars and members of the public may now not have the opportunity to study and enjoy it as part of our public collection. We very much hope that we will be able to establish contact with the new owner.

* The manuscript was acquired by Le Musée des Lettres et Manuscrits, which is situated at 222, Boulevard St Germain in Paris. Apparently, there are plans to put it on display in January.

Manuscript belongs in Haworth

News release:

The Brontë Parsonage Museum in Haworth, West Yorkshire is appealing for help from funding bodies and members of the public to acquire an important Charlotte Brontë manuscript which is to be auctioned at Sothebys in London on Thursday 15 December. 

The manuscript, previously untraced and unpublished, is expected to fetch between £200,000 - £300,000 and contains three works by the young Charlotte Brontë, produced in September 1830 when she was 14 years old. It is part of a series of  manuscripts known as ‘The Young Men’s Magazines’ which were inspired by a box of toy soldiers bought for Branwell Brontë by his father in 1826.

The soldiers sparked a remarkable burst of creativity from the young Brontës who began creating stories which were handwritten into tiny books intended for the toy soldiers to ‘read’. Their minute scale and miniature details, such as title pages and advertisements, were modelled on a popular publication of the time, Blackwood’s Magazine. The Brontë Museum has the largest collection of these little manuscript books in the world and they are amongst the most popular exhibits with visitors and have also been the subject of much scholarly research in recent years.

The little books chart Charlotte Bronte’s development as a writer and reveal how many of her early themes carry over into her published novels. The first piece in the manuscript to be sold at Sotheby’s recounts how a murderer is driven to madness after being haunted by his victims, and how ‘an immense fire’ burning in his head causes his bed curtains to set alight, prefiguring the well-known scene in Charlotte’s novel, Jane Eyre, in which Rochester’s insane wife sets light to his bed curtains.

This manuscript is currently in a private collection and has never previously been published. It’s certainly the most significant Brontë manuscript to come to light in decades, but we should also see this as a national treasure with significance to our broader literary heritage. It would be very sad indeed if this wonderful manuscript were not repatriated or was again lost to a private collection. We feel very strongly that it belongs here in Haworth and we’re appealing for people to get in touch if they can help us raise the funds to make sure it does return, so that visitors can enjoy it, either here at the museum or through our on-line resources.

Andrew McCarthy

Director, Brontë Parsonage Museum

As an independent charity the museum is constantly trying to raise funds to support its work, a fundamental part of which is seeking to acquire such important Brontë material and making it accessible to the public.

It’s very difficult for us to compete in a market where these items can fetch such high prices and we need the support of organizations and individuals to make sure that they are returned to Haworth. If anyone feels they can make a financial contribution to help us, this would be very much appreciated

Andrew McCarthy

Director, Brontë Parsonage Museum

Andrea Arnold's Wuthering Heights

Review by Richard Wilcocks:

Hareton disturbed me the most in this film based on Wuthering Heights. Dour before his time, he appears now and then in the early scenes, a dirty blonde-haired urchin, to gawp at visitors, or to witness violent abuse from the sidelines. In one scene, he is seen hanging up dogs by their collars, and we know where he got that from. The depiction of Hareton is one of the pointers to the ‘cruelty breeds cruelty’ message in Andrea Arnold’s film – and in Emily Brontë’s novel, if that can be seen, glibly, as a straight deliverer of messages. Considerable respect has been shown to the original: a fair amount of thought and research must have gone into finding out what might have been in Emily Brontë’s mind and how she saw her characters, and into the late eighteenth century in Yorkshire. Arnold has a brutally realistic vision, similar to the one she employed in her previous films Red Road (2006) and Fish Tank (2009) with their poor housing estates and tower blocks - and their 'outsider' protagonists. All the artefacts – stoneware jars, spades for digging out peat and so on – look as if they have been borrowed from a folk museum, the costumes appear to be authentic, and Heathcliff is black.

All perfectly credible. In the novel he is described variously as “a little Lascar” and “a dark-skinned gypsy in appearance” and he was found in the slaving port of Liverpool. The Lascars of the time were seamen who had been recruited from places like Bengal or Yemen, with thousands living in England in the time of the Brontës, many with white British wives. Gypsies, with distant roots in India, had been travelling around Europe for centuries. More to the point, Emily was well-acquainted with the evils of the Slave Trade (abolished in 1807, just after the action of Wuthering Heights) through her father, who had been helped out as a poor student at Cambridge by no less than William Wilberforce. She would have known about the magnificent Yorkshire mansions built with the wealth created on slave-powered plantations in Jamaica, Harewood House near Leeds for example, and about the Sill family of Dentdale, which owned two ships called The Dent and The Pickering. The Sills were said to have kept slaves instead of regular servants at West House, their large, colonial-style base in the Dales, now renamed Whernside Manor and redesignated as an outdoor pursuits centre. It is just a walk away from Cowan Bridge - I have done it. And the Sills must have known cotton magnate and pillar of the Anglican Church John Sidgwick, whose young children were such a tribulation for Charlotte Brontë during her time as a governess at Stone Gappe...

Watch the trailer

The unknown James Howson from Leeds was cast as the adult Heathcliff, with the equally unknown Solomon Glave as his young version. We do not find out which language he speaks when he first arrives, because there is very little by way of speaking in the whole film. It is not dialogue-free: a few sentences and phrases from the novel are employed, rather like the quotes a candidate might fish out for an A-level essay, with more of them in the film’s second half, after Heathcliff’s return, than in the first. At other times, the words which the characters use seem to have grown from improvisation sessions, giving the action a kind of Ken Loach feel at times. Those words are more brutal than in, say, Loach’s Kes, and come as quite a shock to those who are accustomed to dialogue which has been passed through a filter. To leave out most of Emily Brontë’s beautiful prose – and the second half of her story, as usual – are bold moves which a few literary folk might find outrageous. I can fully understand the opinions of those who might describe the film as ‘coarse and disagreeable’, but then the structure of the novel does not match the needs of the cinema. Unlike Cary Fukunaga, who retained as many of Charlotte’s words as possible in his Jane Eyre, Andrea Arnold has gone in an opposite direction, because she has decided not to bother with conventional costume dramas.

She does not go down the route of, for example, Penny Woolcock, who used a large number of Shakespeare’s words in her 1997 BBC Macbeth on the Estate, in which residents of the run-down Ladywood Estate in Birmingham together with a core of trained actors created an effective screen drama (all baseball bats and drug dealers) which brought out the violence and the moral issues in a classic text and related it to today. This Wuthering Heights relies on cinematography, the impact of fresh and young actors who have not been to drama school (eat your heart out, Stanislavski), an authentic period feel and a powerful, often startling harshness. Arnold has said that she “had to pick out the things that had resonance to me” and that she wanted to give the children plenty of time at the beginning.

This was a good move, because the children are by far the most interesting. Solomon Glave and Shannon Beer have “not acted before” (hasn't their school got a drama club?), but manage to be fascinating, holding everything together for an hour. Full marks to Arnold there. The story is told through sounds and sights:  we see the boy’s amazement and disorientation when he arrives, Cathy’s warm smile – the only warmth – a feather brushing a cheek, his hand on the horse’s rump when he rides behind her, his smelling of her hair, the weals on his back after a beating by Joseph, her mouth as she licks the blood from them, their crude and muddy sexual fumbling out on the moors. Sensual imagery with a vengeance! Raw teenage emotion in our faces! And I loved Shannon Beer’s wavering, charming rendition of Barbara Allen. She’s a proper wild, wicked slip of a girl.

Irish cinematographer Robbie Ryan won the Golden Osella Award at the last Venice Film Festival for Best Cinematography, deservedly. His low shots through clumps of sedge and his panoramas of the moors (filming took place on the bleaker areas around Hawes in the Yorkshire Dales) are stunning, but what is especially memorable is his selection of close-ups of the insects, flowers and small creatures to be found in the heather and under the bilberries. I was looking out for harebells, but did not notice any. Perhaps they were the wrong kind of flower here. The wind sounded right – I recognise that wind from personal experience – as it battered the microphone relentlessly. The wind seems never to stop. Such a contrast to the romantic music which Sam Goldwyn loved and which never stopped for Olivier and Oberon in William Wyler's 1939 version, the music which prompted the emotions for the audience!

I was appropriately taken aback by the images of slaughtered animals – a sheep has its jugular severed and a rabbit has its neck broken. I am hoping and trusting that Isabella’s dog was wearing some kind of harness when it was filmed being attached to a hook.

The creatures of the wild moors a couple of centuries ago have a strong present-times feel, because casting in this way has put racial prejudice in the forefront. Heathcliff is full of revengeful passions because he has been racially abused. The violent skinhead Hindley (Lee Shaw) is notably foul-mouthed when he does speak, like an adherent of some far-right organisation, and the enforced baptism scene shows that the church used to be pretty short on tender loving care when it came to new dark-skinned members of the congregation. The West Yorkshire accents are just right, and could be heard in many of the streets of 2011. I include my own street in Leeds.

In the second half, the adult Heathcliff (James Howson) does not spend long on relishing his revenge on Hindley, but that is not the only disappointment. Both James Howson and Kaya Scodelario, who plays the adult Cathy, bear only token resemblances to their child counterparts, and have far less presence. Cathy is not differentiated from Isabella enough, and seems to be unrelated to her younger self, which can not be explained away by her sojourn in the sophistication of Thrushcross Grange, where manners (and the mild weather) are always better. It is always raining at Wuthering Heights. Heathcliff seems clumsier and less sympathetic, a fact which is not helped by James Howson’s lack of acting experience (more forgivable in Solomon Glave), and the close-up shots of flowers and insects which sustained the first half become tiresome because they are repeated too often. Ironically, the increased amount of dialogue also becomes irritating, because it is not what we have become accustomed to. James Northcote’s acting as Edgar is fine and faultless, but seems out of place here, as if he has stepped out of another film.

And that other film could almost be the 1939 version which is at the other end of the spectrum. Still, the Andrea Arnold version is visually and acoustically stunning, ground breaking, worth seeing, and could even draw some in the audience towards reading the book, to discover all that dialogue. And all those harebells.

Look at this new blog

The Bronte Weather Project is a year long research residency by Rebecca Chesney based at the Parsonage which began in September 2011. During the residency Rebecca (a visual artist based in Preston) will be studying the local weather patterns and reading Brontë texts to find out how they were influenced and inspired by the weather.

Visit her new blog by clicking here.

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Bonnie Greer- absolutely magnetic

Afternoon Tea with Bonnie Greer and the Brontës

Richard Wilcocks writes:
This event was sold out soon after it was announced: the audience walked past a group of hopefuls sitting beside the ticket desk, but all seats in St Margaret’s Hall were filled. This was one of the most popular events at this year’s Ilkley Literature Festival. On each seat was a pamphlet for people who might have felt an urge to sign up for the Society.

It is likely that the urge came upon more than a few, because Parsonage Director Andrew Macarthy was pretty convincing as he talked about substantial improvements to the Museum and the many artists and authors who have participated in its Contemporary Arts programme. He was followed by the eloquent Liz Henry, who spoke on behalf of Brontë Society Council, welcoming Bonnie Greer and delivering a potted version of her résumé. Chair of Council Sally McDonald began the interview, and soon we were into Wuthering Heights.

“I saw the Laurence Olivier and Merle Oberon version at age thirteen... when she said ‘I am Heathcliff’ I understood immediately... the novel brings a realization that we are the only species which knows we are going to come to an end, and it has a woman in it who talks directly about how she feels, about love...

This book doesn’t settle... we are taught that we have to ‘settle down’ when we are young... Emily was restless...”

Bonnie Greer related Emily’s condition to herself and her own writing, mentioning Obama Music and the restlessness of Chicago and explaining that when she wrote her novel Entropy, her dominant thoughts were of synaesthesia. “This is where you smell a word, or see a colour when you read a number...it’s the primitive mind which links everything up... Emily’s state of being was musicality.

All my work is synaesthetically created... Emily heard the music of her environment and it is captured in the words of Wuthering Heights.” Sally McDonald mentioned that the novel had been compared to an overture with a break in the middle.

“The Brontës have been prettified in the movie versions I have seen.... but these are Northern women! And it was appropriate that this man (Heathcliff) was black. Look at history, and Liverpool... this part of the world was tied up with slavery... Wilberforce and Douglass spoke at meetings in Yorkshire where abolitionists predominated... but there was support in the government for a secret deal with the Confederacy... Emily would have heard the abolitionist arguments...she was born in the same year as Frederick Douglass.”

In Jane Eyre I recognize that refusal not to look down when your betters are speaking to you – from my own childhood. It’s in Obama Music.”

Tea, scones and cakes followed, all supplied by volunteers from Council and Parsonage staff, and served to a background of music from the Canzona String Quartet, which visited the Parsonage Library to look at music belonging to and played by the Brontës. They found the original versions of some string quartet movements, which included Locke's overture to Macbeth and Worthy is the Lamb from Handel's Messiah. 


Everybody was deeply impressed by the whole event. Liz Henry (pictured below) told the Blog: “Bonnie Greer has an amazing ability to hold an audience. She is absolutely magnetic.”

From the publicity department of the Royal Opera House, Covent Garden:

ROH 2  in the Linbury Studio Theatre

Yes opens on  22 November

In 2009 the writer and cultural commentator Bonnie Greer was invited to appear on the BBC’s flagship political discussion programme Question Time alongside the leader of a right-wing nationalist political party. The BBC’s decision to transmit the programme, and Bonnie Greer’s decision to appear in it, provoked a storm of discussion. Bonnie has written the libretto for this brand-new 'docu-opera' by award-winning composer Errollyn Wallen, which is made from Bonnie’s own experiences and from the many public and private responses to the situation.  An ensemble of six musicians, including an electronic soundscape with the recorded voice of Errollyn Wallen,  will accompany a cast of eight singers, and Bonnie herself, to play out the emotional and political turmoil of a wide range of individual British citizens, each with their own personal and cultural perspective.

October half-term happenings

News release from the Parsonage:

There are plenty of reasons to visit the Brontë Parsonage Museum in Haworth this half-term week, with lots to see and lots of activities planned for younger visitors and families. With the critically acclaimed new film version of Jane Eyre in cinemas, the museum’s displays are focusing on its author, Charlotte Brontë; including new displays of her clothes, letters, manuscripts and personal treasures.  A new adaptation of Emily’s novel, Wuthering Heights is also released next month and the museum’s special exhibition, Genius: The Brontë Story, explores how these two great books came to be written, and also includes lots of interactive displays for children and families.

My Favourite Thing! will run throughout half-term, every day at 2pm, with members of staff at the museum and volunteers talking about the secret history of some of the most  remarkable items in the museum’s collection; whether it be a little book, a brass dog’s collar or Charlotte Brontë’s wedding bonnet, the talks will intrigue young and old alike.

There will also be the opportunity to join local artist, Rachel Lee, for a ‘drop-in’ family workshop on Tuesday 25^th October. Rachel will be demonstrating an ingenious way of turning brightly coloured fleece into little felt creatures and helping children make their own fleecy, furry friend to take home with them. The event takes place throughout the day and is free with admission to the museum.

On the afternoon of Thursday 27^th October, hugely popular children’s author Jacqueline Wilson, will be visiting Haworth to talk about her latest novel Sapphire Battersea and her love of the Brontës. This event is now fully booked.

The museum is open 11am until 5pm daily, with last admission at 4.30pm. www.bronte.info.

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Contacts & Further Information:   

               

Andrew McCarthy (Director) – 01535 642323 – andrew.mccarthy@bronte.org.uk

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Mai più in oscurità

Maddalena De Leo (Ascea Marina, Italy) sent the Parsonage Blog this introduction to her new novel in Italian - Mai più in oscurità (No more in the dark):  

Maria Branwell  (1783-1821) was the mother of Charlotte, Emily, and Anne Brontë, British authoresses of the early Victorian Age, whose literary fame rests on masterpieces like Wuthering Heights and Jane Eyre. We know very little- if not nothing at all - of Maria and her brief life, beside the fact that she, having moved by chance to Yorkshire from her homeland in Cornwall, met and married in 1812 a hot-tempered Irish clergyman named Patrick Brontë, giving birth later to a progeny of literary geniuses.

 I have always been fascinated by the premature death of the Brontës’ mother and, above all, by her homeland, a country incredibly rich in Celtic myths and legends. For this reason, and being myself a scholar of Charlotte and Emily, I have recently visited (or re-visited) not only all the places connected to the two writers, but also Cornwall, especially Maria’s hometown and house. I had therefore the opportunity to access a whole universe of information, anecdotes, doubts, and assumptions about the somewhat 'obscured' personality of this important personage in the Brontë saga, who has unexplainably been forgotten for about two centuries.

The book is based on real information, reliable sources, and above all on my own imagination, because I thought it was right to 're-invent' – starting with documented material – what I believe Maria’s life, cheerful character, and superstitions were, from her twenties to her premature demise.

My starting point was a real event: in February 1850, Charlotte was encouraged by her father to read the letters Maria had sent him during their engagement. With a leap of fantasy, I then had the creator of Jane Eyre herself write a fictional diary of her mother, to describe and re-live in it Maria’s character, wishes, hopes, and sorrows. In this hypothetical diary, Maria recorded the most important events of her life since she was a girl, and could therefore leave us her unintentional autobiography through her own daughter’s literary fame.

In the appendix I translated into Italian for the first time the complete text of Maria’s letters, beating heart and inspiration of the whole novel.

The book Mai più in oscurità has just been published by Photocity Edizioni and can be ordered at   http://ww4.photocity.it/HomePage.aspx#EDIZEXTERN

The Jane Eyre for our times

Penelope Jenkins writes about a Brontë Society event with the writer of the new film, Moira Buffini, and its producer, Alison Owen, which took place on 17 September.

There have been over 30 film and television adaptations of Charlotte Brontë’s novel Jane Eyre. The latest, showing until October 6th at Warwick Arts Centre, stars Mia Wasikowska as Jane and Michael Fassbender as Mr Rochester. At a recent Brontë Society event the film’s screenwriter, Moira Buffini, and producer, Alison Owen, revealed how they adapted the novel from page to screen.

Producer Alison Owen, known for her previous films Elizabeth and The Other Boleyn Girl was certain that there was room for another film of Jane Eyre. “I didn’t feel that there had been a definitive version and wanted to make a film with a younger Jane – others had been made with an older Jane. The novel is about the discovery of sexuality and emotion," she explains.

Thankfully the film’s backers, BBC Films, didn’t need much persuading to produce a 2011 version, despite BBC television screening its own adaption as recently as 2006. Screenwriter Moira Buffini, with whom Owen previously worked on the film Tamara Drewe, was passionate about the story she wanted to write. “The novel covers society, poverty, women and men, and is not just a love story.” It was her job to distil the novel into 120 minutes of screen time, not an easy task considering the complexity of the novel and its structure. “I could imagine all the scenes dramatically but by the end of the first draft I knew the structure of the book wasn’t going to work on screen,” she says. “Until Jane leaves Thornfield it was going swimmingly. In dramatic terms you want to be tightening everything up and racking up tension, but then introducing a year, a new family and lots of characters didn’t work.”

Buffini’s solution was to begin the film with Jane’s flight from Thornfield Hall. The viewer sees her previous experiences filtered through Jane’s memory. “I think the Rivers are important and really interesting characters,” Buffini explains. “In terms of the austerity of their house and what Jane has been offered by Rochester you can see what her alternative would be.”

Owen and Buffini felt that the story became more powerful when they cut away extraneous material.

Owen and Buffini both recognise that the casualty of this structure and screen time for the Rivers (with Jamie Bell giving an excellent performance as the sympathetic yet repressed St John Rivers) is the amount of screen time devoted to Jane’s formative years at Lowood and her relationship with Helen Burns. Buffini thinks, however, that “because you are looking through Jane’s memory you can be selective”. More scenes at Lowood were shot but Owen and Buffini felt that the story became more powerful when they cut away extraneous material.

There’s powerful chemistry between Jane and Mr Rochester, with the age difference between the actors emphasising Jane’s youth and inexperience. Mrs Fairfax, effortlessly played by Dame Judi Dench, acts as a mother figure, warning Jane to keep Rochester at arms’ length until their wedding, advising that “men don’t often marry their governesses”. Buffini says that they were incredibly lucky with the casting of Wasikowska and Fassbender. “Mia’s intelligence shines through which is one of the qualities that Jane has. Fassbender made Rochester’s authority look effortless. The pair talk each other into love in very difficult language.” Neither actor wanted the language modernising to make it easier to speak.

Ellen Page, the star of the offbeat film Juno, had been the first actress the pair talked to for the part of Jane. Owen is open when it comes to the vicissitudes of casting. They needed an actress who was well known enough to draw in audiences and satisfy the financiers, but who also could equate to the budget. Page was unconfident about tackling the Yorkshire accent (Yorkshire and its moors play a key scenic role in the film) which is when the team talked to Wasikowska. She had been cast as Alice in Tim Burton’s version of Alice in Wonderland and showed potential to become a huge star. As Jane they saw a naivety about her, bringing home to the viewer that Jane is experiencing situations and emotions for the first time. Importantly she and Fassbender have the Yorkshire accent down to a tee, belying their Australian and German/Irish roots.

Jane Eyre is, as classic works of fiction go, relatively cheap to make. Jane Eyre, Owen admits with a chuckle, is, as classic works of fiction go, relatively cheap to make. Unlike Pride and Prejudice or Vanity Fair there are no balls, street scenes and sumptuous location changes. The 2011 Jane Eyre, she says, is a film for austerity times on an austerity budget.

The film’s director, Cary Joji Fukunaga, had a clear idea for the way it was to look. Whilst he includes the wild lushness of the Yorkshire scenery there’s also a starkness to his visual direction, making use of low levels of light and gloomy rooms lit by fire or candlelight. Sticking to the original text in an almost documentary way, he avoids the pomp and finery of many classic novel adaptations that become mere heritage productions, bedecked with antiques, carriages and nostalgic representations of yesteryear. In Jane Eyre there’s no unnecessary visual detail.

“We wanted to make the Jane Eyre for our times,” Buffini says. “We wanted to show how modern she still is and how her story is still relevant to us, particularly to young women.” Will this in the future be thought of as the definitive adaptaton? “Someone will come along later and make another for their times,” she says, but the team hope that theirs will be the benchmark from which to measure it by.

Penelope Jenkins is Editorial Assistant for the Knowledge Centre at Warwick University and a member of the Brontë Society. This article first appeared on the Knowledge Centre's website, which can be accessed here.

Contemporary Arts Programme

News Release from the Parsonage:

Autumn/Winter Contemporary Arts Programme

The Parsonage will launch its new season Contemporary Arts Programme with an event to celebrate National Poetry Day. On Saturday 8 October, poet Aoife Mannix will be resident at the museum throughout the day, inviting visitors to contribute to a crinolined dress ‘poetry installation’. Following the event, Aoife will weave these visitor contributions into new poetry which will be exhibited as a series of poetry installations in the rooms of the Parsonage in November.

Other events in the new programme, which will run from October until March 2012, include an afternoon with hugely popular children’s author Jacqueline Wilson (pictured above) on Thursday 27^th October, and an event with the screenwriter for the upcoming film adaptation of Wuthering Heights, Olivia Hetreed, on Friday 9 December. Both events will take place at the West Lane Baptist Centre in Haworth.

The Parsonage will also launch a new project with Artist in Residence Rebecca Chesney. Preston-based artist Rebecca will be setting up a weather station at the Parsonage to record weather readings over the next twelve months. She will then cross-reference the data with descriptions of weather in the Brontës’ letters and novels to compare how the weather in Haworth has changed since the Brontës’ day. Working with local people to collect the information, Rebecca will use her research to create an exhibition of new work for the museum next summer.

A full list of events in the new contemporary arts programme is listed below:

Aoife Mannix: Poet in Residence

Saturday 8 October 2011

Brontë Parsonage Museum

To mark National Poetry Day, poet Aoife Mannix will be resident at the Brontë Parsonage Museum. She will be asking visitors to contribute lines of text to a crinolined dress installation that will evolve throughout the day into a sculptural piece. Aoife Mannix will weave these visitor responses into new poetry inspired by her residency, which will be exhibited as a series of poetry installations in the rooms of the Parsonage from 8^th November 2011 until 1 January 2012.

Aoife Mannix is an Irish writer and poet based in London. Her first novel Heritage of Secrets was published in 2008.  She is the author of four collections of poetry; The Trick of Foreign Words (2002), The Elephant in the Corner (2005), Growing Up An Alien (2007) and Turn The Clocks Upside Down (2008).  She is currently poet in residence for BBC Radio 4’s Saturday Live and for the Royal Shakespeare Company.

Free with admission to the museum. Event takes place throughout the day.

Thursday 27 October, 2pm

Jacqueline Wilson

West Lane Baptist Centre, Haworth

One of the nation’s favourite authors, Jacqueline Wilson visits Haworth to read from and talk about her work, including her new book Sapphire Battersea. 

Jacqueline Wilson wrote her first ‘novel’ when she was nine years old. She has since gone on to write over forty books, and creating enduring characters such as the famous Tracy Beaker. Her books are loved and cherished by young readers all over the world, and have won numerous prizes including the Children’s Book of the Year, the Smarties Medal and the Children’s Book Award. In 2002 Jacqueline was awarded the OBE for services to literacy in schools and from 2005 to 2007 she was Children’s Laureate. In 2008 she became Dame Jacqueline Wilson. Jacqueline Wilson is also a great admirer of Charlotte Brontë’s Jane Eyre and she has written the introduction to the Whites Pocket Classic edition of the novel.

Tickets: £5 and must be booked in advance.

Special ticket offer for talk with admission to the museum: £8.40 adult; £6.80 child.

Bookings: jenna.holmes@bronte.org.uk/ 01535 640188.

Age guidance 8 + and children should be accompanied by a ticket buying adult.

Olivia Hetreed: Wuthering Heights

Friday 9 December, 7.30pm

West Lane Baptist Centre, Haworth

Andrea Arnold’s new film version of Wuthering Heights will be released in cinemas on 11 November. The film’s screenwriter, Olivia Hetreed, visits Haworth to discuss how she adapted the novel for the screen.

Olivia Hetreed’s first feature film, Girl With a Pearl Earring, was nominated for multiple Oscars and BAFTAs including Best Adapted Screenplay. The film starred Scarlett Johansson and Colin Firth and was adapted from the novel by Tracy Chevalier. Olivia Hetreed started her career as a documentary, drama and film editor before moving into screenwriting for ITV drama, including adaptations of What Katy Did, E.Nesbitt’s The Treasure Seekers and The Canterville Ghost. 

Tickets £6 and must be booked in advance from jenna.holmes@bronte.org.uk / 01535 640188.

Friday 24 February, 7pm

A horror of great darkness: Gothic from the Brontës to Twilight

West Lane Baptist Centre, Haworth

From Dracula to Twilight, the gothic has thrilled, disturbed and drawn out our darker sides for centuries. Jane Eyre and Wuthering Heights played an important part in the Victorian reinvention of the genre, and continue to have an influence on the contemporary interpretation of the gothic. Dr Catherine Spooner explores our continuing obsession with zombies and vampires, and shows how the gothic influences contemporary culture, from literature and film through to fashion, advertising and music.

Tickets £5 and should be booked in advance from jenna.holmes@bronte.org.uk / 01535 640188.

The Garden of Oblivion

Friday 2 March – Thursday 5 April

Brontë Parsonage Museum

Franklin is an artist based in Brussels, Belgium, and has spent many years creating a body of intricate drawings inspired by the Brontës’ lives and works. Franklin has used brush, pencil, pen and china-ink to create this series of detailed drawings, each work taking months to complete. The small-scale works are layered with symbolism, taking inspiration from the Brontës’ imaginative and spiritual world. Franklin’s work draws heavily on poetry and literature, and has been exhibited in Belgium, including Musee Arts et Marges, Brussels and Ermitage Saint Hadelin, Belgium.

Exhibition free with admission to the museum

Ross Raisin

Wednesday 7 March, 2pm

West Lane Baptist Centre, Haworth

Novelist Ross Raisin discusses his new novel, Waterline.

Ross Raisin was born in Silsden in 1979. He went to Bradford Grammar School, studied English at King’s College London and has an MA in Creative Writing from Goldsmith’s University. 

His debut novel, God’s Own Country was published to critical acclaim in 2008, and tells the dark tale of a teenage farmer’s son living on the Yorkshire Moors. Ross was shortlisted for 8 separate awards for the book, including the Guardian First Book Award, John Llewellyn Rhys Prize and Portico Prize, and won the Sunday Times Young Writer of the Year Award 2009. He lives in London.

Tickets £5 and should be booked in advance from jenna.holmes@bronte.org.uk / 01535 640188.

For further information please contact the Arts Officer:

01535 640188

jenna.holmes@bronte.org.uk

www.bronte.info

New Wuthering Heights survey

Paul Daniggelis writes:

This brief survey below was prompted by reviews and trailers of the new

It is primarily designed to satisfy my curiosity of how people see WH. 

Wuthering Heights (WH) film presentation by Andrea Arnold.

It is not a requirement that you have seen this version but if you

respond to these questions it would help if you note that you have seen it.

You may explain or not any of your answers as you will.

You may pass the Survey on to others who may wish to respond

but it is primarily designed for those who have an abiding interest

in the Bronte legacy, not for the casual observer.

I will at the appropriate time compile the results for the perusal

of all who respond.

If you would like to ask your own questions regarding this new film

please do so.

Thank you for your responses.

 

 1A. Do you consider WH to be primarily a Romantic novel?

 1B  A novel of Obsession and Revenge?

 1C  Other?

 

 2A  In your opinion is Heathcliff evil?  

 2B  A person to be admired?

 2C  A product of an abusive background?

 2D  A sympathetic character

 2E  Other?

 3A  In your opinion is Cathy selfish?

 3B  Confused?

 3C  Normal?

 3D  Other?

 

 We know there is sex in WH but it is not explict.

 4   Will you welcome explicit sex scenes in WH?

 

People use offensive language all the time. Presumably

there was explicit language excised from WH.

5. Will you welcome explicit langauge in the new WH

    including the "N", "F" and "C" words?

 

Interpreters of the Brontes and their novels have

occasionally implied "incest" as part of either their

lives or their novels or both.

6. Will you welcome the introduction of incest as a theme in WH?

 

Ms Arnold has filmed only half the novel as has Hollywood far more often than not.

7. Can you accept yet another half-told story?

 

The film cast a black person for the first time in a Bronte story.

8A  Do you find this offensive?

8B  Acceptable?

8C  Other?

 

 9. In this politically correct world, will your opinion of Heathcliff be

altered because he is black in this film?

 

Thank you for your interest.

 

Paul Daniggelis

El Paso, Texas, USA

urbisoler@aol.com

 

Review - We are Three Sisters

Photo by Nobby Clark

Richard Wilcocks writes:
Blake Morrison’s new play We are Three Sisters has opened at the Viaduct Theatre in Halifax’s Dean Clough, and will soon be touring – see the previous blog post for full details. It starts with a hymn, charmingly sung by the sisters and their brother, before the three young women make their way past gravestones to enter a  space with a dining table, where they sit at their little writing desks. Charlotte talks about the death of her mother (I remember them carrying the coffin out and the organ swirling from church and a handful of mourners, black as crows.) This, the audience might guess, is going to be another tale of woe. It is definitely not just that.

Humour is there in abundance, and funnily enough, it works. From what I remember of the last time I saw a production of Anton Chekhov’s Three Sisters, which was used as the template, there were a few titters and no belly-laughs, but Morrison is far from slavish: he dips into the Chekhovian pot to take what he needs, and manages to find some uncanny connections between the Prozorovs and the Brontës.  This has been done before – it is highly probable that Chekhov read a Brontë biography in Russian, and directors of his play have sometimes made Brontë references, but Morrison has created something which is new and remarkable. We are Three Sisters (title taken from what Charlotte said to publisher George Smith during her trip to London revealing that the surname was not Bell) is partly a work of homage to the great Russian, but also a work of homage to Juliet Barker, who advised the playwright, who must have dipped into The Brontës frequently.

Games are played with the chronology. Although the action is in early 1848, there is a bog-burst, and the curate is a version of William Weightman, who died in 1840. There is some witty interference with historical facts as well, which adds amusing artistic verisimilitude, for example when Mrs Robinson turns up at the Parsonage along with the lovestruck Branwell, and Charlotte and Anne come across them snogging.

All of the sisters are impressively presented to us: our disbelief is truly suspended. The pillar portrait hangs above the fireplace, and the sisters on stage bear a strong physical resemblance to Branwell’s depictions, especially Emily. Sophia di Martino seems to have studied the painting carefully while psyching herself into the part, fixing her mouth to match the one in the painting. She is forthright and challenging, furiously protecting her identity, a parallel for Masha, the quick-tempered one, though Masha is the victim of an early marriage, and this Emily’s husband is all in her imagination, a man who gets so close he could be part of her, she tells us. Di Martino is particularly compelling. Catherine Kinsella’s Charlotte is maternal and caring, just like Olya over there in the Russian backwater, and her reactions to the letters which arrive from London are a joy. Significant decisions are made in London, where there are so many beautiful sights and interesting people! Rebecca Hutchinson conveys the romanticism and fading naivety of Anne with great skill, especially in her encounters with the flirty curate, a general approximation for the lovesick Lieutenant-Colonel Vershinin, a character who is fond of expounding on the way the world is going, or should go, and who was played originally by Constantin Stanislavski himself. Anne is also addressed affectionately as a seagull by the doctor. A knowing wink from Morrison?

William Weightman was obviously a charmer, but his flirtations were within strict boundaries as far as we know, confined to smiles and Valentine cards. The curate here (Marc Parry) is also charming, but rather brash at times, sounding like someone with a social conscience in the twentieth century. He brings in the Chartists, who were, I suppose, well before their time. Morrison’s characterisation is perfectly logical, linking with the Year of Revolutions, and he does not push things too far by, say, mentioning Feargus O’Connor and mass demonstrations.

Patrick is sweet and bumbling, an excellent Ulster-accented performance from ex-comedian Duggie Brown, and Eileen O’Brien is simply brilliant as Tabby, the soul of Yorkshire, with a blunt manner which was very recognisable for this audience, and which raised the biggest laughs of the evening. Branwell (Gareth Cassidy) stamps around wonderfully, a spoilt puppy if ever there was one – like Andrei in the Chekhov, who brings in his love, the lower-class Natasha, to spoil the atmosphere and hound the servants.

Natasha in the Morrison is a startlingly vulgar Lydia Robinson. She is just a step or two away from Mrs Bucket, or even the Widow Twankey, but Becky Hindley pulls it off, stopping short of pantomime, truly hideous in a glaring green outfit (colour of bad luck for Chekhov) and providing a powerful contrast for the grey-clad and unfashionable sisters. She treats poor Tabby with utter contempt (A pot of tea would be nice. (To TABBY) Did you hear, tea? Don’t just stand there when I’m talking to you. Go on. Move.) Appalling!

Morrison has drafted in two characters taken from the historical records – the doctor, John Wheelhouse, and the teacher, Ebenezer Rand, well-known in Haworth in their time. Both give opportunities for memorable vignettes. They are side-characters, not all that much more than two-dimensional beings who bring the focus more strongly on to the three-dimensional principals, though the doctor (John Branwell) is given some depth, an ageing, cynical and materialistic wooer of Anne with a hipflask always at hand. He is, like the teacher, a complete Morrison invention, though he seems to come out of a Dickens novel.

Barrie Rutter is riveting as the even more Dickensian Teacher, who presses his self-published writing on everyone he converses with - true to the facts if you heard Ian Dewhirst speak during the June weekend about the many amateur – and seldom readable -  authors around in Haworth in Brontë times. This teacher is a real, Latin-quoting pedant, and I can say that I have met one just like him, larger than life, the sort of character you steer clear of at parties. The Teacher, or rather Barrie Rutter, shook my hand as I came into the theatre, along with most of the other members of the audience, because he is the director and this is Northern Broadsides, the acclaimed Northern Broadsides which gave us those terrific Wars of the Roses and which has worked with Blake Morrison before. It’s a company which stamps when others just walk, and I love that.

Chances are, this play will be around for a long time...