Wednesday, 21 February 2007
Parsonage Ceilidh
This is the poster for the fundraising ceilidh on 17 March. It is being organised by the Parsonage staff. Please come if you can. If you can't, please remember to raise your glass of whatever you fancy to the Brontës and all their ancestors on the Irish side.
Inspired - a reminder
We've told you about this before. Here it is again in slightly more detail. On Wednesday 7 March 2007 at 7.30pm in the West Lane Baptist Centre in Haworth, a panel discussion entitled Inspired - The Brontës' Influence will take place.
The Brontës’ influence on writers has persisted through to the present day and this event will bring together a number of established authors who have acknowledged a debt to the Brontës. A panel discussion will be led by Patsy Stoneman and will include;
Stevie Davies: Novelist, literary critic, biographer and historian. Her first novel Boy Blue (1987) won the Fawcett Society Book Prize and Closing the Book (1994) was longlisted for the Booker Prize. Her fifth novel, Four Dreamers and Emily was published in 1996 followed by The Web of Belonging (1997) which was adapted for television by Alan Plater. Her most recent novel Kith and Kin was longlisted for the Orange Prize 2004 and The Eyrie will be published in February 2007. Stevie Davies is Director of Creative Writing at University of Wales, Swansea.
Patricia Duncker: Patricia Duncker’s first novel Hallucinating Foucault (1996), won the Dillons First Fiction Award and the McKitterick Prize. She is the author of two further novels, James Miranda Barry (1999) and The Deadly Space Between (2002) and two collections of short fiction, Monsieur Shoushana’s Lemon Trees (1997) and Seven Tales of Sex and Death (2003). Her most recent novel is Miss Webster and Chérifiss. She is Professor of Creative Writing (Prose Fiction) at the University of East Anglia.
Michele Roberts: Michele Roberts is the author of twelve highly praised novels including The Mistressclass (2003) and Reader, I Married Him (2005). She has also published short stories, poetry and essays. She was shortlisted for the 1992 Booker Prize and won the WH Smith Literary Award in 1993. Michele Roberts is a former judge of the Booker Prize and is a regular book reviewer and broadcaster. She is a Professor of Creative Writing at the University of East Anglia.
Patsy Stoneman: Patsy Stoneman is an Emeritus Reader of the University of Hull. She has published widely on the Brontë novels, including the introduction to the Oxford World’s Classics edition of Wuthering Heights and essays in both the Oxford and Cambridge companions to the Brontës. Her major monograph is Brontë Transformations: the Cultural Dissemination of Jane Eyre and Wuthering Heights. She has recently completed an illustrated edition of eight hitherto unknown Victorian stage plays based on Jane Eyre scheduled to appear in 2007.
Tickets for this event are £6.50 and should be booked in advance. For further details and bookings please contact the Brontë Parsonage Museum, Haworth, 01535 640194/ andrew.mccarthy@bronte.org.uk
The Brontës’ influence on writers has persisted through to the present day and this event will bring together a number of established authors who have acknowledged a debt to the Brontës. A panel discussion will be led by Patsy Stoneman and will include;
Stevie Davies: Novelist, literary critic, biographer and historian. Her first novel Boy Blue (1987) won the Fawcett Society Book Prize and Closing the Book (1994) was longlisted for the Booker Prize. Her fifth novel, Four Dreamers and Emily was published in 1996 followed by The Web of Belonging (1997) which was adapted for television by Alan Plater. Her most recent novel Kith and Kin was longlisted for the Orange Prize 2004 and The Eyrie will be published in February 2007. Stevie Davies is Director of Creative Writing at University of Wales, Swansea.
Patricia Duncker: Patricia Duncker’s first novel Hallucinating Foucault (1996), won the Dillons First Fiction Award and the McKitterick Prize. She is the author of two further novels, James Miranda Barry (1999) and The Deadly Space Between (2002) and two collections of short fiction, Monsieur Shoushana’s Lemon Trees (1997) and Seven Tales of Sex and Death (2003). Her most recent novel is Miss Webster and Chérifiss. She is Professor of Creative Writing (Prose Fiction) at the University of East Anglia.
Michele Roberts: Michele Roberts is the author of twelve highly praised novels including The Mistressclass (2003) and Reader, I Married Him (2005). She has also published short stories, poetry and essays. She was shortlisted for the 1992 Booker Prize and won the WH Smith Literary Award in 1993. Michele Roberts is a former judge of the Booker Prize and is a regular book reviewer and broadcaster. She is a Professor of Creative Writing at the University of East Anglia.
Patsy Stoneman: Patsy Stoneman is an Emeritus Reader of the University of Hull. She has published widely on the Brontë novels, including the introduction to the Oxford World’s Classics edition of Wuthering Heights and essays in both the Oxford and Cambridge companions to the Brontës. Her major monograph is Brontë Transformations: the Cultural Dissemination of Jane Eyre and Wuthering Heights. She has recently completed an illustrated edition of eight hitherto unknown Victorian stage plays based on Jane Eyre scheduled to appear in 2007.
Tickets for this event are £6.50 and should be booked in advance. For further details and bookings please contact the Brontë Parsonage Museum, Haworth, 01535 640194/ andrew.mccarthy@bronte.org.uk
Tuesday, 20 February 2007
John Brown's house
Visiting Haworth? Need a place to stay? The Brontë Spirit blog - www.brontespirit.blogspot.com - has an item which might be of interest to you: John Brown's House, aka The Sexton's House aka Haworth Church Cottage, can now be booked.
Visit the blogsite to find out more.
Visit the blogsite to find out more.
Wednesday, 14 February 2007
A poem for Valentine's Day
Visitors' Book
Up to Haworth for the early spring –
As was our brief custom – to see
The snowdrops pester out the winter grief
Of the Parsonage and retrace songlines
In the slab bleak churchyard. A half-starved
Plath, you’d drawn all this in, drinking
Greedily an unworded recognition,
With the thirst of the thwarted, the held-back
And terraced; like the time in El Prado
When I found you weeping before Goya
Unable to say why. I pay my fiver
And go inside. A circus family, really,
In their freakishness; with their tiny
Feet and tiny books. A puff of wind
Could blow them down permanently
And did. You said you felt at home
Here, though you couldn’t say how.
On a table in the hallway, I see it now
And cannot resist the urge of recollection,
Leafing back through the neutral years
Until, sure enough, there they are
Witnessed by a motley decade
Of subsequent strangers: our signatures
In the Visitors Book. The giddy roll
Of my stomach at seeing your hand
Once more, the blinking out of reason
Then the slow, haunted smile to a spring-melt
Of memory. ‘MM’ and ‘MM’: the rapid
Pulse of a small creature short of breath.
You told me on the night of our first
Coupling that I’d be pushed away and
You were as good as your word. But
Before the madness and separation,
Before the Wide Sargasso Sea of your
Dark history opened up between us
An unbridgeable gap, we strode the wild moors
As right and wrong as any lovers.
Later, in the guesthouse, the landlord
Leads me to the same Room 7,
The chipper undertaker of blind ironies.
Our ghosts, aroused, turn to greet me:
A naked threesome splayed and open,
Lashed to the bed of unlinear time
In the room where you were last joyful,
In the space where last we were beautiful.
Martin Malone
A memento for Charles Lemon
A number of tributes to the late Charles Lemon MBE (see blog archive for January) have been made by those who knew him. A display which includes some of them, together with selected photographs, will be put up for Brontë Society members who attend the annual June Weekend in Haworth which begins on Friday 1 June. This one was sent by Maddalena de Leo in Italy:
Charles Lemon – a personal memento
I’ve just heard of Mr Charles Lemon’s death and although I never knew him in person, I would like to bear a personal witness of this wise man whose kindness and culture were evident even through paper.
In Autumn 1980 as a young student at university, my greatest dream was to have an article of mine published in Brontë Society Transactions, as the current Brontë Studies journal was then called. I had been a BS member since 1975 but nobody at Haworth knew me besides Mr Norman Raistrick, the Parsonage custodian, to whom every year I sent money by letter to renew my subscription. Being already interested in Charlotte’s Juvenilia and having read by chance the short tale Albion and Marina – at that time there was no popular edition of her early writings, let alone in Italy – I enthusiastically wrote a short article in English on the topic with my impressions and promptly sent it by mail to the editor, Mr Charles Lemon.
From that day, even if I was an unknown young student, I eagerly waited for an answer from him and surprisingly, after some time it came. In the letter Mr Lemon, who then lived in Bognor Regis, told me he needed to ‘refresh’ his ideas on Albion and Marina to be able to judge my writing so he kindly asked me to wait for a few weeks.
Meanwhile, the southern area of Italy where I then lived was hit by a terrible earthquake on 23 November and all changed around me - what a sad period! Also, John Lennon was shot in New York some twenty days later ….
Mr Lemon’s opinion came, as promised, with his moving concern on that Italian earthquake and I still keep his letter among my most treasured papers, hand-revised by him in many parts and with his own signature at the end. It contained a veiled refusal for the publication of my article but, I dare say, with a so kind and articulated discussion on Albion and Marina that it seemed to me better than an appreciation!
Maddalena De Leo
11th January 2007
Here’s the complete text of Mr Charles Lemon’s letter:
24 Burnham Avenue
Bognor Regis, West Sussex
19 December 1980
Dear Maddalena De Leo,
Since writing to you on 20th November I have been able to obtain a copy of ‘Albion and Marina’, but before writing on that subject I must express the hope that you have come safely through the dreadful earthquake which recently afflicted your part of Italy.
Having re-read ‘Albion and Marina’ I have been able to appreciate your comments which are both observant and well expressed. It is remarkable what a wealth of knowledge the young Brontës amassed through the teaching received at home (before they went out to school) and through the access they were permitted to the periodicals and newspapers at the Parsonage.
You have drawn attention to the way in which Charlotte in this little piece foreshadows some of the events in her novels – in particular the remarkable message from Rochester to Jane Eyre which travelled simultaneously across so many miles. Some Brontë scholars as you probably know argue that all the materials used in the Brontë novels are to be found in the Juvenilia.
The present story is, as you say, a fragment of Angria, an episode of relative tranquillity – abounding in human tension but at the same time without extremes of violence. This is an interesting point because you will see in this year’s Transactions a poem by Charlotte, hitherto unpublished, written on the back of a letter from Roe Head. The letter was written in 1832 but the poem was probably written when Charlotte was engaged on that part of the story when Zamorna was conquering the country.
The Byronic influence is clear but ‘Albion and Marina’ has other points of interest which would not be apparent to those unfamiliar to England. In particular attention can be drawn to Charlotte’s remarkable achievement, at the age of 14, in describing the country in the south of England, when she had scarcely ever left the limits of her remote village in Yorkshire. The result may not be entirely accurate but it reads very well! One is also entertained by the rapid transformation of the Duke of Strathelleraye’s residence from a ‘magnificent villa’ to a palace and then to a castle, all within the space of a few pages.
The difference of rank between the Duke and Sir Alured Angus is probably exaggerated by Charlotte. Both are gentlemen of title and the physician to a Duke is clearly someone highly placed in his profession who would have a number of equally important patients. His daughter therefore would have some claim to a place in society and her outstanding beauty would support such a claim.
I hope you will enjoy reading Transactions. With best wishes for the New Year,
Yours sincerely,
Charles Lemon
Charles Lemon – a personal memento
I’ve just heard of Mr Charles Lemon’s death and although I never knew him in person, I would like to bear a personal witness of this wise man whose kindness and culture were evident even through paper.
In Autumn 1980 as a young student at university, my greatest dream was to have an article of mine published in Brontë Society Transactions, as the current Brontë Studies journal was then called. I had been a BS member since 1975 but nobody at Haworth knew me besides Mr Norman Raistrick, the Parsonage custodian, to whom every year I sent money by letter to renew my subscription. Being already interested in Charlotte’s Juvenilia and having read by chance the short tale Albion and Marina – at that time there was no popular edition of her early writings, let alone in Italy – I enthusiastically wrote a short article in English on the topic with my impressions and promptly sent it by mail to the editor, Mr Charles Lemon.
From that day, even if I was an unknown young student, I eagerly waited for an answer from him and surprisingly, after some time it came. In the letter Mr Lemon, who then lived in Bognor Regis, told me he needed to ‘refresh’ his ideas on Albion and Marina to be able to judge my writing so he kindly asked me to wait for a few weeks.
Meanwhile, the southern area of Italy where I then lived was hit by a terrible earthquake on 23 November and all changed around me - what a sad period! Also, John Lennon was shot in New York some twenty days later ….
Mr Lemon’s opinion came, as promised, with his moving concern on that Italian earthquake and I still keep his letter among my most treasured papers, hand-revised by him in many parts and with his own signature at the end. It contained a veiled refusal for the publication of my article but, I dare say, with a so kind and articulated discussion on Albion and Marina that it seemed to me better than an appreciation!
Maddalena De Leo
11th January 2007
Here’s the complete text of Mr Charles Lemon’s letter:
24 Burnham Avenue
Bognor Regis, West Sussex
19 December 1980
Dear Maddalena De Leo,
Since writing to you on 20th November I have been able to obtain a copy of ‘Albion and Marina’, but before writing on that subject I must express the hope that you have come safely through the dreadful earthquake which recently afflicted your part of Italy.
Having re-read ‘Albion and Marina’ I have been able to appreciate your comments which are both observant and well expressed. It is remarkable what a wealth of knowledge the young Brontës amassed through the teaching received at home (before they went out to school) and through the access they were permitted to the periodicals and newspapers at the Parsonage.
You have drawn attention to the way in which Charlotte in this little piece foreshadows some of the events in her novels – in particular the remarkable message from Rochester to Jane Eyre which travelled simultaneously across so many miles. Some Brontë scholars as you probably know argue that all the materials used in the Brontë novels are to be found in the Juvenilia.
The present story is, as you say, a fragment of Angria, an episode of relative tranquillity – abounding in human tension but at the same time without extremes of violence. This is an interesting point because you will see in this year’s Transactions a poem by Charlotte, hitherto unpublished, written on the back of a letter from Roe Head. The letter was written in 1832 but the poem was probably written when Charlotte was engaged on that part of the story when Zamorna was conquering the country.
The Byronic influence is clear but ‘Albion and Marina’ has other points of interest which would not be apparent to those unfamiliar to England. In particular attention can be drawn to Charlotte’s remarkable achievement, at the age of 14, in describing the country in the south of England, when she had scarcely ever left the limits of her remote village in Yorkshire. The result may not be entirely accurate but it reads very well! One is also entertained by the rapid transformation of the Duke of Strathelleraye’s residence from a ‘magnificent villa’ to a palace and then to a castle, all within the space of a few pages.
The difference of rank between the Duke and Sir Alured Angus is probably exaggerated by Charlotte. Both are gentlemen of title and the physician to a Duke is clearly someone highly placed in his profession who would have a number of equally important patients. His daughter therefore would have some claim to a place in society and her outstanding beauty would support such a claim.
I hope you will enjoy reading Transactions. With best wishes for the New Year,
Yours sincerely,
Charles Lemon
Sunday, 11 February 2007
Meeting in Milan
In Italy and reading this? Why not meet some of our Italian members on 24 February? You would be more than welcome!
Tuesday, 23 January 2007
Inspired - The Brontës' Influence
On Wednesday 7 March at 7.30pm, a panel discusssion will take place at the West Lane Baptist Centre in Haworth which will include Stevie Davies, Patricia Duncker and Michele Roberts. In the chair will be Patsy Stoneman.
All of these authors will acknowledge a debt to the Brontës. Tickets are £6.50. They are available from andrew.mccarthy@bronte.org.uk, phone 01535 640194.
Below - Patricia Duncker, Professor of Creative Writing at the University of East Anglia in Norwich.
All of these authors will acknowledge a debt to the Brontës. Tickets are £6.50. They are available from andrew.mccarthy@bronte.org.uk, phone 01535 640194.
Below - Patricia Duncker, Professor of Creative Writing at the University of East Anglia in Norwich.
Saturday, 20 January 2007
Visit to the Foundling Hospital
The painting is Moses Brought Before Pharaoh’s Daughter by William Hogarth, which is in the care of the Foundling Museum in Brunswick Square, London. This will be visited by Brontë Society members (and non-members, so consider yourself invited) on Sunday 4 February.
Meet at 12 noon outside Russell Square Tube Station - which is on the Piccadilly Line. Admission to the Museum is £5.
Ann Simmonds pointed out the reference to the Foundling Hospital in Stephen Whitehead's book The Brontës' Haworth -
James Grenwood employed sixty hands at Bridgehouse in 1833, half of them under sixteen and some as young as ten. This was an advance on conditions thirty years earlier, when james Greenwood's cousin John at Vale Mill, half a mile downstream from Bridgehouse, was employing orphaned girls from as young as five, assigned to him from the Foundling Hospital in London.
Another London event for Society members and anyone else who wants to join in - Tea and Chat at the Barbican on Sunday 11 March. Meet at 12 noon at the Waterside Café for tea and Brontë chat about Jane Eyre.
Monday, 15 January 2007
Coming soon
The Parsonage is closed to the public at the moment, as usual at this time of year, but there is plenty going on. In the picture, Librarian Ann Dinsdale and Curator Polly Salter are seen dealing with one of many seasonal tasks.
On Thursday 1 February, a new, special exhibition will open to commemorate the 150th anniversary of the publication of Mrs Gaskell's The Life of Charlotte Brontë. The exhibition, which is free on admission to the museum, has the same title.
Thursday, 11 January 2007
Charles Lemon MBE 1914 - 2007
The following is from a recent news release sent to the local and national press:
The Brontë Society has sent its condolences to the family of Charles Lemon MBE, who died on the morning of 4 January. His funeral is at St Anne’s Catholic church in Keighley at 12pm on Friday 12 January.
Charles Lemon joined the Brontë Society in 1936 after having cycled to Haworth (from London) the previous year. He was a very active member, elected to the Society’s council several times and serving as chairman. He was the editor of Transactions (the Society’s academic journal) from 1964 – 1983 and served on the editorial board of Brontë Studies, the journal which replaced it, until the day he died.
As Bibliographical Secretary (a post which no longer exists) he frequently attended auctions on behalf of the Parsonage, helping in the purchasing of letters and other Brontë memorabilia.
His publications include :
A Leaf from an Unopened Volume by Charlotte Brontë (1986) (new transcription, edited by Charles Lemon)
A Centenary History of the Brontë Society
Early Visitors to Haworth (1996)
Classics of Brontë Scholarship (1999) (selected and introduced by Charles Lemon)
In the foreword to A Centenary History of the Brontë Society, the famous historian and past President of the Brontë Society Asa Briggs (born in Keighley in 1921) wrote, “The Brontë Society has a long and fascinating history and no one is better suited to write it than Charles Lemon, who has played an active part in the story.”
Current Chairman of the Brontë Society Richard Wilcocks commented, “ With the death of Charles Lemon we have lost an extraordinary member.
“Through his efforts and imagination he set an example for us all. He is one of the reasons the Brontë Society has survived and flourished since its founding in 1893, longer than most other literary societies.”
Previous Chairman Bob Barnard said, “He was a gentle, scholarly man, enormously well-read, who came over the years to represent all that is best in the Society”.
When he spoke to younger members of his family he remembered that as a young child in London he was held by his mother during bombing raids - by Zeppelins. He also recalled the return of his father from the Great War: he had been fighting in France and in Italy.
He attended Davidson Road Junior School, which a few years earlier (1908 - 1911) had boasted D H Lawrence on its staff. Later, at Selhurst Grammar, where he first discovered Jane Eyre, he particulary loved History, Latin and English, and would undoubtedly have had a distinguished university career had his parents' finances permitted - but he left to take a job at the age of sixteen.
A full obituary will appear in the next issue of Brontë Society Gazette.
Friday, 29 December 2006
Best Wishes!
Best wishes for the New Year to all who have contributed to, given advice for or passed comment on this blog during its first year of existence!
Friends
The Friends of the Brontë Society is the name of a group just formed at the Parsonage, made up of staff members. It will be concerned with raising money for the recently-finalised Forward Plan, intended to take the Society and the Parsonage into the Twenty First Century.
Fundraising will be one of the principal concerns of the Society in 2007: plans for a new centre for visitors have been in existence for a long time, needing only a massive injection of funds to make them come true. More immediate plans for an ambitious programme to further establish the Parsonage as a vibrant creative centre for the arts as well as a world centre for Brontë Studies will also need adequate financial backing, of course.
The Friends coordinator is Pat Berry. First event is a ceilidh to be held in Haworth on St Patrick's Day in March. More details nearer the date.
Fundraising will be one of the principal concerns of the Society in 2007: plans for a new centre for visitors have been in existence for a long time, needing only a massive injection of funds to make them come true. More immediate plans for an ambitious programme to further establish the Parsonage as a vibrant creative centre for the arts as well as a world centre for Brontë Studies will also need adequate financial backing, of course.
The Friends coordinator is Pat Berry. First event is a ceilidh to be held in Haworth on St Patrick's Day in March. More details nearer the date.
Wednesday, 15 November 2006
Ann on the radio
Parsonage Librarian Ann Dinsdale is on BBC Radio 4 tomorrow (Thursday 16 November) at 1.30pm. The following is an extract from the Open Country preview page -
Most of us know the Upper Worth Valley because of the work of a remarkable family – Charlotte, Anne and Emily – better known as the Brontës. Their novels and poetry has helped shaped people’s ideas of what this valley was like, and has drawn people to The Old Parsonage Museum where the family lived in Haworth. Richard chats with Ann Dinsdale, the museum’s librarian, who’s just published a book about the family called “The Brontës at Haworth.”
Next, Richard climbs to the top of a ridge to get an overview of the Upper Worth Valley with topographer Reg Hindley. Geology, poltics, economics and social upheaval had all had an effect on the look of the valley. According to Reg, each colour on the patchwork quilt of farms and moorland that can be seen is the result of some sort of change. And the landscape is still changing today.
You can read the rest on http://www.bbc.co.uk/radio4/factual/opencountry.shtml
Most of us know the Upper Worth Valley because of the work of a remarkable family – Charlotte, Anne and Emily – better known as the Brontës. Their novels and poetry has helped shaped people’s ideas of what this valley was like, and has drawn people to The Old Parsonage Museum where the family lived in Haworth. Richard chats with Ann Dinsdale, the museum’s librarian, who’s just published a book about the family called “The Brontës at Haworth.”
Next, Richard climbs to the top of a ridge to get an overview of the Upper Worth Valley with topographer Reg Hindley. Geology, poltics, economics and social upheaval had all had an effect on the look of the valley. According to Reg, each colour on the patchwork quilt of farms and moorland that can be seen is the result of some sort of change. And the landscape is still changing today.
You can read the rest on http://www.bbc.co.uk/radio4/factual/opencountry.shtml
Monday, 13 November 2006
Brontë moon crater
Thanks to Paul Daniggelis in El Paso, Texas for sending us (and many others) the following link for the Brontë Crater on the Moon.
www.lpi.usra.edu/resources/mapcatalog/LPST/43d1s2
Thanks are also due to Jennifer Blue at the United States Geological Survey in Flagstaff Arizona, who was responsible for locating the photographic file.
The crater was named for Charlotte by Harrison Schmitt, Lunar Module Pilot for the Apollo 17 Lunar excursion. Paul Daniggelis's article in Brontë Society Gazette 22 (April 2000) covers this event and quotes from Chapter 24 of Jane Eyre:
Fire rises out of the lunar mountains: when she is cold, I'll carry her up to a peak, and lay her down on the edge of a crater.
www.lpi.usra.edu/resources/mapcatalog/LPST/43d1s2
Thanks are also due to Jennifer Blue at the United States Geological Survey in Flagstaff Arizona, who was responsible for locating the photographic file.
The crater was named for Charlotte by Harrison Schmitt, Lunar Module Pilot for the Apollo 17 Lunar excursion. Paul Daniggelis's article in Brontë Society Gazette 22 (April 2000) covers this event and quotes from Chapter 24 of Jane Eyre:
Fire rises out of the lunar mountains: when she is cold, I'll carry her up to a peak, and lay her down on the edge of a crater.
Tuesday, 7 November 2006
Genealogy and W S Williams
Norman E Penty writes:
The Discovery of Charlotte Brontë
by William Smith Williams (1800-1875)
Charlotte Brontë may have remained in obscurity if it had not been for the faith, foresight and fortitude of William Smith Williams, the literary editor of Smith Elder who first recognised her talent when, using the pseudonym Currer Bell, and after a number of rejections, she forlornly sent them a copy of The Professor. Even though this manuscript was initially rejected it was done in such a positive and encouraging manner that Charlotte shortly sent Williams a draft of Jane Eyre which was soon published to great acclaim.
Little has hitherto been known of Williams and the background of this unassuming and quiet man. Most of what we know about Williams' character has been gleaned from the large volume of letters written to him by Charlotte. Unfortunately, most of those written by him to her have disappeared. However, the extant correspondence shows that Charlotte not only leant on Williams for support and advice, using him as her mentor, but that it was a two-way affair inasmuch she keenly offered him advice on the care and education of his children, drawing on her own experience as governess and teacher. Their friendship was not just confined to a professional relationship, but one which spilled over into their personal lives when on several occasions Charlotte visited the Williams' home and was entertained by his family and friends.
My research into discovering more about this fascinating man concentrated on parish records, census returns, and wills, etc., all of which enabled me to trace the origins of his family back to 1690 in Oxfordshire; his birth in the parish of St Martin-in-the- Fields; his marriage at Broxbourne, Herts; the births of his eight children and what happened to them; and finally his death and burial at Kensal Green. My quest identified his apprenticeship with the Fleet Street publishers, Taylor & Hessey, where he was in the small party bidding a final farewell to John Keats as he left for Rome and immortality; his subsequent miserable existence as a bookkeeper, which he disliked and which encouraged him to supplement his income by writing literary articles in his leisure time and then his eventual employment as literary editor at Smith Elder.
At Smith Elder he was held in high esteem, not only by his employer and colleagues but by many literary luminaries such as Thackeray, the Leigh Hunts, Hazlitt and Mrs Gaskell. It was commented that he “cherished from boyhood a genuine love of literature and received much kindly notice from eminent writers” and that “he was by nature too modest to gain any wide recognition”.
Although it appears Williams was a close family man, a modest man, about whom no misdemeanour can be found, he was very tolerant of the more colourful characters with whom he associated and became his friends including George Henry Lewes and his wife Agnes, Thornton Hunt and George Eliot, all of whom scandalised Victorian society with their so-called progressive views on marriage.
Besides his greatest legacy in ensuring that the name and talents of Charlotte Bronte became universally recognised, his children and their descendants became highly regarded as singers, musicians, artists, lawyers and accountants both in the UK and overseas.
The above titled forty five-page booklet can be viewed at The Parsonage Museum or at The Society of Genealogists, London.
Photo of W S Williams
The Discovery of Charlotte Brontë
by William Smith Williams (1800-1875)
Charlotte Brontë may have remained in obscurity if it had not been for the faith, foresight and fortitude of William Smith Williams, the literary editor of Smith Elder who first recognised her talent when, using the pseudonym Currer Bell, and after a number of rejections, she forlornly sent them a copy of The Professor. Even though this manuscript was initially rejected it was done in such a positive and encouraging manner that Charlotte shortly sent Williams a draft of Jane Eyre which was soon published to great acclaim.
Little has hitherto been known of Williams and the background of this unassuming and quiet man. Most of what we know about Williams' character has been gleaned from the large volume of letters written to him by Charlotte. Unfortunately, most of those written by him to her have disappeared. However, the extant correspondence shows that Charlotte not only leant on Williams for support and advice, using him as her mentor, but that it was a two-way affair inasmuch she keenly offered him advice on the care and education of his children, drawing on her own experience as governess and teacher. Their friendship was not just confined to a professional relationship, but one which spilled over into their personal lives when on several occasions Charlotte visited the Williams' home and was entertained by his family and friends.
My research into discovering more about this fascinating man concentrated on parish records, census returns, and wills, etc., all of which enabled me to trace the origins of his family back to 1690 in Oxfordshire; his birth in the parish of St Martin-in-the- Fields; his marriage at Broxbourne, Herts; the births of his eight children and what happened to them; and finally his death and burial at Kensal Green. My quest identified his apprenticeship with the Fleet Street publishers, Taylor & Hessey, where he was in the small party bidding a final farewell to John Keats as he left for Rome and immortality; his subsequent miserable existence as a bookkeeper, which he disliked and which encouraged him to supplement his income by writing literary articles in his leisure time and then his eventual employment as literary editor at Smith Elder.
At Smith Elder he was held in high esteem, not only by his employer and colleagues but by many literary luminaries such as Thackeray, the Leigh Hunts, Hazlitt and Mrs Gaskell. It was commented that he “cherished from boyhood a genuine love of literature and received much kindly notice from eminent writers” and that “he was by nature too modest to gain any wide recognition”.
Although it appears Williams was a close family man, a modest man, about whom no misdemeanour can be found, he was very tolerant of the more colourful characters with whom he associated and became his friends including George Henry Lewes and his wife Agnes, Thornton Hunt and George Eliot, all of whom scandalised Victorian society with their so-called progressive views on marriage.
Besides his greatest legacy in ensuring that the name and talents of Charlotte Bronte became universally recognised, his children and their descendants became highly regarded as singers, musicians, artists, lawyers and accountants both in the UK and overseas.
The above titled forty five-page booklet can be viewed at The Parsonage Museum or at The Society of Genealogists, London.
Photo of W S Williams
Friday, 3 November 2006
The Brontës at Haworth by Ann Dinsdale
Parsonage Librarian Ann Dinsdale spoke to Richard Wilcocks about her just-published book The Brontës at Haworth:
The book came about because Anne Fraser from the publisher Frances Lincoln saw the Parsonage Guide in the summer of 2004, which I had co-authored. She was so impressed with its general quality that she contacted me and Simon Warner and we took it from there.
The title? Simple and straightforward, I think. Lincoln wanted something a little more highfalutin, but I didn’t feel comfortable with their suggestions. It has such a strong focus on Haworth, so the name had to be in it. It’s simple but it sums it all up.
For research I didn’t have to stir beyond the library here, which of course contains the best collection of Brontë material in the world. I had access to parish records, contemporary accounts, newspapers, everything. After seventeen years I am quite familiar with what there is.
The people who have commented so far have been complimentary - for example Jane Sellars read the Art section and Steve Wood read the parts on social conditions in Haworth. My colleague Steve Whitehead told me he was impressed by the book’s range.
After all my time here dealing with visiting researchers I have got an idea of what people want to know, so I have tried to address relevant concerns. There are no footnotes because the book is not aimed merely at a university audience.
I am very happy with the wonderful photos by Simon Warner, which complement the text so well.
Some new or little-known items might stick in the reader’s mind, for example some of the contemporary views of the Brontë novels. One reviewer said that Wuthering Heights would ‘live a short and brilliant life and then die and be quickly forgotten’.
Then there’s the transcript of the account book of the local joiner William Wood, a good name for a joiner I think. He made coffins. His spelling gives an idea of how he spoke.
When ‘Miss Branwell’ died in 1842, her ‘coffen’ cost £5.12s.6d. When Branwell died in 1848 the ‘coffen & scroud making’ totalled only £3.15s. Then there is this:
Emlea Jane Bronty. Died Dec 19th 1848 in the 30 year of hir Age. Coffen 5ft 7” long 16” broad.
The Brontës at Haworth by Ann Dinsdale, with photographs by Simon Warner, is published by Frances Lincoln. ISBN 0711225729
To purchase it, contact the Parsonage shop using the link on the right.
Photo - Ann Dinsdale in the Parsonage Library
Wednesday, 1 November 2006
Kate Bush and 'Kateness'
Some years ago now, the excellent Kate Bush put Wuthering Heights on the map for many people. A group of her fans slogged up to Top Withins last Sunday (28 October) on the HomeGround Wuthering Hike. Thanks to Peter, Co-editor of HomeGround the Kate Bush Magazine for telling us about it!
Predictably, they were very wet and very happy when they returned: “If anyone ever feels they want to attend one of these bashes don't let anything stop you, you won't regret it. I nearly killed myself doing the hike but by the time we got to the top I was very wet and laughing like I have never laughed in years,” said one of them on the pages of the Kate Bush News and Info Forum, adding, “Being immersed in 'Kateness' is so good for the soul”.
Most of the walkers appear to have ended up supping ale in the back room of the Black Bull in Haworth, a fitting end for a great day out.
This photo is of Tracy at the Brontë Falls:
Saturday, 28 October 2006
Last month's conference
Last month (22 September - 24 September) The Brontës and their Background - a weekend conference - took place in the Baptist Centre in West Lane, Haworth.
Speakers were Stephen Whitehead (The Haworth the Brontës knew), main organiser Bob Duckett (Where did the Brontës get their books?), Ian Emberson ("The likeness of a kingly crown": John Milton and his influence on Charlotte), Yukari Oda (Wuthering Heights and the Waverley novels: Scott's influence on Emily), Elizabeth Leaver (Why Anne Brontë wrote as she did), Brian Wilks (Charlotte Brontë and the two churches) and Ian Dewhirst (The Real Haworth: Myths and Anecdotes)
Ian Dewhirst was the speaker at the Conference Dinner in The White Lion in Haworth.
Tom Winnifrith was in hospital so unfortunately could not contribute. Instead, a forum took place in his time slot, chaired by Robert Barnard.
One of the delegates was Marcia Zaaijer, who is an archivist from Rotterdam in the Netherlands: she recently sent the post below. Conference papers will probably not be published as a booklet (Brontë Society Council is economising) but should be available on request from Bob Duckett as photocopies. Contact him through this blog - email hevelius@poriruacity.com
A brief impression of the Bronte Weekend Conference 2006:
Every speaker impressed me with something to do or to remember. So many details of life in the Brontës’ Haworth, that both Steven Whitbread and Ian Dewhurst were able to present! Ian Dewhurst spoke in the kind of language, that in my Dutch imagination I like to think sounds like the language the Brontës heard around them.
And all those books they read, without a library next door, while I still have not read any more Walter Scott than Ivanhoe and Kenilworth. Of The Pilgrim's Progress and Paradise Lost I have nothing more than a vague notion that there was also a Paradise to be Regained, but this has more to do with me preferring happy endings than with any knowledge of English literature.
Really, maybe I should go and attend school in South Africa: I love the way Elisabeth Leaver championed Anne and The Tenant of Wildfell Hall. With a bit of luck some Afrikaners might understand my Dutch.
The nicest surprise for me as an archivist was on Sunday morning. Brian Wilks realised, or someone made him realise, that the Bishop of Ripon, who visited Mr. Brontë in the parsonage in Haworth when Charlotte was Patrick's only surviving child and already a celebrated authoress, went on to become the Archbishop of Canterbury. Obviously this means that his archives are kept at Lambeth Palace, and that in his archives are notes about his visit to Mr Brontë, which reveal that Charlotte was a good hostess to him. We know about the bishop's visit, because Charlotte writes about it in a letter. Now we get the story from the visitor, someone who actually stayed at the Parsonage. Two trustworthy historical sources which tell of the same meeting: that's a bonus for an archivist.
In the first photo below, taken during the forum, from the left Stephen Whitehead, Brian Wilks, Robert Barnard, Elizabeth Leaver, Ian Emberson. In the other photo, Ian Dewhirst holds forth.
Speakers were Stephen Whitehead (The Haworth the Brontës knew), main organiser Bob Duckett (Where did the Brontës get their books?), Ian Emberson ("The likeness of a kingly crown": John Milton and his influence on Charlotte), Yukari Oda (Wuthering Heights and the Waverley novels: Scott's influence on Emily), Elizabeth Leaver (Why Anne Brontë wrote as she did), Brian Wilks (Charlotte Brontë and the two churches) and Ian Dewhirst (The Real Haworth: Myths and Anecdotes)
Ian Dewhirst was the speaker at the Conference Dinner in The White Lion in Haworth.
Tom Winnifrith was in hospital so unfortunately could not contribute. Instead, a forum took place in his time slot, chaired by Robert Barnard.
One of the delegates was Marcia Zaaijer, who is an archivist from Rotterdam in the Netherlands: she recently sent the post below. Conference papers will probably not be published as a booklet (Brontë Society Council is economising) but should be available on request from Bob Duckett as photocopies. Contact him through this blog - email hevelius@poriruacity.com
A brief impression of the Bronte Weekend Conference 2006:
Every speaker impressed me with something to do or to remember. So many details of life in the Brontës’ Haworth, that both Steven Whitbread and Ian Dewhurst were able to present! Ian Dewhurst spoke in the kind of language, that in my Dutch imagination I like to think sounds like the language the Brontës heard around them.
And all those books they read, without a library next door, while I still have not read any more Walter Scott than Ivanhoe and Kenilworth. Of The Pilgrim's Progress and Paradise Lost I have nothing more than a vague notion that there was also a Paradise to be Regained, but this has more to do with me preferring happy endings than with any knowledge of English literature.
Really, maybe I should go and attend school in South Africa: I love the way Elisabeth Leaver championed Anne and The Tenant of Wildfell Hall. With a bit of luck some Afrikaners might understand my Dutch.
The nicest surprise for me as an archivist was on Sunday morning. Brian Wilks realised, or someone made him realise, that the Bishop of Ripon, who visited Mr. Brontë in the parsonage in Haworth when Charlotte was Patrick's only surviving child and already a celebrated authoress, went on to become the Archbishop of Canterbury. Obviously this means that his archives are kept at Lambeth Palace, and that in his archives are notes about his visit to Mr Brontë, which reveal that Charlotte was a good hostess to him. We know about the bishop's visit, because Charlotte writes about it in a letter. Now we get the story from the visitor, someone who actually stayed at the Parsonage. Two trustworthy historical sources which tell of the same meeting: that's a bonus for an archivist.
In the first photo below, taken during the forum, from the left Stephen Whitehead, Brian Wilks, Robert Barnard, Elizabeth Leaver, Ian Emberson. In the other photo, Ian Dewhirst holds forth.
Friday, 20 October 2006
Emily Brontë's horoscope
by Maddalena De Leo
In June this year I made a wonderful discovery while surfing the net. I found an unusual web site written by a Dutch astrologist (1). In it she set forth a lengthy and detailed horoscope in Dutch for none other than Emily Brontë.
I had to share it with others. I happen to know Dutch since I studied it at the university I attended more than twenty years ago. With the help of my long-unused Dutch-Italian dictionary I was able to translate this discovery.
The author's name is Ms Iren Nooren, Dutch by birth but presently living in Curaçao. Only a few historical figures interested her enough to merit a personal horoscope.
She chose Thérese of Lisieux and Emily Brontë. As she explored Emily's personality Nooren quickly discovered that she had an exhaustive amount of character traits. Based on a very detailed astrological reading Nooren's discussion focuses especially on Emily's personality and the most meaningful parts of her novel. Her poems are never mentioned.
Very interested in everything Nooren had to say, I was curious to learn more about her actual knowledge of Brontë's work so I requested an e-mail interview. I asked her how much she knew about Emily Brontë and Wuthering Heights before charting her horoscope. She replied that she had read the book a very long time ago.
In Curaçao there is only one very small library which contains nothing about the book or the author. That is why during her analysis she searched the internet for information, finding contradictory material. Eventually she found one book with a short introduction by Daphne Merkin, a Dutch writer.
I then asked her why she chose to do a horoscope for Emily and when exactly she had read Wuthering Heights. She told me that most astrologists are interested in current movie stars and famous politicians, while she prefers long-deceased people. Her wish was to really understand Emily Brontë as a person since she admires her so much for her brooding, strange style.
Like most of us she was particularly attracted by the way Emily relates a story. Every line can be read again and again at any time when you read it in the original language as the selection of words is perfect.
Nooren actually read Wuthering Heights when she was twenty-five, having found it by chance in a library. At first she did not comprehend the violence and passion in the book and considered it boring compared to Jane Eyre. It was only many years later that she changed her opinion after reading it again. Only then could she see Catherine as a real person.
My next question was about what is known about Emily Brontë in Curaçao. She told me that the novel can be found in the public library but it is not yet possible to buy it in the bookshop. Whenever she can, Nooren speaks about Emily and her life to let people know who she was and what an amazing life she lived.
The horoscope
According to Iren Nooren, Emily’s personality is strongly reflected in her great novel, known in the Netherlands by the title Woeste Hoogten.
Woeste Hoogten reveals an incredible attraction of Venus in Scorpio. The basic data, that is to say the ascendant, the Sun and the Moon reveal a mysterious personality attributed to Emily. Pluto dominant in Pisces tells us that Emily was an astute observer who was very willing to abandon both her home and family. In the novel for example the recurring images of many open doors and windows underscore a desire to get away, and strongly contrast the power of the mind. In Woeste Hoogten all characters are unable to escape from beginning to end.
The Sun is not present in any aspect but the Moon represents the main energy: it is a sowing moon, telling us that in Emily’s time society was not ready to appreciate a novel such as hers, considering it too violent and passionate.
The dominant Moon can also explain why so little was written about Emily Brontë during the 19th century. The Moon is also in opposition to Jupiter and behind Capricorn enabling her subconscious emotions to surface in the talent zone. The presence of Mercury in Leo 9 reveals an aptitude to both talk and write about death. Mercury itself in triangle with Neptune and Uranus rather than in Sagittarius draws attention to inspiration, thus enabling Emily to open up a new method of creative writing.
A further proof of Moon in Cancer are the characters without a mother in Woeste Hoogten. Brontë may have invented them as a result of her own orphaned condition. The connection between Mars and Venus points to the extremes and opposing natures within the novel. It is essentially the story of two opposite natures, a man with an active role and a woman with a passive one, each being reciprocally dependent on the other.
It is still a Mars/Venus conjunction underlining a wish for communication and an expression of personal will. This makes Emily’s dependent energy (Mars in Venus) somehow passive (Venus).
The reference scheme reveals an off-balanced distribution of crosses. The mobile cross (with seven planets) points out an easily relaxed and suitable character while the main cross (with two planets and a personal Moon) draws attention to the great effort to start and take initiatives. The division of elements is also off-balance and a lack of Air in the planets is evident. It shows Emily’s unfulfilled need for human contact.
Mars/Venus conjunction is in opposition to Saturn. This indicates a misunderstood step to carry out initiatives and get in touch with someone. Emily’s close-knit, restricted home life prevented her from looking for outside relationships to help her nourish her fantasies. Although no known relationship with a man has been documented, Nooren seems to think Emily may have met people who stirred passionate feeling within her. Maybe among these relationships there was the one with her sisters and brother (Pisces). Saturn explains why Emily wished to escape from her family although her first duty was to her home. Maybe because Emily refused to run away from her problems at home she wavered between two poles (Mars/Venus and Saturn).
There is also a third element, Uranus in Sagittarius underscoring renewal and broadmindedness, two aspects unique to Emily that indicated she was ahead of her time.
The presence of Pisces reveals an escape from the real world into one of fantasy. Pluto dominant reveals Emily’s own fantasies and inspirations which were central to her life. But it was Neptune in Sagittarius that gave her a great artistic talent which was directed toward her subconscious mind.
The Northern node in Taurus in the 6th House and Venus in Virgo in the 9th House tell us that Emily had to learn how to be concrete in real life.
In conclusion, Iren Nooren tells us that the presence of Pluto in Neptune is a recurring theme in people born between 1810 and 1826 (the Romantics). In Emily’s horoscope we see the emergence of three major themes: Transformation, Family, and a Drive to frankly express her feelings.
I would like to thank my friend Frances Gerard for her revision of the text.
1. CHTA – Astrologie – Centre for humanistic & transpersonal astrology - www.astrologie.ws and www.astrologie.ws/bronte.htm
In June this year I made a wonderful discovery while surfing the net. I found an unusual web site written by a Dutch astrologist (1). In it she set forth a lengthy and detailed horoscope in Dutch for none other than Emily Brontë.
I had to share it with others. I happen to know Dutch since I studied it at the university I attended more than twenty years ago. With the help of my long-unused Dutch-Italian dictionary I was able to translate this discovery.
The author's name is Ms Iren Nooren, Dutch by birth but presently living in Curaçao. Only a few historical figures interested her enough to merit a personal horoscope.
She chose Thérese of Lisieux and Emily Brontë. As she explored Emily's personality Nooren quickly discovered that she had an exhaustive amount of character traits. Based on a very detailed astrological reading Nooren's discussion focuses especially on Emily's personality and the most meaningful parts of her novel. Her poems are never mentioned.
Very interested in everything Nooren had to say, I was curious to learn more about her actual knowledge of Brontë's work so I requested an e-mail interview. I asked her how much she knew about Emily Brontë and Wuthering Heights before charting her horoscope. She replied that she had read the book a very long time ago.
In Curaçao there is only one very small library which contains nothing about the book or the author. That is why during her analysis she searched the internet for information, finding contradictory material. Eventually she found one book with a short introduction by Daphne Merkin, a Dutch writer.
I then asked her why she chose to do a horoscope for Emily and when exactly she had read Wuthering Heights. She told me that most astrologists are interested in current movie stars and famous politicians, while she prefers long-deceased people. Her wish was to really understand Emily Brontë as a person since she admires her so much for her brooding, strange style.
Like most of us she was particularly attracted by the way Emily relates a story. Every line can be read again and again at any time when you read it in the original language as the selection of words is perfect.
Nooren actually read Wuthering Heights when she was twenty-five, having found it by chance in a library. At first she did not comprehend the violence and passion in the book and considered it boring compared to Jane Eyre. It was only many years later that she changed her opinion after reading it again. Only then could she see Catherine as a real person.
My next question was about what is known about Emily Brontë in Curaçao. She told me that the novel can be found in the public library but it is not yet possible to buy it in the bookshop. Whenever she can, Nooren speaks about Emily and her life to let people know who she was and what an amazing life she lived.
The horoscope
According to Iren Nooren, Emily’s personality is strongly reflected in her great novel, known in the Netherlands by the title Woeste Hoogten.
Woeste Hoogten reveals an incredible attraction of Venus in Scorpio. The basic data, that is to say the ascendant, the Sun and the Moon reveal a mysterious personality attributed to Emily. Pluto dominant in Pisces tells us that Emily was an astute observer who was very willing to abandon both her home and family. In the novel for example the recurring images of many open doors and windows underscore a desire to get away, and strongly contrast the power of the mind. In Woeste Hoogten all characters are unable to escape from beginning to end.
The Sun is not present in any aspect but the Moon represents the main energy: it is a sowing moon, telling us that in Emily’s time society was not ready to appreciate a novel such as hers, considering it too violent and passionate.
The dominant Moon can also explain why so little was written about Emily Brontë during the 19th century. The Moon is also in opposition to Jupiter and behind Capricorn enabling her subconscious emotions to surface in the talent zone. The presence of Mercury in Leo 9 reveals an aptitude to both talk and write about death. Mercury itself in triangle with Neptune and Uranus rather than in Sagittarius draws attention to inspiration, thus enabling Emily to open up a new method of creative writing.
A further proof of Moon in Cancer are the characters without a mother in Woeste Hoogten. Brontë may have invented them as a result of her own orphaned condition. The connection between Mars and Venus points to the extremes and opposing natures within the novel. It is essentially the story of two opposite natures, a man with an active role and a woman with a passive one, each being reciprocally dependent on the other.
It is still a Mars/Venus conjunction underlining a wish for communication and an expression of personal will. This makes Emily’s dependent energy (Mars in Venus) somehow passive (Venus).
The reference scheme reveals an off-balanced distribution of crosses. The mobile cross (with seven planets) points out an easily relaxed and suitable character while the main cross (with two planets and a personal Moon) draws attention to the great effort to start and take initiatives. The division of elements is also off-balance and a lack of Air in the planets is evident. It shows Emily’s unfulfilled need for human contact.
Mars/Venus conjunction is in opposition to Saturn. This indicates a misunderstood step to carry out initiatives and get in touch with someone. Emily’s close-knit, restricted home life prevented her from looking for outside relationships to help her nourish her fantasies. Although no known relationship with a man has been documented, Nooren seems to think Emily may have met people who stirred passionate feeling within her. Maybe among these relationships there was the one with her sisters and brother (Pisces). Saturn explains why Emily wished to escape from her family although her first duty was to her home. Maybe because Emily refused to run away from her problems at home she wavered between two poles (Mars/Venus and Saturn).
There is also a third element, Uranus in Sagittarius underscoring renewal and broadmindedness, two aspects unique to Emily that indicated she was ahead of her time.
The presence of Pisces reveals an escape from the real world into one of fantasy. Pluto dominant reveals Emily’s own fantasies and inspirations which were central to her life. But it was Neptune in Sagittarius that gave her a great artistic talent which was directed toward her subconscious mind.
The Northern node in Taurus in the 6th House and Venus in Virgo in the 9th House tell us that Emily had to learn how to be concrete in real life.
In conclusion, Iren Nooren tells us that the presence of Pluto in Neptune is a recurring theme in people born between 1810 and 1826 (the Romantics). In Emily’s horoscope we see the emergence of three major themes: Transformation, Family, and a Drive to frankly express her feelings.
I would like to thank my friend Frances Gerard for her revision of the text.
1. CHTA – Astrologie – Centre for humanistic & transpersonal astrology - www.astrologie.ws and www.astrologie.ws/bronte.htm
Wednesday, 18 October 2006
Contemporary Arts Programme
Cornelia Parker has just given ten of her Brontëan Abstracts works to the Brontë Society. “This is a very significant donation,” Andrew McCarthy, Deputy Director of the Parsonage, told this blog. “We are all very thankful, of course.
“The opening of Cornelia Parker’s exhibition launched the first-ever Contemporary Arts Programme at the Museum, with Germaine Greer as our Honorary Patron. We could now be considered as a vibrant creative centre as well as a world centre for Brontë studies.
“It marks a historic shift in the identity of the Society and the Museum and offers the potential for exciting partnerships with prominent individuals and organisations within the arts.
“It should lead to a revitalising development of the Museum’s collection and its physical environment, and new audiences.
“The Programme will also help the Society and the Museum to more fully reflect the radical creative energies of the Brontës by adding to a traditional reputation for conservation and commemoration of the Brontës with a new role as advocates for imagination, creativity and artistic achievement.
“There is much that is already happening, and the plans for 2007 are exciting.
“The programme of special education projects aimed at disadvantaged groups will (funding permitting) continue with The Collecting Place. This will involve working with photographer Simon Warner and a group of visually-impaired youngsters. A walk-in camera obscura will be constructed and used to create large-format images of the Parsonage and other Brontë-related sites. This will form the basis of an exhibition.
“There will also be talks by Gaskell biographer Jenny Uglow (celebrating the anniversary of the publication of Life of Charlotte Brontë), Pamela Norris, author of Words of Love: Passionate Women from Heloise to Sylvia Plath, Gail Nina Anderson from the Friends of the Laing Gallery (on John Martin), biographer and novelist Victoria Glendinning (on writers and their homes) and a panel discussion focusing on Brontë biography which will feature Juliet Barker, Rebecca Fraser, Lyndall Gordon, Edward Chitham and Justine Picardie.
“The work we are doing is groundbreaking, I think.”
Below: Germaine Greer
“The opening of Cornelia Parker’s exhibition launched the first-ever Contemporary Arts Programme at the Museum, with Germaine Greer as our Honorary Patron. We could now be considered as a vibrant creative centre as well as a world centre for Brontë studies.
“It marks a historic shift in the identity of the Society and the Museum and offers the potential for exciting partnerships with prominent individuals and organisations within the arts.
“It should lead to a revitalising development of the Museum’s collection and its physical environment, and new audiences.
“The Programme will also help the Society and the Museum to more fully reflect the radical creative energies of the Brontës by adding to a traditional reputation for conservation and commemoration of the Brontës with a new role as advocates for imagination, creativity and artistic achievement.
“There is much that is already happening, and the plans for 2007 are exciting.
“The programme of special education projects aimed at disadvantaged groups will (funding permitting) continue with The Collecting Place. This will involve working with photographer Simon Warner and a group of visually-impaired youngsters. A walk-in camera obscura will be constructed and used to create large-format images of the Parsonage and other Brontë-related sites. This will form the basis of an exhibition.
“There will also be talks by Gaskell biographer Jenny Uglow (celebrating the anniversary of the publication of Life of Charlotte Brontë), Pamela Norris, author of Words of Love: Passionate Women from Heloise to Sylvia Plath, Gail Nina Anderson from the Friends of the Laing Gallery (on John Martin), biographer and novelist Victoria Glendinning (on writers and their homes) and a panel discussion focusing on Brontë biography which will feature Juliet Barker, Rebecca Fraser, Lyndall Gordon, Edward Chitham and Justine Picardie.
“The work we are doing is groundbreaking, I think.”
Below: Germaine Greer
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