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Wuthering Heights - Classic Literary Fiction - Historical Romance Classics: Illustrated

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*Includes English Countryside pictures reminiscent of Wuthering Heights location Wuthering Heights is the name of the farmhouse where the story unfolds. The book's core theme is the destructive effect of jealousy and vengefulness both on the jealous or vengeful individuals and on their communities. In 1801, Mr Lockwood, a wealthy man from the south of England, rents Thru *Includes English Countryside pictures reminiscent of Wuthering Heights location Wuthering Heights is the name of the farmhouse where the story unfolds. The book's core theme is the destructive effect of jealousy and vengefulness both on the jealous or vengeful individuals and on their communities. In 1801, Mr Lockwood, a wealthy man from the south of England, rents Thrushcross Grange in the north for peace and recuperation. He visits his landlord, Mr Heathcliff, who lives in a remote moorland farmhouse, "Wuthering Heights", where he finds an odd assemblage: Heathcliff seems to be a gentleman, but his manners are uncouth; the reserved mistress of the house is in her mid-teens; and a young man seems to be a family member yet dresses and speaks like a servant. Snowed in, Lockwood is grudgingly allowed to stay and is shown to a bedchamber where he notices books and graffiti left by a former inhabitant named Catherine. He falls asleep and has a nightmare in which he sees the ghostly Catherine trying to enter through the window. He cries out in fear, rousing Heathcliff who rushes to the room. Lockwood is convinced that what he saw was real. Heathcliff, believing Lockwood to be right, examines the window and opens it hoping to allow Catherine's spirit to enter. When nothing happens, Heathcliff shows Lockwood to his own bedroom and returns to keep watch at the window. At sunrise, Heathcliff escorts Lockwood back to Thrushcross Grange. Lockwood asks the housekeeper, Nelly Dean, about the family at Wuthering Heights, and she tells him the tale.


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*Includes English Countryside pictures reminiscent of Wuthering Heights location Wuthering Heights is the name of the farmhouse where the story unfolds. The book's core theme is the destructive effect of jealousy and vengefulness both on the jealous or vengeful individuals and on their communities. In 1801, Mr Lockwood, a wealthy man from the south of England, rents Thru *Includes English Countryside pictures reminiscent of Wuthering Heights location Wuthering Heights is the name of the farmhouse where the story unfolds. The book's core theme is the destructive effect of jealousy and vengefulness both on the jealous or vengeful individuals and on their communities. In 1801, Mr Lockwood, a wealthy man from the south of England, rents Thrushcross Grange in the north for peace and recuperation. He visits his landlord, Mr Heathcliff, who lives in a remote moorland farmhouse, "Wuthering Heights", where he finds an odd assemblage: Heathcliff seems to be a gentleman, but his manners are uncouth; the reserved mistress of the house is in her mid-teens; and a young man seems to be a family member yet dresses and speaks like a servant. Snowed in, Lockwood is grudgingly allowed to stay and is shown to a bedchamber where he notices books and graffiti left by a former inhabitant named Catherine. He falls asleep and has a nightmare in which he sees the ghostly Catherine trying to enter through the window. He cries out in fear, rousing Heathcliff who rushes to the room. Lockwood is convinced that what he saw was real. Heathcliff, believing Lockwood to be right, examines the window and opens it hoping to allow Catherine's spirit to enter. When nothing happens, Heathcliff shows Lockwood to his own bedroom and returns to keep watch at the window. At sunrise, Heathcliff escorts Lockwood back to Thrushcross Grange. Lockwood asks the housekeeper, Nelly Dean, about the family at Wuthering Heights, and she tells him the tale.

30 review for Wuthering Heights - Classic Literary Fiction - Historical Romance Classics: Illustrated

  1. 4 out of 5

    Emily May

    This is my favourite book. I do not say that lightly - I've read quite a lot from all different genres - but this is my favourite book. Of all time. Ever. The ladies over at The Readventurer kindly allowed me to get my feelings of utter adoration for Wuthering Heights off my chest in their "Year of the Classics" feature, but I now realise it's time I posted a little something in this blank review space. I mean, come on, it's my favourite book so it deserves better than empty nothingness. So, what This is my favourite book. I do not say that lightly - I've read quite a lot from all different genres - but this is my favourite book. Of all time. Ever. The ladies over at The Readventurer kindly allowed me to get my feelings of utter adoration for Wuthering Heights off my chest in their "Year of the Classics" feature, but I now realise it's time I posted a little something in this blank review space. I mean, come on, it's my favourite book so it deserves better than empty nothingness. So, what do I love so much about Wuthering Heights? Everything. Okay, maybe not. That wouldn't really be saying it strongly enough. What I love about this novel is the setting; the wilderness. This is not a story about niceties and upper class propriety. This is the tale of people who aren't so socially acceptable, who live away from the strict rules of civilization - it's almost as if they're not quite from the world we know. The isolation of the setting out on the Yorkshire moors between the fictional dwellings of The Heights and Thrushcross Grange emphasises how far removed these characters are from social norms, how unconventional they are, and how lonely they are. This is a novel for readers who can appreciate unlikeable characters; readers who don't have to like someone to achieve a certain level of understanding of them and their circumstances. People are not born evil... so what makes them that way? What torments a man so much that he refuses to believe he has any worth? What kind of person digs up the grave of their loved one so they can see them once again? Heathcliff was not created to be liked or to earn your forgiveness. Emily Brontë simply tells his story from the abusive and unloved childhood he endured, to his obsession with the only person alive who showed him any real kindness, to his adulthood as an angry, violent man who beats his wife and imprisons the younger Cathy in order to make her marry his son. It would be so easy to hate Heathcliff, and I don't feel that he is some dark, sexy hero like others often do. But I appreciate what Emily Brontë attempts to teach us about the cycle of violence and aggression. Heathcliff eventually becomes little more than the man he hates. By being brought up with beatings and anger he in turn unleashes it on everyone else. And Cathy is no delicate flower either. What hope did Heathcliff have when the only person he ever loved was so selfish and vindictive? But I love Emily Brontë for creating such imperfect, screwed-up characters. This is a dark novel that deals with some very complicated people, but I think in the end we are offered the possibility of peace and happiness through Cathy (younger) and Hareton's relationship, and the suggestion that Cathy (older) and Heathcliff were reunited in the afterlife. I had an English teacher in high school that said Cathy and Heathcliff's personalities and their relationship were too much for this world and that peace was only possible for them in the next. I have no idea if this was something Ms Bronte intended, but the romantic in me likes to imagine that it's true. Blog | Facebook | Twitter | Instagram | Youtube

  2. 5 out of 5

    Amalia Gkavea

    ''O God! It is a long fight, I wish it were over!” How can I find and put together the suitable words and write a review about one of the most iconic creations in World Literature? One of those books that provoke such intense feelings that either you worship them or you utterly hate them. There is no middle ground. Every year, I revisit Wuthering Heights for two reasons. First, it is one of my personal Christmas traditions and secondly, I prepare extracts to use in class for my intermediate l ''O God! It is a long fight, I wish it were over!” How can I find and put together the suitable words and write a review about one of the most iconic creations in World Literature? One of those books that provoke such intense feelings that either you worship them or you utterly hate them. There is no middle ground. Every year, I revisit Wuthering Heights for two reasons. First, it is one of my personal Christmas traditions and secondly, I prepare extracts to use in class for my intermediate level students. This year, I finally felt confident enough to write a text. I will not call it a review, but a summary of what this masterpiece means for me, what I feel each time I gaze upon its title. I was 12 when my mother made me a special gift. (I have a mother that gave me a book about self-destructive love and a father that gave me Crime and Punishment a year later. I know, they rock!) It was a thick volume with a dark cover. A cover as black as the night scene it depicted. A young couple running in the moors against the wind, and a black, foreboding mansion looming in the background. To this day, that cherished Greek edition of Emily's only novel is the most beautiful I've ever seen. I read it in a single day. I remember it was a windy day, a summer torrent rain that lasted all afternoon. It left me speechless. It shaped me. It shaped my reading preferences, it shaped my love for eerie, dark, doomed, haunting stories with twisted anti-heroes. It even shaped the choice of my profession. When I was 15, one of the best teachers I've ever had gave us a project. She divided us into groups and asked us to make a presentation of our favourite book. She put me in a group with two classmates. Such kind and charming souls they were but would never open a book if their lives depended on it. I didn't care, I was happy because I'd get to choose the book. We left our teacher crying buckets in the classroom, marking a heroic A+ on our papers. During the 3rd year in university, we had to complete individual assignments. I'll let you guess the theme and the book I chose. My professor had to interrupt me at some point, kindly but firmly. ''Yes, thank you, Amalia, this is great, but there are others waiting, you know.'' Were they? Anyway, you get the point. My level of obsession with this novel equal Heathcliff's obsession with Cathy. Emily Brontë's novel may not be for everyone. It doesn't matter. Nothing is for everyone. But, she has created an eternal tale -or nightmare- of a love that is destructive, dark, twisted and stranger than all the other sweet, lovey-dovey stories that have been written. She has created one of the most iconic couples in Literature, she has provided the first and finest example of the Anti-hero in the face of Heathcliff. She has ruined many girls' expectations, because who wouldn't want to be loved as fiercely as Cathy was? (For years, my notion of the ideal man was Ralph Fiennes as Heathcliff in the 1992 film. The best adaptation of the novel, with Juliette Binoche as Cathy) How many writers who have written only one novel can claim to have accomplished all these? One of the reasons I became a teacher was to have the opportunity to teach this book. It is my greatest satisfaction when I see its impact on my teenage students. They are familiar with the bleak and twisted tales of our times, nothing shocks them anymore. They love it unanimously, it is a rare case where boys and girls love the same book equally. So, mission accomplished. ''I cannot live without my life! I cannot live without my soul!'' For me, this book is my soul. It lies there, making the question ''What is your favourite book?'' the easiest ever. P.S. Please, God, when I die, put me in a sector where I can meet Emily. You can keep Shakespeare, Austin, Tolstoy and Dostoevsky. I prefer long talks with a disturbed, fragile, wild girl...

  3. 5 out of 5

    K.

    I understand why many people hate this book. Catherine and Heathcliff are monstrous. Monstrous. You won't like them because they are unlikable. They are irrational, self-absorbed, malicious and pretty much any negative quality you can think a person is capable of possessing without imploding. They seek and destroy and act with no thought to consequence. And I find it fascinating that Emily Bronte chose them to be her central protagonists. When this was first published it was met with animosity be I understand why many people hate this book. Catherine and Heathcliff are monstrous. Monstrous. You won't like them because they are unlikable. They are irrational, self-absorbed, malicious and pretty much any negative quality you can think a person is capable of possessing without imploding. They seek and destroy and act with no thought to consequence. And I find it fascinating that Emily Bronte chose them to be her central protagonists. When this was first published it was met with animosity because of how utterly repugnant these two characters were. The way they go about their business caring nothing for others but themselves was enough for me to shake my head in complete and total judgment, as if Catherine and Heathcliff could see me and are then effectively shamed by their actions. Wuthering Heights is epic, in my humble opinion, because I believe that the scope of this story is monumental. Let me explain: it is a simple tale between two families that are bound in such a way that their fates are irrevocably linked. What affects one, affects the other. Its about Catherine and Heathcliff who fall in love and how their relationship ruins the lives of those around them. The book, all 400 pages of it, occur almost entirely at Wuthering Heights, the estate of the Earnshaws, and at Thrushcross Grange, the estate of the Lintons with only a couple of miles of land in between. And yet it is not a small story. The emotional magnitude of this book is great and far reaching. The provoking and unapologetic quality of Bronte's writing is seductive. The process of reading this story can feel so masochistic sometimes that its almost if she's daring us to stop reading and throw the book away. Like its a game of personal endurance to see how much we can take, how far we can go. She pushes at us, challenging us and all the while knowing that we have to keep reading because redemption awaits. It is nothing like its contemporaries. The moors, the darkness of the moors, that curses the household of Wuthering Heights and its inhabitants is ever present. Nature is personified. It is its own character; its there, lingering and simmering ever so quietly, saturating every scene with its silent threats of doom...okay, I have to stop talking like this...what am I anymore? There is poison in this book, but let me ease your mind by saying that it is balanced with goodness also. This isn't a perfect novel. There were still moments I found myself in perplexion (recently invented word). And while everything about Catherine and Heathcliff may be corrupt, there is hope in Wuthering Heights. If you can journey through the menacing forest of Emily Bronte's imagination, do it because the view is something to behold. Ha ha ha, this review...what even is this?

  4. 4 out of 5

    Ellen

    I never expected this book to be as flagrantly, unforgivably bad as it was. To start, Bronte's technical choice of narrating the story of the primary characters by having the housekeeper explain everything to a tenant 20 years after it happened completely kills suspense and intimacy. The most I can say is that to some extent this functions as a device to help shroud the story and motives from the reader. But really, at the time literary technique hadn't quite always gotten around to accepting tha I never expected this book to be as flagrantly, unforgivably bad as it was. To start, Bronte's technical choice of narrating the story of the primary characters by having the housekeeper explain everything to a tenant 20 years after it happened completely kills suspense and intimacy. The most I can say is that to some extent this functions as a device to help shroud the story and motives from the reader. But really, at the time literary technique hadn't quite always gotten around to accepting that omnipotent 3rd person narrators are allowed, so you'd have to have a multiperspective story told by an omnipotent 3rd person narrator who was actually a character in the story (e.g. the housekeeper Ellen). The layers of perspective make it annoying and sometimes impossible to figure out who is telling what bit of story; and moreover, because so much is related as two characters explaining things between themselves, the result is that we rarely see any action, and instead have the entire book explained in socratic, pedantic exposition. The sense of place is poorly rendered and almost entirely missing. Great, the moor is gray. But ultimately, the most damning thing is that the characters are a bunch of immature, insuffrable, narcissistic assholes with very little self respect. This isn't a story of great love and passion. It's the story of how child abuse perpetuates itself through the generations. The characters are either emotionally abused as children or, as in the case of Cathy I, they're spoiled and overindulged with no discipline and can't muster the restraint and self-respect to ditch abusive relationships. I kept waiting for any of the characters to be remotely worth my time, but I found no respite from the brutish abuse of the horribly twisted Heathcliff or from the simpering idiocy of Cathy I and II. Ugh. Not only are there no transformations or growth, but the characters aren't even that likable to begin with. How this book got to be a classic is beyond me.

  5. 4 out of 5

    Chelsea

    I've tried it three times. I know people are obsessed with it. I hate everyone in the book - and I just can't care about a book where I actually hate the characters. And, sure, I get the interpretation that as terrible as Heathcliff and Cathy are, it's their love that redeems them, and isn't that romantic. No. I've tried it three times. I know people are obsessed with it. I hate everyone in the book - and I just can't care about a book where I actually hate the characters. And, sure, I get the interpretation that as terrible as Heathcliff and Cathy are, it's their love that redeems them, and isn't that romantic. No.

  6. 5 out of 5

    Eliszard

    Ah the classics. Everybody can read their own agenda in them. So, first a short plot guide for dinner conversations when one needs to fake acculturation, and then on to the critics’ view. A woman [1:] is in love with her non-blood brother [2:] but marries her neighbor [3:] whose sister [4:] marries the non-blood brother [2:]; their [1,3:] daughter [5:] marries their [2,4:] son [6:]; meanwhile, their [1,2:] elder brother marries and has a son [7:]. Then everybody dies, 1 of bad temper, 4 of stupi Ah the classics. Everybody can read their own agenda in them. So, first a short plot guide for dinner conversations when one needs to fake acculturation, and then on to the critics’ view. A woman [1:] is in love with her non-blood brother [2:] but marries her neighbor [3:] whose sister [4:] marries the non-blood brother [2:]; their [1,3:] daughter [5:] marries their [2,4:] son [6:]; meanwhile, their [1,2:] elder brother marries and has a son [7:]. Then everybody dies, 1 of bad temper, 4 of stupidity, 3 of a cold, 6 because he’s irritating, 2 because he’s mean and tried to rise above his station. 5 and 7 are the only ones left, so they marry. The women are all called Catherine, the men are mostly called Earnshaw, and through intermarriage everybody is a bit of a Heathcliff. The Marxist critic: the oppressed and underprivileged [2:] revolts to improve his lot in life, but fails to make allies and loses everything, as always. The Post-colonialist critic: once again the rich [1,3,4:] meddle with the lives of the poor [2:] under the pretense of improving them, in fact wrecking havoc. The Feminist critic: if only the Catherines had read The Feminine Mystique… The Freudian critic: repeated intermarriage and border-line incest make for such good stories! The Shakespearean critic: Much Ado About Nothing The Entertainment Weekly executive: stories told by sources close to the protagonists always sell well, because most people live vicariously. And dinnertime has always been the perfect slot for gossip.

  7. 5 out of 5

    Larissa

    Certain novels come to you with pre-packaged expectations. They just seem to be part of literature's collective unconscious, even if they are completely outside of your own cultural referents. I, for instance, who have no particular knowledge of--or great love for--romantic, Anglo-Gothic fiction, came to Wuthering Heights with the assumption that I was picking up a melancholy ghost story of thwarted, passionate love and eternal obsession. Obsession turned out to be only accurate part of this pre Certain novels come to you with pre-packaged expectations. They just seem to be part of literature's collective unconscious, even if they are completely outside of your own cultural referents. I, for instance, who have no particular knowledge of--or great love for--romantic, Anglo-Gothic fiction, came to Wuthering Heights with the assumption that I was picking up a melancholy ghost story of thwarted, passionate love and eternal obsession. Obsession turned out to be only accurate part of this presumption. Having an image of Heathcliff and Cathy embracing Gone with the Wind -style on a windy moor ironed in my mind, I was almost completely unprepared for the hermetic, moribund, bleak, vengeful, perverse, and yes--obsessive--novel that this really is. Don Quixote is not about windmills and Wuthering Heights is not really a love story. Heathcliff and Cathy's love affair (if it can be called that) is a narcissistic ("I am Heathcliff!" Cathy exclaims at one point), possessive, and imminently cruel relationship predicated on self-denial and an obsessiveness that relies not on passion, but rather borders on hatred. They are selfish, violent, and contriving people who have borne their fair share of abuses (mostly Heathcliff in this respect) and in turn, feel no compunction about raining similar abuses on those who they find beneath them. Given this dynamic, it seems perhaps inevitable that these two characters would make not only themselves miserable, but everyone around them miserable--even after death. This is particularly easy to accomplish mainly because there are--with the exception of Mr. Lockwood, the tenant who rents a home from Heathcliff--no outside characters. Everyone in the novel (including the servants) is isolated, trapped between the same two homes, with the same two families, and have truly no chance of escaping any of the events and repercussions that occur.(One character makes a temporary escape, only to suffer all the more for it later.) More important, however, is the fact that Heathcliff and Cathy don't even need be present (although they usually are in some fashion) for their influences to be felt by the other characters. The sins of the father, are literally, inherited and distributed among the next generation. The children of Wuthering Heights are not only physical doubles of their parents (At least 3 characters look like Cathy, and one resembles Heathcliff), but they are also spiritual stand-ins. They must suffer for past transgressions, and they must find a way to make amends for them. All, I might add, without the particular benefit of ever having the full story, the context that might be necessary to actually change their circumstances. Misery, it seems, is inevitable. There is, of course, much more to be said about this novel. One could spend quite some time dissecting all the various repetitions and doublings, the narrative structure (the story is told by the housekeeper to the lodger who then writes it down as a diary entry), or the archetypal analogies and semi-biblical symbolism that seems to be implicit to every part of this story. The point being, I suppose, that while Wuthering Heights may not be the wistful romance one (or maybe just I) expected to be, it is a particularly satisfying one for all of its dark and layered surprises.

  8. 5 out of 5

    karen

    "all i care about in this goddamn life are me, my drums, and you"... if you don't know that quote, you're probably too young to be reading this and isn't it past your bedtime or shouldn't you be in school or something? but that quote, hyper-earnest cheese - that is romance. wuthering heights is something more dangerous than romance. it's one long protracted retaliation masquerading as passion. and goddamn do i love it. i can't believe i haven't reviewed it before - i mention this book in more than "all i care about in this goddamn life are me, my drums, and you"... if you don't know that quote, you're probably too young to be reading this and isn't it past your bedtime or shouldn't you be in school or something? but that quote, hyper-earnest cheese - that is romance. wuthering heights is something more dangerous than romance. it's one long protracted retaliation masquerading as passion. and goddamn do i love it. i can't believe i haven't reviewed it before - i mention this book in more than half of my reviews, i have a whole shelf devoted to its retellings, so why the delay?? but better late than never. no, it's not a perfect novel; it's a flawed structure revealing the actions of seriously flawed people. the framing device-within-a-framing-device? totally awkward. having nelly dean tell the story even though where was she for most of the action? totally wrong move, bronte; it makes the beginning such a slog to get through. but that's just stale loaf - the good stuff is all the meat in between. and oh, the meat... the swarthy stranger of mysterious origins being raised in a family of sheltered overmoist english mushrooms, all pale and rain-bloated, the running wild, two-souls-against-the-world adolescence...childhood indiscretions... vows and tantrums, bonding, unspoken promises, yes i will yes i will yes i will. oh, but wait, what's this??...it's blond and it's rich and it's whats expected of me. very well then. see ya, heathcliff... it's just textbook gothic from here on out: revenge-seduction, overheard conversations, mysterious disappearances, murdered puppies, swooning, vindictive child-rearing, death, ghosts, moors, phoar... but this to me, is a perfect love story, even though it's more like torture. the unattainable is always more romantic than the storybook. i don't like an uncomplicated ending, and a story is more impactful with nuanced characters, preferably heavily unlikeable throughout. (this is where i plug head-on - one of my favorite movies ever. do it.)this story just makes me feel good. and i'm well over my teenage fascination with the "bad boy"; i realized pretty quick that "bad boys" are usually pretty dumb. so i moved on to "emotionally disturbed", which is the same thing, really; plenty of drama, and they will leave you drunken "presents" on your lawn (road signs, carousel ponies..), but not complete burnouts, at least. but my teenaged dating pool is neither here nor there, the point is that heathcliff can be romanticized as this victim/villain without having to correspond to the ideal. it's about the level of passion, the size of the grand romantic gesture. devoting your life to destroying the people who kept you from your true love is an amazingly grand gesture. come to my blog!

  9. 4 out of 5

    Sean Barrs

    This is a review I never imagined I’d write. This is a book I was convinced I’d love. I just have to face the facts, Emily is no Charlotte. I’m going to start with the positives. The characterisation of Heathcliff is incredibly strong. He is a man who is utterly tormented by the world. As a gypsy boy he is dark skinned and dark haired, and to the English this rough, almost wild, look makes him a ruffian. He stands up for himself, and bites back; thus, he is termed a monster. In a very, very, Fran This is a review I never imagined I’d write. This is a book I was convinced I’d love. I just have to face the facts, Emily is no Charlotte. I’m going to start with the positives. The characterisation of Heathcliff is incredibly strong. He is a man who is utterly tormented by the world. As a gypsy boy he is dark skinned and dark haired, and to the English this rough, almost wild, look makes him a ruffian. He stands up for himself, and bites back; thus, he is termed a monster. In a very, very, Frankenstein’s monster like sense, his perceived outer image begins to permeate his soul. Call a man a monster, and eventually he may start acting like one. “He’s not a rough diamond - a pearl-containing oyster of a rustic; he’s a fierce, pitiless, wolfish man.” He is a very complex man, capable of great cruelty and kindness. The world has made him bitter, and in a way ruined him. He reaps revenge, but revenge always ends the same way; it doesn’t solve problems but creates more. So he becomes even more tormented, this time by his own actions. He is very Byronic, and by today’s standards a little bit of a bad boy. He has all the standard tropes of an anti-hero, one that becomes a figure that can be sympathised with and hated. He’s a very complex man. The Bronte’s were directly affected by Byron’s poetry. Rochester is Charlotte’s portrayal of a similar, albeit less vengeful, character. Love is the key torment in both works. Heathcliff has been rejected, as Rochester cannot open his heart because of his secret wife. But, rather that overcome his personal loss, and subject the world to his dark and broody personality, Heathcliff actually seeks to do others harm. He is a very sensitive man when it comes to his own emotions, though he lacks any real empathy. He does not care that he is creating more pain for others. He spends his life spreading more hate into the world. His only redeeming quality is his love for Catherine, but that doesn’t excuse his tyranny. He knows how nasty he is: "She abandoned [her home] under a delusion," he answered, "picturing in me a hero of romance, and expecting unlimited indulgences from my chivalrous devotion. I can hardly regard her in the light of a rational creature, so obstinately has she persisted in forming a fabulous notion of my character and acting on the false impressions she cherished." He's so self-centred: So I rather like his character, well not like but appreciate the complexity, though the novel’s structure itself was abysmal. I have quite a few problems with the narrative. Why is a servant telling us this story as she speaks to a visitor of her master’s house? Why are we hearing someone’s interpretation of the events rather than the events themselves? Why is it twenty years later in the form of an extremely long conversation? Why is the servant still actually working for Heathcliff? She would have left. Nobody would choose to work for such a man. It just doesn’t make a lot of sense. At times it felt like the credibility of the story was stretched to breaking point. Nelly (the servant) actually being in some of the scenes was almost laughable. Often it was followed by a terrible explanation attempting to justify her presence. It sounded very desperate to me. This leads perfectly on to my next point. Half way through the story (the start of volume ii) we are told that the conversation has ended. We then hear the visitor’s description of the servant’s narrative about Heathcliff’s life. I mean seriously? So there are three layers of storytelling. Isn’t that completely unnecessary and overcomplicated? Why not just have Heathcliff tell the story or at the very least have the servant tell the story from start to finish in one story arc with no time shifts. For me, it felt like Emily wrote herself into a corner with her choice of narrative and desperately tried to write herself out of it to the point of ridiculousness. How much of the story can we believe? How much bias is in the narratives? Then there was the dialogue overloads. Large parts of the novel were entirely conversational. The narration was minimalistic and bare. The only character whose thoughts we were privy to, again Nelly the servant, was completely irrelevant to the plot. Who cares about the servant’s emotion and reactions? This isn’t her story; thus, the dialogue was packed out to the point of unnaturalness to fit in the thoughts of characters whose minds we weren’t privy to. Simply put, the characters said things people wouldn’t realistically say in conversation. It was overflowing with emotions and private thoughts. It was awkward. I’m not talking about private conversations, those don’t happen as Nelly is awkwardly present for every single event, but announcements or decisions (that should be internal) announced to a group of people. This is why plays have asides and soliloquies. And this is why novels aren’t told from the perspective of a random servant. There is clearly a great story here. Plot wise the novel is wonderful. But the way in which Emily told her story was nothing short of disastrous. It felt like a wasted opportunity. I’m absolutely horrified at how poor it is. This novel needed to be taken apart, re-wrote, and put back together again. Perhaps then it would have been worthy of the story it failed to tell. I’ve never been so massively underwhelmed in such a blatant lack of skill in a canonised piece of literature, one that has immense critical reception. ___________________________________ You can connect with me on social media via My Linktree. __________________________________

  10. 4 out of 5

    Jackie "the Librarian"

    If you think that spitefulness is romantic, and that people destroying their lives is dramatic, go ahead and read this book. But don't say I didn't warn you. If you think that spitefulness is romantic, and that people destroying their lives is dramatic, go ahead and read this book. But don't say I didn't warn you.

  11. 5 out of 5

    emma

    "Hello, everyone. Welcome to chaos." -Emily Brontë upon publishing this book, probably Inside me, there are two wolves. (I am saying there are two wolves in order to reference the meme, but what would be more accurate is to say that inside of me there are two boring and nonviolent creatures. Like a pigeon. Or an accountant.) One wolf, or whatever, has such a constant and undying need to share its opinion that it is currently ranked #1 on Goodreads for most annoying best reviewer. (Don't check if t "Hello, everyone. Welcome to chaos." -Emily Brontë upon publishing this book, probably Inside me, there are two wolves. (I am saying there are two wolves in order to reference the meme, but what would be more accurate is to say that inside of me there are two boring and nonviolent creatures. Like a pigeon. Or an accountant.) One wolf, or whatever, has such a constant and undying need to share its opinion that it is currently ranked #1 on Goodreads for most annoying best reviewer. (Don't check if that's still true. I doubt it'll stick and it'll be awkward for all of us if it isn't.) The other wolf (slash what have you) thinks every other wolf (or entity of your choosing) has a better grasp of every concept on earth than it does, and that it should shut up for one second and let the other wolves talk, like seriously, Jesus Christ, be quiet already, oh my god. The latter wolf wants to let you know that there is a very interesting conversation on the topic of this book, its categorization as a love story, and its history in the comments of this review, and you should scroll down to read that instead. But the first wolf is going to keep talking up here anyway. Here is a list of facts about this book: - it was published in 1848 - its author had a grand total of about 1 year of formal education - it was said author's debut and written while she was in her 20s - it contains barbaric characters, total disregard for etiquette, necrophilia (or intent to commit), the devil embodied in a man (who is also the main love interest), The Royal Tenenbaums-style incest, premarital friskiness by 19th century standards, violence, emotional abuse, cruelty, and enough gaslighting to maybe make TikTokers consider for one second how often they use that word. Kind of surprising, no? In spite of the fact that I was told one hundred thousand million times that this is not a love story, I was told TWO hundred thousand million times that it was. And honestly I went in expecting something like Agnes Grey: it's not a satisfying romance, but there's something there. I was not prepared for this. This is a very intense and stunning and beautifully written novel, and if I ever reread it I think I will like it more then. But no matter how hard I tried on this first read, my brain will always lump the Brontë sisters and Jane Austen together. And this wasn't even Jane Eyre-level. It would have given Austen war flashback style nightmares. Bottom line: We'll get em next time! ------------- pre-review well. that wasn't what i thought it would be. review to come / 3 or 3.5 stars ------------- currently-reading updates readathons are all about binge-reading books you haven't been able to make yourself pick up ever until you're in a reading slump. this is my first time doing one but i'm pretty sure. clear your shit prompt one: a book in which somebody dies (just guessing but seems like it) follow my progress here ------------- tbr review confession time: i have now amassed 3 copies of this book, in the hope that one of them will suddenly inspire me to read it

  12. 5 out of 5

    Ahmad Sharabiani

    (Book 902 from 1001 books) -Wuthering Heights, Emily Brontë Wuthering Heights is Emily Brontë's only novel. Written between October 1845 and June 1846. Most of the novel is the story told by housekeeper Nelly Dean to Lockwood, though the novel "uses several narrators (in fact, five or six) to place the story in perspective, or in a variety of perspectives". Emily Brontë uses this frame story technique to narrate most of the story. Thus, for example, Lockwood, the first narrator of the story, tells (Book 902 from 1001 books) -Wuthering Heights, Emily Brontë Wuthering Heights is Emily Brontë's only novel. Written between October 1845 and June 1846. Most of the novel is the story told by housekeeper Nelly Dean to Lockwood, though the novel "uses several narrators (in fact, five or six) to place the story in perspective, or in a variety of perspectives". Emily Brontë uses this frame story technique to narrate most of the story. Thus, for example, Lockwood, the first narrator of the story, tells the story of Nelly, who herself tells the story of another character. The use of a character, like Nelly Dean is "a literary device, a well-known convention taken from the Gothic novel, the function of which is to portray the events in a more mysterious and exciting manner". بلندیهای بادگیر (عشق هرگز نمیمیرد) - امیلی برونته (نگاه ، جامی) ادبیات این کتاب نخستین بار در سال 1847میلادی منتشر شد؛ عنوانهای چاپ شده در ایران: «تندباد حوادث یا ووترینگ هایتز»؛ «بلندیهای بادخیز»؛ «بلندیهای بادخیز (وودرینگ هایتز)»؛ «بلندیهای بادگیر»؛ «بلندیهای بادگیر (وادرینگ هایتز)»؛ «بلندیهای بادگیر (عشق هرگز نمیمیرد)»؛ «بلندیهای بادگیر (وادرینگ هایتس)»؛ «بلندیهای بادگیر یا عشق هرگز نمیمیرد»؛ «به رزاییه کانی به‌ربا»؛ «عشق هرگز نمیمیرد»؛ «عشق هرگز نمیمیرد (بلندیهای بادگیر)»؛ «واترینگ هایتز»؛ «بلندیهای بادگیر (تا انتهای پر رنج عشق)»؛ «عشق هرگز نمیمیرد (بلندیهای بادخیز)»؛ تاریخ نخستین خوانش: سال 1977میلادی؛ بار دوم: سال 1998میلادی؛ و بار سوم: ماه می سال 2007میلادی هر یک از عنوانهای بالا، بارها به زیور طبع آراسته شده اند، البته که با کوشش مترجمین و دیگران؛ اثر «امیلی برونته»، شاعر و نویسنده ی «بریتانیا» که بارها توسط مترجمهای نام آشنا، خانمها و آقایان «عبدالعظیم صبوری - در 299ص، در سال 1334هجری خورشیدی»، «ولی الله ابراهیمی در سال 1348هجری خورشیدی»، «داریوش شاهین»؛ «علی اصغر بهرام بیگی»، «پرویز پژواک»؛ «رباب امام»، «تهمینه مهربانی»، «حمید اکبری» و «زهرا احمدیان»، «فرزانه قلیزاده»، «نعیمه ظاهری»، «مریم صادقی»؛ «اکرم مظفری»، «فاطمه امینی»، «شادی ابطحی»، «فریده قراچه داغی (صمیمی)»؛ «مهدی سجودی مقدم»، «رضا رضایی»، و «نوشین ابراهیمی»، «مهدی غبرائی»، «هادی ریاضی»، «سمیه امانی» و «شهرام قوامی»؛ ترجمه و منتشر شده اند وادِرینگ هایتس، در این داستان، نام عمارت خانوادگی «ارنشاو» است؛ و به معنی خانه ای است، که روی تپه و در معرض باد، ساخته شده است؛ داستان عشق آتشین و مشکل‌دار، میان «هیث کلیف»، و «کترین (کاترین) ارنشاو»، و این‌که همین عشق نافرجام، چگونه سرانجام این دو عاشق، و بسیاری از اطرافیانشان را، به نابودی می‌کشاند؛ «هیث کلیف»، کولی‌زاده‌ ای است، که موفق به ازدواج با «کاترین» نمی‌شود، و پس از مرگ «کاترین» به انتقام‌جویی روی می‌آورد تاریخ بهنگام رسانی 02/06/1399هجری خورشیدی؛ 12/05/1400هجری خورشیدی؛ ا. شربیانی

  13. 5 out of 5

    Emily (Books with Emily Fox)

    A classic revenge story with two characters with bad temperaments... I'm not sure how I feel about this book. It's dark, it's pretty messed up and definitely not romantic (really people? I worry about you). A classic revenge story with two characters with bad temperaments... I'm not sure how I feel about this book. It's dark, it's pretty messed up and definitely not romantic (really people? I worry about you).

  14. 5 out of 5

    Ahmad Sharabiani

    (Book 902 from 1001 books) - Wuthering Heights, Emily Brontë In 1801, Lockwood, a wealthy young man from the south of England, who is seeking peace and recuperation, rents Thrushcross Grange in Yorkshire. He visits his landlord, Heathcliff, who lives in a remote moorland farmhouse, Wuthering Heights. There Lockwood finds an odd assemblage: Heathcliff, who seems to be a gentleman, but whose manners are uncouth; the reserved mistress of the house, who is in her mid-teens; and a young man, who seems (Book 902 from 1001 books) - Wuthering Heights, Emily Brontë In 1801, Lockwood, a wealthy young man from the south of England, who is seeking peace and recuperation, rents Thrushcross Grange in Yorkshire. He visits his landlord, Heathcliff, who lives in a remote moorland farmhouse, Wuthering Heights. There Lockwood finds an odd assemblage: Heathcliff, who seems to be a gentleman, but whose manners are uncouth; the reserved mistress of the house, who is in her mid-teens; and a young man, who seems to be a member of the family, yet dresses and speaks as if he is a servant. ... عنوانهای چاپ شده در ایران: «تندباد حوادث یا ووترینگ هایتز»؛ «بلندیهای بادگیر»؛ «بلندیهای بادخیز»؛ «عشق هرگز نمیمیرد»؛ نویسنده: امیلی برونته؛ انتشارتیها (نگاه ، جامی) ادبیات؛ تاریخ نخستین خوانش: ماه جولای سال 1977 میلادی؛ بار دوم: سال 1998 میلادی؛ سومین بار در ماه می سال 2007 میلادی عنوانهای چاپ شده در ایران: «تندباد حوادث یا ووترینگ هایتز»؛ «بلندیهای بادخیز»؛ «بلندیهای بادخیز (وودرینگ هایتز)»؛ «بلندیهای بادگیر»؛ «بلندیهای بادگیر (وادرینگ هایتز)»؛ «بلندیهای بادگیر (عشق هرگز نمیمیرد)»؛ «بلندیهای بادگیر (وادرینگ هایتس)»؛ «بلندیهای بادگیر یا عشق هرگز نمیمیرد»؛ «به رزاییه کانی به‌ربا، کردی، سنندج»؛ «عشق هرگز نمیمیرد»؛ «عشق هرگز نمیمیرد (بلندیهای بادگیر)»؛ «واترینگ هایتز»؛ «بلندیهای بادگیر (تا انتهای پر رنج عشق)»؛ «عشق هرگز نمیمیرد (بلندیهای بادخیز)»؛ هر یک از عنوانهای بالا، بارها به زیور طبع آراسته شده اند، البته که با کوشش مترجمین، و دیگران از ارجمندان؛ اثری از «امیلی برونته»، شاعر و نویسنده ی «بریتانیایی» است، که بارها توسط مترجمهای نام آشنا، خانمها و آقایان: «عبدالعظیم صبوری - در 299ص، در سال 1334هجری خورشیدی»، «ولی الله ابراهیمی در سال 1348هجری خورشیدی»، «داریوش شاهین»؛ «علی اصغر بهرام بیگی»، «پرویز پژواک»؛ «رباب امام»، «تهمینه مهربانی»، «حمید اکبری و زهرا احمدیان»، «فرزانه قلیزاده»، «نعیمه ظاهری»، «مریم صادقی»؛ «اکرم مظفری»، «فاطمه امینی»، «شادی ابطحی»، «فریده قراچه داغی (صمیمی)»؛ «مهدی سجودی مقدم»، «رضا رضایی»، و «نوشین ابراهیمی»، «مهدی غبرائی»، «هادی ریاضی»، «سمیه امانی» و «شهرام قوامی»؛ و ...؛ ترجمه و منتشر شده است وادِرینگ هایتس در این داستان که عنوان آن، نام عمارت خانوادگی «ارنشاو»؛ و به معنی خانه ای است، که روی تپه و در معرض باد ساخته شده است؛ داستان عشق آتشین و مشکل‌دار، میان «هیث کلیف» و «کترین (کاترین) ارنشاو»، و این‌که همین عشق نافرجام، چگونه سرانجام این دو عاشق، و بسیاری از اطرافیانشان را، به نابودی می‌کشاند؛ «هیث کلیف»، کولی‌زاده‌ ای است، که موفق به ازدواج با «کاترین» نمی‌شود، و پس از مرگ «کاترین» به انتقام‌ روی می‌آورد.؛ تاریخ بهنگام رسانی 30/05/1399هجری خورشیدی؛ 14/05/1400هجری خورشیدی؛ ا. شربیانی

  15. 5 out of 5

    Madeline

    If you've been following my status updates as I read this book, you can probably guess what kind of review this is going to be. (answer: the best kind!) So let's get the good stuff out of the way first, and then I can start the ranting. Good stuff: I liked some of the characters. Ellen was sweet, and seemed to be the only sensible person in the story. And lord, does she get put through a lot of shit. Girlfriend needs a hug and a spa weekend after all she's been through. I also liked Catherine II If you've been following my status updates as I read this book, you can probably guess what kind of review this is going to be. (answer: the best kind!) So let's get the good stuff out of the way first, and then I can start the ranting. Good stuff: I liked some of the characters. Ellen was sweet, and seemed to be the only sensible person in the story. And lord, does she get put through a lot of shit. Girlfriend needs a hug and a spa weekend after all she's been through. I also liked Catherine II and Hareton - unlike their romantic predecessors (and believe me, we'll get to those two soon), they were likeable most of the time. Sure, they had their jackass moments, but considering their respective upbringings, can you really blame them? Also, they reminded me of Bender and Claire from The Breakfast Club. Like I said, kind of irritating and stupid, but sweet. I also appreciated the incredible passion of the story (and the passionate emotions it raised in me) Sure, I hated Heathcliff, but even I swooned a little during his final scene with Cathy. Sure, Emily Bronte has written the most terrifying portrayal of a love story I've ever seen (Fatal Attraction? Pfft.), but she did it really, really well. Terrifying as it is. Which brings me to the next section of this review... Bad Stuff: I cannot, for the life of me, understand why anyone thinks this is a love story. It's a horror story of love and passion gone horribly, horribly wrong, and Heathcliff is one of the greatest villains ever created in literature. Notice I said "villain" and not "antihero." Heathcliff is not an antihero. He is a sociopath, and for the last fifty pages of the story I wanted to violently murder him so badly that my hands were shaking as I held the book. He is evil. Cathy doesn't get my sympathy, either. She was a spoiled, unfeeling bitch during every moment she was present in the story, and it's only because she was dead by page 200 that she didn't make me as angry as Heathcliff did - she simply didn't have enough time. But let's get back to Heathcliff - I cannot outline here all of the evil things he did over the course of the story, and to do so would probably be to give away spoilers. Let me just say this: I now understand completely why Wuthering Heights is being advertised in bookstores as "Bella and Edwards Favorite Book!". It should be. As I said in a comment on one of my statuses: Edward Cullen is good, but Heathcliff wrote the fucking book on Domestic Abuse Thinly Disguised As Love. I don't know why so many readers get all fangirly over Heathcliff. He's an asshole, a sociopath, and even he knows how evil he is. As he says of Isabella, a girl he marries and then treats so horribly I can't even talk about it right now: "She abandoned them under a delusion...picturing in me a hero of romance, and expecting unlimited indulgences from my chivalrous devotion. I can hardly regard her in the light of a rational creature, so obstinately has she persisted in forming a fabulous notion of my character, and acting on the false impression she has cherished." Hear that, Heathcliff fangirls? Even he thinks you're all morons for liking him. And, just to end this on a good note: I've shared this webcomic before, but it fits here too because, let's face it, the Bronte sisters had terrible taste in men.

  16. 5 out of 5

    Jake

    I first read this in AP English Literature - senior year of high school. This book is dense and thick and confusing, and with a class full of haters, it was hard to wrap my head around it. I subsequently read it three or four more times for classes in college and every time I read it, I loved it more. I always found some new, fascinating piece of the story I had never picked up on. The last time I read it, I suddenly realized that there were many hints and clues that Heathcliff could, in fact, be I first read this in AP English Literature - senior year of high school. This book is dense and thick and confusing, and with a class full of haters, it was hard to wrap my head around it. I subsequently read it three or four more times for classes in college and every time I read it, I loved it more. I always found some new, fascinating piece of the story I had never picked up on. The last time I read it, I suddenly realized that there were many hints and clues that Heathcliff could, in fact, be black. A quick shot at research into Liverpool, where Mr. Earnshaw found the urchin, shows that it was the home to a thriving slave trade. This theory completely changes the story, in my opinion. Or the thought someone brought up in our seminar on the Brontes - what if Nellie is in love with Heathcliff and subsequently altered how she told the story? You do find Nellie to be coincidently involved in many key scenes throughout the text. What if she isn't the good guy most readers assume she is? Wuthering Heights is one of the quintessential novels in history. There's nothing else you can really say about it, except that it's one of the best pieces of writing to ever be created. It's just that incredible. Finished for the 5th time - 11/25/2014

  17. 5 out of 5

    Kellie

    I read this book for my AP Literature class. I loved the teacher, loved the subject matter, and loved pretty much everything else we had read, so I had high hopes for this book. I must say, I made a genuine and sincere effort to like this book, I really did. I got half way through with no hope in sight, yet I perservered, hoping the second half would show promise in the next generation. No such luck. Although nothing tops the finale "love scene" between Heathcliff and Katherine, with Heathcliff I read this book for my AP Literature class. I loved the teacher, loved the subject matter, and loved pretty much everything else we had read, so I had high hopes for this book. I must say, I made a genuine and sincere effort to like this book, I really did. I got half way through with no hope in sight, yet I perservered, hoping the second half would show promise in the next generation. No such luck. Although nothing tops the finale "love scene" between Heathcliff and Katherine, with Heathcliff foaming at the mouth and a verbal battle of "no, YOU killed me" "no, you killed yourself" (a stupidity hiterto unknown since the "no YOU'RE prettier" battles). Eventually, the final pages came into view and I was desperate- there must be some redemption for this junk! Some message, some ending sequence, SOMETHING that makes this worthwhile. The characters are so self-absorbed and posses an unprecendeted lack of intelligence, yet are still portrayed as intelligent by the literary world, that it seemed like the only fitting ending would be the characters realizing their stupidity and engaging in a mass suicide. No such luck. Every last word was idiotic and as empty as the first. But you know what grinds my gears even more than the fact that I wasted a week on this worthless pseudo-classic? It kills me that people not only mistake this hoax for real literature, but reference it for ROMANTIC value! Foaming at the mouth, marrying someone you don't love, wow.... now that's a level of romance lovers fantasize about achieving.

  18. 5 out of 5

    daph pink ♡

    How to win over a girl??? 1. Go down on your knees and say "BE MINE " or else (Heathcliff style ) **Spoilers** 2. Wait for both of your spouses to die and then force both of your kids to marry each other as a part of your decade long revenge plan and gain control over everything. Rest in peace Catherine.[ Feeling sorry for the people who think this is a great love story !!] How to win over a girl??? 1. Go down on your knees and say "BE MINE " or else (Heathcliff style ) **Spoilers** 2. Wait for both of your spouses to die and then force both of your kids to marry each other as a part of your decade long revenge plan and gain control over everything. Rest in peace Catherine.[ Feeling sorry for the people who think this is a great love story !!]

  19. 5 out of 5

    Melanie

    “People feel with their hearts, Ellen, and since he has destroyed mine, I have not power to feel for him.” Okay, I know that Wuthering Heights is so many people’s favorite book of all-time, and so many people’s least favorite book of all-time, so I went into this not really knowing what to expect. I will be honest, I didn’t really love it, but I was for sure not expecting the wild ride that this story took me on. I just truly found all of the characters (Except for Ellen/Nelly) to be “People feel with their hearts, Ellen, and since he has destroyed mine, I have not power to feel for him.” Okay, I know that Wuthering Heights is so many people’s favorite book of all-time, and so many people’s least favorite book of all-time, so I went into this not really knowing what to expect. I will be honest, I didn’t really love it, but I was for sure not expecting the wild ride that this story took me on. I just truly found all of the characters (Except for Ellen/Nelly) to be so damn insufferable. But this is a story set in 1801, about a man named Mr. Lockwood, staying the night at Wuthering Heights. He meets a man named Heathcliff, who seems absolutely miserable, and he meets a housekeeper named Ellen Dean who will eventually help us figure out why Heathcliff is so miserable. Oh, and when Lockwood goes to sleep that night, he is awoken by a ghost! He then tells Ellen this, and she promptly throws us back into a flashback, where she becomes the new narrator, and we get to see what went down at Wuthering Heights many years ago. Wuthering Heights, at its black heart, is a story all about abuse, and cycles of abuse, and how abuse can impact so many hearts and so many generations repeatedly. Abuse and cruelty truly breed violence, and Heathcliff and everyone he has been forced to interact with just showcase that theme over and over. Heathcliff was orphaned and taken in, but everyone reminds him that he constantly is an outsider. But this story focuses on him and the three young people he grew up alongside of, and they are all shitty in their own ways. ➽ Heathcliff is shitty because he only cares for Catherine. ➽ Isabelle is shitty because she only cares about Heathcliff. ➽ Edgar is shitty because he doesn’t care about his sister. ➽ Catherine is shitty because she only cares about herself. “Whatever our souls are made of, his and mine are the same.” And friends, it is a truly wild ride seeing these characters interact with one another. And we eventually get to see their children who (you guessed it) are shitty, too! Again, cycles of abandonment and abuse is truly heartbreaking in every aspect. I don’t want to say too much more without spoiling, because I really do think the twists are pretty decent in this and figuring out more about the ghost was a big highlight for me. Also, the atmosphere was phenomenal, and the Yorkshire moors truly set a beautiful stage for this dark tale. And I feel like this is a little bit of an unpopular opinion; but I actually really liked Emily’s prose, too. I do want to say that upon finishing this story, I immediately started to look up things about the entire Brontë family, and my heart just broke. The things that those sister, and their entire family, had to go through. I know 2019 is kind of a dumpster fire, but I am so thankful that I wasn’t born in the 1800s, good Lord. Also, reading about how closely tuberculosis impacted this story and Emily’s life truly fucked me up, especially because I’m close to Emily’s age when she died. Seriously, I have so much love and respect in my heart for these three sisters, originally writing their dark tales under male pseudonyms, who will now never be forgotten. Overall, even though I didn’t love this story, this book was enjoyable enough to read. But you’re never going to find me romanticism anything that Heathcliff did. But I truly couldn’t wait to find out what happened next to all these insufferable characters. And I still firmly believe that Ellen/Nelly deserves the entire world. Also, I had the biggest giggle while reading about someone throwing hot applesauce at someone else, because like, just imagine that. Blog | Instagram | Twitter | Tumblr | Youtube | Twitch Content and trigger warnings for use of the word g*psies, death, loss of a loved one, a lot of physical and emotional abuse, alcohol abuse, child abuse, animal abuse, humiliation, self-harm, and abandonment.

  20. 5 out of 5

    Ahmad Sharabiani

    (Book 902 from 1001 books) - Wuthering Heights, Emily Brontë Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". She died the following year, aged 30. It was written between October 1845 and June 1846, Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre. After Emily's death, Charlotte edited the manuscript of Wuthering Heights and arranged for the edi (Book 902 from 1001 books) - Wuthering Heights, Emily Brontë Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". She died the following year, aged 30. It was written between October 1845 and June 1846, Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre. After Emily's death, Charlotte edited the manuscript of Wuthering Heights and arranged for the edited version to be published as a posthumous second edition in 1850. Thirty years earlier, the Earnshaws live at Wuthering Heights with their children, Hindley and Catherine, and a servant — Nelly herself. Returning from a trip to Liverpool, Earnshaw brings a young orphan whom he names Heathcliff and treats as his favourite. His own children he neglects, especially after his wife dies. Hindley beats Heathcliff, who gradually becomes close friends with Catherine. Hindley departs for university, returning as the new master of Wuthering Heights on the death of his father three years later. He and his new wife Frances allow Heathcliff to stay, but only as a servant. Heathcliff and Catherine spy on Edgar Linton and his sister Isabella, children who live nearby at Thrushcross Grange. Catherine is attacked by their dog, and the Lintons take her in, sending Heathcliff home. When the Lintons visit, Hindley and Edgar make fun of Heathcliff and a fight ensues. Heathcliff is locked in the attic and vows revenge. ... بلندیهای بادگیر (عشق هرگز نمیمیرد) - امیلی برونته (نگاه ، جامی) ادبیات این کتاب نخستین بار در سال 1847میلادی منتشر شد؛ تاریخ خوانش این نسخه سال 1998میلادی عنوانهای چاپ شده در ایران: «تندباد حوادث یا ووترینگ هایتز»؛ «بلندیهای بادخیز»؛ «بلندیهای بادخیز (وودرینگ هایتز)»؛ «بلندیهای بادگیر»؛ «بلندیهای بادگیر (وادرینگ هایتز)»؛ «بلندیهای بادگیر (عشق هرگز نمیمیرد)»؛ «بلندیهای بادگیر (وادرینگ هایتس)»؛ «بلندیهای بادگیر یا عشق هرگز نمیمیرد»؛ «به رزاییه کانی به‌ربا»؛ «عشق هرگز نمیمیرد»؛ «عشق هرگز نمیمیرد (بلندیهای بادگیر)»؛ «واترینگ هایتز»؛ «بلندیهای بادگیر (تا انتهای پر رنج عشق)»؛ «عشق هرگز نمیمیرد (بلندیهای بادخیز)»؛ تاریخ نخستین خوانش: سال 1977میلادی؛ بار دوم: سال 1998میلادی؛ و بار سوم: ماه می سال 2007میلادی هر یک از عنوانهای بالا بارها به زیور طبع آراسته شده اند، البته که با کوشش مترجمین و دیگران؛ اثر «امیلی برونته»، شاعر و نویسنده ی «انگلیسی» است که بارها توسط مترجمهای نام آشنا خانمها و آقایان: «عبدالعظیم صبوری - در 299ص، در سال 1334هجری خورشیدی»، «ولی الله ابراهیمی در سال 1348هجری خورشیدی»، «داریوش شاهین»؛ «علی اصغر بهرام بیگی»، «پرویز پژواک»؛ «رباب امام»، «تهمینه مهربانی»، «حمید اکبری و زهرا احمدیان»، «فرزانه قلیزاده»، «نعیمه ظاهری»، «مریم صادقی»؛ «اکرم مظفری»، «فاطمه امینی»، «شادی ابطحی»، «فریده قراچه داغی (صمیمی)»؛ «مهدی سجودی مقدم»، «رضا رضایی»، و «نوشین ابراهیمی»، «مهدی غبرائی»، «هادی ریاضی»، «سمیه امانی» و «شهرام قوامی»؛ ترجمه و منتشر شده است خواهران برونته («شارلوت» و «امیلی جین»، و «آن») هر سه از چهره های ممتاز ادبیات سده ی نوزدهم میلادی «انگلستان» هستند؛ «بلندیهای بادخیز» تنها رمان «امیلی جین برونته»، از پرخوانشگرترین آثار ادبیات «انگلستان» و شاید جهان هستند؛ در این کتاب، متن کوتاه شده، و برای نوجوانان است؛ با این همه در مسافرتها، بارها و بارها آن را خوانده ام؛ «وادِرینگ هایتس» در این داستان، نام عمارت خانوادگی «ارنشاو» است؛ و به معنی خانه ای هست، که روی تپه، و در معرض باد، ساخته شده است؛ داستان عشق آتشین و مشکل‌دار، میان «هیث کلیف» و «کترین (کاترین) ارنشاو»، و این‌که همین عشق نافرجام، چگونه سرانجام این دو عاشق، و بسیاری از اطرافیانشان را به نابودی می‌کشاند؛ «هیث کلیف» کولی‌زاده‌ ای است که موفق به ازدواج با «کاترین» نمی‌شود، و پس از مرگ «کاترین» به انتقام‌ روی می‌آورد تاریخ بهنگام رسانی 06/09/1399هجری خورشیدی؛ 14/06/1400هجری خورشیدی؛ ا. شربیانی

  21. 5 out of 5

    Henry Avila

    Cathy and Heathcliff, a love story? At the beginning of our narrative Mr.Lockwood a tenant of Thrushcross Grange, visits his landlord Mr.Heathcliff at Wuthering Heights, four long miles away across the cold, eerie, moors, people back then walked a great distance they had few options without much complaining, troubled Lockwood wants to get away from society (he came to the right place). The setting is northern England 1801, in the Yorkshire Moors a vast, remote, desolate and gloomy grassland beau Cathy and Heathcliff, a love story? At the beginning of our narrative Mr.Lockwood a tenant of Thrushcross Grange, visits his landlord Mr.Heathcliff at Wuthering Heights, four long miles away across the cold, eerie, moors, people back then walked a great distance they had few options without much complaining, troubled Lockwood wants to get away from society (he came to the right place). The setting is northern England 1801, in the Yorkshire Moors a vast, remote, desolate and gloomy grassland beautiful and ugly at the same time, a haunting locale. Lockwood is the only person who likes Heathcliff " a capital fellow" in the area, he sees something no one else does on his mournful face, sadness maybe even regret ( like himself) ? Later he learns the story of his landlord's tragic life, through Mrs.Nelly Dean his servant at Thrushcross Grange for three generations , she tells him about the life of Heathcliff found in the streets of Liverpool hungry , crying, dirty all alone without anyone caring there at the tender age of two, but the compassionate Mr.Earnshaw a wealthy man , Catherine's (Cathy's) father and takes him home. They never discovered the boy's true identity but because of the child's dark complexion, everyone calls him a gypsy. The two Catherine and Heathcliff, grow up as brother and sister at Wuthering Heights always together Cathy and the unwanted orphan, playing on the lonely moors, they are soulmates . Resented by Cathy's older brother Hindley, (who beats him many times) in fact everyone does, still the gentle Mr.Earnshaw loves the boy. Morose, showing no emotions he can't afford to, still very angry underneath because of how others treat him, as an inferior, Heathcliff was never given another name. When teenager Cathy decides to marry Edgar Linton from a respected well off family and Heathcliff hears about it , he disappears to parts unknown the penniless man feels betrayed....Years pass and Heathcliff comes back from America rich, nobody learns how and he doesn't say either, probably not quite honestly and seeks vengeance. The children of each estate the Linton's of Thrushcross Grange and the Earnshaw's of Wuthering Heights, inherit their respective homes, Cathy wants to maintain a friendship and maybe more with Heathcliff, the weak Edgar of course hates the gypsy yet can't stop the two from seeing each other, the attraction is too powerful. The triangle will soon dissolve, people come and go but the moors abide. Strong novel with a bittersweet plot... Love or despise this classic, you cannot help but admire its quality.

  22. 4 out of 5

    Vessey

    SPOILERS Behold the wild, dark side of love. “I am Heathcliff – he’s always, always in my mind – not as a pleasure, any more than I am always a pleasure to myself – but as my own being.” Passion. Desire. Love. Are they the same thing? If we are so intoxicated by someone as ending up seeing them as a mirror to our own self, is this love? It is. Sometimes. But sometimes it is sign not of devotion, but of egotism so strong that it stops us from seeing the actual person and we imagine a likeness that SPOILERS Behold the wild, dark side of love. “I am Heathcliff – he’s always, always in my mind – not as a pleasure, any more than I am always a pleasure to myself – but as my own being.” Passion. Desire. Love. Are they the same thing? If we are so intoxicated by someone as ending up seeing them as a mirror to our own self, is this love? It is. Sometimes. But sometimes it is sign not of devotion, but of egotism so strong that it stops us from seeing the actual person and we imagine a likeness that isn’t there just in order to fulfill our needs. I believe that Catherine loves Heathcliff, but I don’t believe she understands him or desires to. By believing he would agree to her plan she shows how little she takes into account what he actually is. She is so lost in her passion that she isn’t willing to admit the difference between them. It is a dangerous thing to be so absorbed by passion for someone that you don’t even care to understand and accept them for who they are. You just want to own them. By making the choice of marrying another man and keeping Heathcliff by her side as a lover whom she would support with her husband’s money she gives up on the very thing that has connected them so far, on the very thing that has stood at the core of their love. Freedom. They both grow up as captives of society that does not understand and accept them for who they are. He is the only one in front of whom she can be herself and she is the only one in front of whom he can be himself. But by choosing to dissemble and submit, Catherine loses that spark that initially connects them. She believes it is for their own good. He is heartbroken. When he comes back, he spends so much time and energy trying to bring back a girl who no longer exists. He cannot stand the woman she has turned herself into. In this case, is he still in love with her or merely in the memory of her? When the person we have loved loses the part that has held our affections, when should we give up on them and when should we devote ourselves to restoring that part? "He’s more myself than I am. Whatever our souls are made of, his and mine are the same." Their tragedy lies exactly in the fact that they are not the same. He wants freedom, she wants security. Benjamin Franklin says 'Those who surrender freedom for security will not have, nor do they deserve, either one.' I neither agree, nor disagree. I believe it is a very subjective matter. It isn’t that simple. But in the case of Catherine it really does turn out this way. In the end she has neither comfort, nor freedom. How much do we know those who we claim to love? We all risk to see something that isn’t actually there or miss something that is. Either blinded by passion or by our desire to recreate the objects of our passion. If we cannot truly accept our loved ones for who they are and we try to change them, then do we truly love them or simply those we would like them to be? Can such a distinction be made? Or is it a little bit of both? Do we love only those parts of our partners that resemble ourselves or are we willing to love even those we cannot accept? Are love and acceptance the same thing? It isn’t uncommon for a person to try changing their loved one, but sometimes the good and the bad come from the same place and if we happen to succeed, we are at risk of destroying the good as well. Catherine tries to tame Heathcliff and in doing so, she destroys him. His passionate love turns into passionate hatred. Feeling so close to someone as not to know where you end and they begin is either a sign of profound affinity or a profound delusion. Love is merciful and cruel, generous and selfish, sorrow and ecstasy. We all lose something and gain something by choosing to give into another person. Change is inevitable. Sometimes we get stronger, sometimes we are ruined. Sometimes it is a little bit of both. Some of us find their worthy partners, some, sadly, never do. But I believe that no matter on which side of the coin you turn out, staying faithful to yourself is always the right choice. Read count: 2

  23. 5 out of 5

    Miranda Reads

    Old books get a bad rap...but do they deserve it? Check out my latest BooktTube Video - all about the fabulous (and not so fabulous) Olde Bois. The Written Review She was awful. He was terrible. And yet, I could not turn away. Just something about this is just so wholly fascinating. Audiobook Comments Extremely well-read. An absolute delight! YouTube | Blog | Instagram | Twitter | Facebook | Snapchat @miranda_reads Old books get a bad rap...but do they deserve it? Check out my latest BooktTube Video - all about the fabulous (and not so fabulous) Olde Bois. The Written Review She was awful. He was terrible. And yet, I could not turn away. Just something about this is just so wholly fascinating. Audiobook Comments Extremely well-read. An absolute delight! YouTube | Blog | Instagram | Twitter | Facebook | Snapchat @miranda_reads

  24. 5 out of 5

    Maureen ( NOT RECEIVING NOTIFICATIONS)

    Having been unable to visit the Bronte Parsonage Museum recently, due to Covid-19, I thought a re-read of Wuthering Heights would be the next best thing, and it was - but oh how I long for a trip to Haworth, just to soak up that unique atmosphere!

  25. 4 out of 5

    Katie Lumsden

    As brilliant on the eleventh reading as on the first . . . A brilliant, dark, complicated and wonderful story, and one of my favourites of all time. I just completely adore it.

  26. 5 out of 5

    Nataliya

    Not often do I decide to edit the review - and change the opinion of the book I initially detested - mere days after writing a 'why I hated it' opus. Emily Bronte, you mastermind! In addition to learning truly horrifying things through the comments from my fellow lovely Goodreaders (people have told me that not only Heathcliff and Catherine's horrible story served as an inspiration for 'Twilight - a story that's paraded as a love story; and - brrrr - that "in almost all polls on most romantic lit Not often do I decide to edit the review - and change the opinion of the book I initially detested - mere days after writing a 'why I hated it' opus. Emily Bronte, you mastermind! In addition to learning truly horrifying things through the comments from my fellow lovely Goodreaders (people have told me that not only Heathcliff and Catherine's horrible story served as an inspiration for 'Twilight - a story that's paraded as a love story; and - brrrr - that "in almost all polls on most romantic literary figure, Heathcliff takes the lead") I read this comment from Teresa: "I think I read somewhere -- maybe in this book: Emily Bronte: The Artist As a Free Woman -- that she was creating her own world (and the book does seem claustrophobic with its two framing narrators), her own mythos. If one sees that interpretation, I think Heathcliff could be viewed almost as a Zeus-figure, another petty and vengeful 'entity.' ... a comment that, combined with her observation in another comment that "the names Hindley/Heathcliff/Hareton all started with the same letter, not to mention having two Catherines -- an enclosed world that repeated itself" led me to realize that yes, in a mind-blowing turn of events this book is a genius take on the completely secluded, isolated world that lives only by its own rules, ruled by its own godlike creatures, and bears little resemblance to and has little influence from the larger universe outside of it. * Two Catherines in this book - and both of them take a journey between the stops of 'Catherine Earnshaw', 'Catherine Heathcliff' and 'Catherine Linton' - because what other options do they have? Even young Cathy, so seemingly close to possibly leaving this enclosed corner of the universe thanks to sudden fascination Lockwood (a man of the outside world) takes to her, ultimately remains tightly tethered to the place she knows, remaining with an Earnshaw - her first cousin (because who else is there?) Heathcliff, who could have had the world, comes back to rule the little universe into which he was adopted, unable to leave the country of grey moors. And everyone else is a Linton - another link in the chain that connects everyone else. And the little world of this novel takes no one else in who is not a Linton, a Cathy or an incarnation of Heathcliff/Hareton/Hindley. Everyone stays together, their fates tied only to one another, with disregard to the world outside. Only Isabella (who never seems to have fit into this world anyway) manages to escape - but remains tethered to this world by her child, Linton Heathcliff, who - thanks to his names - is powerless to escape being sucked into this little corner of the universe and become a pathetic little villain. And this world, free from the influence outside, just continues to go in its own little circle, being its own little - and terrifying - universe. Ok, mindblowing. Enough to up my star rating by a full star. Emily Bronte, your mind was darker than I gave it credit for. Touché. ------------ ------------ ORIGINAL REVIEW FROM LONG AGO (a.k.a. a few days - an eternity in the eyes of a fruitfly, however) ------------ Ok, I'll be honest - I decided to read this one really because the word 'Wuthering' had for a while been fascinating my non-native speaker brain¹¹ Basically, brain insists it should be 'wIthering.' Computer spellcheck agrees. And both of them are wrong. Plus, I have also been introduced to it by - of course! - pop culture, courtesy of Phoebe Buffay: (In the remainder of this episode, Rachel ends up comparing 'Jane Eyre' to 'Robocop', to Phoebe's utmost delight.) ------------------------ Ok, back to serious now. This book had one of the most promising beginnings in all the literature. No joke. The narrator's stumbling into Heathcliff's household leads to the opening chapter as surreal and creepy as a nightmare you really want to wake up from but cannot. Seriously, let's look back to the beginning of the tale - with Heathcliff, and the dogs, and the creepiest servant since Igor, and strange perplexing characters of Hareton and Cathy, all in the most gothic setting a 19th century mind could have conjured. Lovely, just lovely.But then a meddling self-righteous servant sat down to tell the story of Cathy and Heathcliff and everyone else caught in the destructive hurricane those two left in their selfish wake - and something changed, the magic dissolved. I was promised passion and wilderness. Instead I got a cold wearisome shower of egotistical, self-absorbed, shallow, destructive, prejudiced, reckless petty disregard for anyone else from everyone else, combined with clear cases of sociopathic, narcissistic, and spoiled to the core people damaging everything they come in contact with. It's not wild passion; it's self-absorbed selfishness and nothing more. It's a spoiled brat in a grocery store flinging himself on the floor and throwing a raging, embarrassing tantrum because he just has to have that unnecessary piece of candy. No, I'm not a fan of anger, revenge and possessiveness trying to masquerade as wild love and passion. Neither Catherine nor Heathcliff love one another; instead of love they might as well just selfishly scream, "WAAAAAANT!!!" Heathcliff is not wild - he is a cruel sociopath. Catherine is not wild and passionate - she is a haughty and spoiled thoughtless creature. And I cannot help asking, dear reader - What is the point? -------------- Yes, I understand the balls ovaries needed for making such repulsive personalities be the center of your story (actually, that's not just Cathy and Heathcliff being repugnant; think of Hindley, and Hareton, and - brrrr! - Joseph, and young Linton, and even young Cathy, and to a point the ever-meddling self-righteous unsure-where-her-allegiance-lies-but-probably-with-whoever-the-current-master-happens-to-be Nelly Dean), and to systematically beat out any possible feel-good moment in this book. It probably was not an easy book to write, and definitely is not an easy book to read. But because of all that I could not bring myself to care in the least. What's worse, the little cringeworthy details peppered throughout the story became even more obvious in the light of me disliking the book:- Like the constant neverending out-of-character moments that all the action here seems to hinge upon (Heathcliff's sudden madness/death; Catherine's reaction to the argument between Heathcliff and Edgar; Cathy and Hareton's sudden feelings for each other; to name a few). - Contrived happy-ish ending: a thought that young Cathy will end up with a man who has physically assaulted her in the past and be happy with him in a Stockholm Syndrome-like fashion - and for it (a) to seem like a good choice and (b) the violence presented as something she had coming for daring to have a 'saucy' tongue. - Actually, constant violence, threats, marital rape - the stuff that would make even George R.R. Martin seem like a tender-hearted softie. - Constant reminders of darkness of Heathcliff's character being tied to the darkness of his skin - while white paleness of the Lintons provides a contrast of civilization to the brute. Dark skin = evil, right? Ah, Miss Bronte, really? - Constant nervous outbreaks and the destructive passion of feelings that after a while became much too repetitive. - The predictable cycle of Heathcliff or Catherine wanting something --> rudeness --> physical violence to those they perceive to be their inferiors --> some contrived disease brought on by nervous exhaustion or something of the sort --> someone probably dies for no reason than the effects of wild passions --> rinse, repeat. - Joseph's dialect. Need I say more?And, all throughout, I realized that I just could no longer care about the story that brought two English families living on the wild moors to the state that the narrator observes in such a promising beginning of this book. I think I was too exhausted with this story to care. It tried too hard to unapologetically be dark and brooding and bleak - and succeeded in just wearing me out. 2 stars and valiant attempts to dodge the shower of rotten eggs and rotten tomatoes heading my way.

  27. 5 out of 5

    Kimber Silver

    "There are two wolves, and they are always fighting. One is darkness and despair, the other light and hope. Which one wins? The one you feed." - Cherokee legend I have to start by saying Holy cats! That was not what I was expecting. This fabulous tale begins with bumbling Mr. Lockwood, who wishes to get away from the hustle and bustle of the city and looks forward to the beautiful country life. He’s on a mission to rent Thrushcross Grange from its owner, who also owns Wuthering Heights Mano "There are two wolves, and they are always fighting. One is darkness and despair, the other light and hope. Which one wins? The one you feed." - Cherokee legend I have to start by saying Holy cats! That was not what I was expecting. This fabulous tale begins with bumbling Mr. Lockwood, who wishes to get away from the hustle and bustle of the city and looks forward to the beautiful country life. He’s on a mission to rent Thrushcross Grange from its owner, who also owns Wuthering Heights Manor. He’s welcomed as much as anyone would welcome the plague and is met with harsh treatment, as well as pack of ill-tempered dogs who violently maul him. Add to that a snowstorm that puts him in his sickbed, this rural getaway is beginning to seem like a capital idea! As Mr. Lockwood convalesces at Thrushcross Grange, he becomes acquainted with the keeper of the house, Ellen Dean. Treading lightly after his previous encounters with these inhospitable people he approaches Miss Dean with caution and inquires after the intriguing inhabitants of Wuthering Heights. Ellen - or Nelly, as she’s known- is of a kinder disposition. She rushes off to get her knitting and settles in to tell the tale of all of the broken souls who haunt the halls of these once-grand homes. I’m snuggled in with my new friends engrossed in the saga of Heathcliff, the foundling gipsy child and Catherine, the daughter of his benefactor (and their magnetic attraction), eagerly listening to Nelly regale the history of the Earnshaws and the Lintons, her knitting needles clicking away, when she tells of Heathcliff's hasty departure! By now, I am completely captivated, and that’s when Nelly ceases the recounting, stating that Mr. Lockwood needs his sleep. Never mind his sleep! I grumbled. Lockwood and I don't need any sleep, woman! Get on with it! I wanted to reach into the pages and shake her! Where has Heathcliff gone? And what is going to happen to Cathy? Those two are the Richard Burton and Liz Taylor of their day! Tell! Tell! And be quick about it! Thankfully, Nelly returned to the story after some urging from my good man Lockwood, and we find that Cathy has married Edgar Linton! She’s living at Thrushcross Grange with Edgar and his sister Isabella, and they are as happy as clams. Then the poo hits the proverbial fan back at Wuthering Heights. Mr. Heathcliff comes strolling back into the picture, slick as you please, after three years away. He's looking all Rico Suave as he pops over to Cathy’s new digs, intending to stir the fire in her loins. And here she is married to another. Oh my! Next, the wilting flower, Isabella, upon laying her baby blues on ol' Heathcliff has a mighty yearning for the brooding bad boy, and all the while the devilish rogue is licking his chops at the thought of her juicy money. Cathy turns lime green with jealousy and Nelly is about to have a breakdown over the whole hot mess. It's code red over there! The outcome for these dismally unhappy folks could hardly be a 'happily ever after' one ... Or could it? I won’t spoil Wuthering Heights for anyone who is yet to read this engrossing melodrama. The story is wild, dark and stormy, and I devoured it as if I was starving. The prose is so evocative as to create a movie in my mind that culminates in a spectacular finish. A story of vengeance, love, greed and the cost of evil deeds; but could there also be redemption? One of my favorite lines; Cathy says of Heathcliff: "He's more myself than I am. Whatever our souls are made of, his and mine are the same." I would urge anyone who hasn’t read this dazzling novel, to please give it a try. I’m still reeling!

  28. 5 out of 5

    Fabian

    Believe it or not, not a fan. The story itself is unique & very original, a precursor for many Victorian thrillers & haunted house spectaculars. But there was no engine in my brain to ease down the process; reading this is like reading something that is altogether mandatory. I guess its a classic because enough people have read it to distinguish it from better books. The character of Heathcliff is a vampire who sucks the life out of everyone in the household at Wuthering Heights & its neighbors. N Believe it or not, not a fan. The story itself is unique & very original, a precursor for many Victorian thrillers & haunted house spectaculars. But there was no engine in my brain to ease down the process; reading this is like reading something that is altogether mandatory. I guess its a classic because enough people have read it to distinguish it from better books. The character of Heathcliff is a vampire who sucks the life out of everyone in the household at Wuthering Heights & its neighbors. No doubt a good actor could play the hell out of him & get the Oscar. The work is labyrinthine & sometimes just too difficult to understand. It has incredibly unbeautiful sentences (really!) & is altogether irregular, shapeless-- not a pleasure at all. This, "Catcher in the Rye" and "On the Road" need to vacate the canon!

  29. 4 out of 5

    Dannii Elle

    First read: 2009, Rating: 5 stars Second read: 2012, Rating: 5 stars Third read: 2014, Rating: 5 stars Fourth read: May 2015, Rating: 5 stars Fifth read: August 2017, Rating: 5 stars Sixth read: July 2018, Rating: 5 stars Seventh read: October 2020, Rating: 5 stars I enjoy character-driven narratives and, so, adored this novel from the first time I read it, nine years ago. The reason this has remained such a firm favourite, and why I try to ensure I reread this at least biennially, however, is that in First read: 2009, Rating: 5 stars Second read: 2012, Rating: 5 stars Third read: 2014, Rating: 5 stars Fourth read: May 2015, Rating: 5 stars Fifth read: August 2017, Rating: 5 stars Sixth read: July 2018, Rating: 5 stars Seventh read: October 2020, Rating: 5 stars I enjoy character-driven narratives and, so, adored this novel from the first time I read it, nine years ago. The reason this has remained such a firm favourite, and why I try to ensure I reread this at least biennially, however, is that in this intense and focused character study I found myself unaccountably and entirely drawn to every unlikable individual in it. I forgave every flaw and overlooked any ordinarily dislikeable quality in my blind adoration for these passionate creatures. I was captivated by the raging emotions that dominated, throughout. The wildness of the characters and their uncontrollable fits of frenzy and passion - their deepest of despairs and their most ardent of desires - is also mirrored by the wildness of the landscape surrounding them, creating an eternal and external, extra character in this most infamous of love triangles. I have reread this so often that I could probably quote every single page, but yet I never fail to find something new to discover on the moors. There is a feeling of never quite being on equal footing that dominates and permeates the entire text. This is a novel that distances the reader: it denies any simple pleasure such as happy-ever-afters or a brief respite from the altering high passions and utter, all-consuming bleakness. I will never feel at home here but I will always long to. This has remained my favourite book from first reading until now, ten years later, and I think there's no better endorsement for a book than that!

  30. 4 out of 5

    Violet wells

    Wuthering Heights takes us to a world that is somehow outside of all social and moral norms. It's closer to the realm of dreams or Greek myth than the rational everyday life of civilised habit. As if the characters are dramatizing the psyche or the unconscious in the midst of everyday life. Bronte demands we extend our sympathies beyond their brightly-lit habitual moral parameters - rather like Nabokov does in Lolita. Except where Nabokov does it directly through his narrator Bronte is arguably Wuthering Heights takes us to a world that is somehow outside of all social and moral norms. It's closer to the realm of dreams or Greek myth than the rational everyday life of civilised habit. As if the characters are dramatizing the psyche or the unconscious in the midst of everyday life. Bronte demands we extend our sympathies beyond their brightly-lit habitual moral parameters - rather like Nabokov does in Lolita. Except where Nabokov does it directly through his narrator Bronte is arguably cleverer by providing us with a rather commonplace and reasonable narrator who much more mirrors our own sensibility. Nelly is like a comfortable armchair. You might say the norm in this novel is sociopathic behaviour and yet Nelly with her commonplace emotional economies provides the illusion that everything she recounts is firmly attached to a normal social reality. It's a super clever sleight of hand on Bronte's part. Thus this is a conventional secular narrative we experience in Nelly's armchair about a violent amoral world in which almost everything is outside the realm of civilised etiquette. Structurally this book is a brilliant enigma. It feels like a series of unconscious decisions on Emily's part which for a novel that spends a lot of time dramatizing the darker realms of the human psyche is another masterstroke. Our narrator is almost immediately shoved aside by a first-hand witness of all events, Nelly, the housekeeper. Bronte uses this technique of doubling up throughout the novel - eventually Catherine and Heathcliff's children will replace Catherine and Heathcliff. Virtually every character in this novel has a twin. At times it's confusing trying to recall who is whose offspring or relative but this only adds to the novel's atmosphere of some kind of elemental drama unfolding in which individuals are no less cyclical, no less driven by primitive energies than the surrounding moors. Wuthering Heights is an adventure into the heart of darkness, anticipating Conrad by more than fifty years. It's also a novel that feels spookily intimate with death. To anyone who thinks this a dated novel which belongs fixedly to its time I'd say there are thousands and thousands of modern day Heathcliffs doing time in our prisons and wreaking havoc on our streets, deprived, racially abused, unloved kids who have made it their mission to exact revenge on a cruel pitiless world. This is a way more subtle and far reaching portrait of the plight of the abused child than anything her sister came up with. Jane Eyre is corporate American cinema compared to Heathcliff. Bronte does more than give a voice to the emotionally crippled, the inarticulate, the vindictive outcasts of society; she creates the world they would like to live in, the destruction of virtually everything we associate with civilised society. And shows us too, by eventually civilising Catherine and Heathcliff's respective children, that we all have elements of Heathcliff and Catherine buried down in our psyches which occasionally make an unsettling appearance in our daily life.

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