Podcast appearances and mentions of catherine earnshaw

Wuthering Heights by Emily Brontë chapter 31, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: Lockwood heads to Wuthering Heights to end his lease at the Grange. He brings a note from Nelly to give to Cathy. Hareton first takes the note, but when Cathy cries, he gives it back to her. He has been struggling to learn to read. Cathy says however that she has been deprived of books. Cathy mocks Hareton's attempts to learn, angering him, but she says that she doesn't want to hinder his progress. Heathcliff returns and on entering the house, mutters quietly to himself that he he can only see Catherine Earnshaw's features in his face - so much so that he can hardly bare to see him. Lockwood passes a dreary meal with Heathcliff and Hareton and then leaves. Riding back to the Grange, he remarks on how dreary the North and its people are. He thinks further of what a "Fairy Tale" it would have been, had Cathy fallen in love with him, and left the Heights with him for London.SEO Stuff that I don't want to do lol...Welcome to this narration of Emily Bronte's masterpiece, bringing you another chapter of this compelling gothic books classic. In this literary fiction reading, we explore the depths of Victorian literature as the story continues to unfold through Nelly's memories. Join me for this wuthering heights novel audiobook as we delve into themes of conscience, duty and solitude. Victorian Literature, Gothic Audiobook, Classic Literature

Wuthering Heights by Emily Brontë chapter 3, narrated by Isaac Birchall Subscribe on YT or Join the Book Club on Patreon and support me as an independent creator :D https://ko-fi.com/theessentialreads https://www.patreon.com/theessentialreads https://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/join SUMMARY: Zillah takes Lockwood to an out-of-the-way room which Heathcliff has forbidden from visitors. Lockwood notices that someone has scratched the name "Catherine Earnshaw, Catherine Linton, and Catherine Heathcliff" into the paint on the ledge of the bed. He also finds a diary, dated some 25 years ago written in the margins of several books. The Diary seems to have belonged to Catherine Earnshaw, and Lockwood reads about a day at Wuthering Heights soon after her father died, on which her older brother Hindley forced her and Heathcliff to listen to Joseph give a sermon. Catherine and Heathcliff, it seems, were very close, and Hindley seems to have Hated Heathcliff. Lockwood falls asleep and has a pair of nightmares. He awakes from the second when a cone from a branch begins tapping on his window. Still half asleep he tried to break the branch by forcing his hand through the glass of the window, but his hand is grabbed by a phantom one. A voice sobbing the name Catherine Linton asks to be let it. Linton, scared out of his wits, rakes the ghostly hands through the broken glass and tries to barricade the window with books. The books fall however, causing Lockwood to scream, rousing Heathcliff, who charges into the room. Lockwood leaves the room, but hears Heathcliff call out to Catherine, asking her to come home. Heathcliff, once the sun has risen, escorts Lockwood back to the threshold of Thrushcross Grange, where Lockwood retreats to his room to be alone.

Nghe trọn nội dung sách nói Đồi Gió Hú trên ứng dụng Voiz FM: https://voiz.vn/play/1944/ Đồi Gió Hú, câu chuyện cổ điển về tình yêu ngang trái và tham vọng chiếm hữu, cuốn tiểu thuyết dữ dội và bí ẩn về Catherine Earnshaw, cô con gái nổi loạn của gia đình Earnshaw, với gã đàn ông thô ráp và điên rồ mà cha cô mang về nhà rồi đặt tên là Heathcliff, được trình diễn trên cái nền đồng truông, quả đồi nước Anh cô quạnh và đơn sơ không kém gì chính tình yêu của họ. Từ nhỏ đến lớn, sự gắn bó của họ ngày càng trở nên ám ảnh. Gia đình, địa vị xã hội, và cả số phận rắp tâm chống lại họ, bản tính dữ dội và ghen tuông tột độ cũng huỷ diệt họ, vậy nên toàn bộ thời gian hai con người yêu nhau đó đã sống trong thù hận và tuyệt vọng, mà cái chết chỉ có ý nghĩa khởi đầu. Một khởi đầu mới để hai linh hồn mãnh liệt đó dược tự do tái ngộ, Khi những cơn gió hoang vắng và điên cuồng tràn về quanh các lâu đài trong Đồi gió hú... Cuốn tiểu thuyết duy nhất của Emily Bronte, là cuốn sách đã tới tay công chúng với nhiều lời bình trái ngược vào năm 1847, một năm trước khi nữ tác giả qua đời ở tuổi ba mươi. Thông qua mối tình giữa Cathy và Heathcliff, với bối cảnh là đồng quê Yorkshire hoang vu trống trải, Đồi gió hú đã tạo nên cả một thế giới riêng với xu hướng bỏ qua lề thói, vươn tới thi ca cũng như tới những chiều sâu tăm tối của lòng người, giúp tác phẩm trở thành một trong những tiểu thuyết vĩ đại nhất, bi thương nhất mà con người từng viết ra về nỗi đam mê cháy bỏng. Tại ứng dụng sách nói Voiz FM, sách nói Đồi Gió Hú được đầu tư chất lượng âm thanh và thu âm chuyên nghiệp, tốt nhất để mang lại trải nghiệm nghe tuyệt vời cho bạn. --- Về Voiz FM: Voiz FM là ứng dụng sách nói podcast ra mắt thị trường công nghệ từ năm 2019. Với gần 2000 tựa sách độc quyền, Voiz FM hiện đang là nền tảng sách nói podcast bản quyền hàng đầu Việt Nam. Bạn có thể trải nghiệm miễn phí đa dạng nội dung tại Voiz FM từ sách nói, podcast đến truyện nói, sách tóm tắt và nội dung dành cho thiếu nhi. --- Voiz FM website: https://voiz.vn/ Theo dõi Facebook Voiz FM: https://www.facebook.com/VoizFM Tham khảo thêm các bài viết review, tổng hợp, gợi ý sách để lựa chọn sách nói dễ dàng hơn tại trang Blog Voiz FM: http://blog.voiz.vn/ --- Cảm ơn bạn đã ủng hộ Voiz FM. Nếu bạn yêu thích sách nói Đồi Gió Hú và các nội dung sách nói podcast khác, hãy đăng ký kênh để nhận thông báo về những nội dung mới nhất của Voiz FM channel nhé. Ngoài ra, bạn có thể nghe BẢN FULL ĐỘC QUYỀN hàng chục ngàn nội dung Chất lượng cao khác tại ứng dụng Voiz FM. Tải ứng dụng Voiz FM: voiz.vn/download #voizfm #sáchnói #podcast #sáchnóiĐồiGióHú #EmilyBronte

On this week's episode of The Literary Life Podcast, Angelina and Thomas continue their series of discussions on Anne Brontë's novel Agnes Grey. They open the conversation about this novel with some thoughts on the differences between Agnes Grey and Jane Eyre and Anne and Charlotte Brontë. Angelina poses the question as to whether this novel crosses the line into didacticism or if it stays within the purpose of the story and the art. In discussing the education of Agnes' charges in these chapters, Angelina has a chance to expand upon the upbringing of Victorian young women. She and Thomas discuss the position of the curate and Agnes' spiritual seriousness, as well as the characters of Weston and Hatfield as foils for each other. Thomas closes out the conversation with a question as to whether Agnes Grey is as memorable a character as Jane Eyre or Catherine Earnshaw and why that is. Check out the schedule for the podcast's summer episodes on our Upcoming Events page. In July, Dr. Jason Baxter will be teaching a class titled “Dostoyevsky's Icon: Brothers Karamazov, The Christian Past, and The Modern World”, and you can sign up for that or any of the HHL Summer Classes here. Sign up for the newsletter at HouseofHumaneLetters.com to stay in the know about all the exciting new things we have coming up! Commonplace Quotes: In wit, as nature, what affects our hearts/ Is not the exactness of peculiar parts;/ ‘Tis not a lip, or eye, we beauty call,/ But the joint force and full result of all. Alexander Pope, from “An Essay on Criticism” In any case, it is Charlotte Brontë who enters Victorian literature. The shortest way of stating her strong contribution is, I think, this: that she reached the highest romance through the lowest realism. She did not set out with Amadis of Gaul in a forest or with Mr. Pickwick in a comic club. She set out with herself, with her own dingy clothes and accidental ugliness, and flat, coarse, provincial household; and forcibly fused all such muddy materials into a spirited fairy-tale. G. K. Chesterton, The Victorian Age in Literature My Heart Leaps Up By William Wordsworth My heart leaps up when I beholdA Rainbow in the sky:So was it when my life began;So is it now I am a man;So be it when I shall grow old,Or let me die!The Child is father of the man;And I wish my days to beBound each to each by natural piety. Book List: Ten Novels and Their Authors by W. Somerset Maugham 1984 by George Orwell The Jungle by Upton Sinclair Charlotte Mason Hugh Walpole George Eliot Wuthering Heights by Emily Brontë Support The Literary Life: Become a patron of The Literary Life podcast as part of the “Friends and Fellows Community” on Patreon, and get some amazing bonus content! Thanks for your support! Connect with Us: You can find Angelina and Thomas at HouseofHumaneLetters.com, on Instagram @angelinastanford, and on Facebook at www.facebook.com/ANGStanford/ Follow The Literary Life on Instagram, and jump into our private Facebook group, The Literary Life Discussion Group, and let's get the book talk going! http://bit.ly/literarylifeFB

Único romance da escritora inglesa Emily Bronte, O morro dos ventos uivantes retrata uma trágica historia de amor e obsessão em que os personagens principais são a obstinada e geniosa Catherine Earnshaw e seu irmão adotivo, Heathcliff.

mily Brontë's only novel, published in 1847 under the pseudonym Ellis Bell, tells the tale of the all-encompassing and passionate, yet thwarted, love between Heathcliff and Catherine Earnshaw, and how this unresolved passion eventually destroys them and many around them.Now considered a classic of English literature, Wuthering Heights met with mixed reviews by critics when it first appeared, with many horrified by the stark depictions of mental and physical cruelty. Though Charlotte Brontë's Jane Eyre was originally considered the best of the Brontë sisters' works, many subsequent critics of Wuthering Heights argued that its originality and achievement made it superior.

Chapter 1 What's Wuthering heights Book by Emily Bront"Wuthering Heights" is a novel written by Emily Brontë. It was first published in 1847 under the pseudonym Ellis Bell. The novel tells the story of the destructive and passionate love between Catherine Earnshaw and Heathcliff, and the revenge that Heathcliff seeks upon the next generation. It is considered a classic of English literature and is known for its dark and complex themes of love, revenge, and the destructive power of passion.Chapter 2 Is Wuthering heights Book A Good BookOpinions on Wuthering Heights vary, as some readers find it a beautifully written and captivating novel, while others may find it dark and difficult to follow. It is considered a classic of English literature and explores themes of love, obsession, revenge, and social class. Ultimately, whether or not Wuthering Heights is a good book will depend on personal taste and individual interpretation.Chapter 3 Wuthering heights Book by Emily Bront Summary"Wuthering Heights" is a novel written by Emily Brontë, first published in 1847 under the pseudonym Ellis Bell. The story is set in the Yorkshire moors and follows the lives of the Earnshaw and Linton families. The novel begins with Lockwood, a tenant at Thrushcross Grange, visiting his landlord, Heathcliff, at the remote Wuthering Heights. There, he learns about the tumultuous history of Heathcliff and the Earnshaw family. Heathcliff was a homeless orphan adopted by Mr. Earnshaw and raised alongside his children, Hindley and Catherine. Over time, Catherine and Heathcliff develop a passionate but troubled relationship.When Mr. Earnshaw dies, Hindley becomes the master of Wuthering Heights and mistreats Heathcliff. Catherine marries Edgar Linton of Thrushcross Grange for social status, breaking Heathcliff's heart. Heathcliff seeks revenge on the Earnshaws and the Lintons, becoming a dark and vengeful figure.The novel spans generations, chronicling the destructive effects of unrequited love, revenge, and obsession. It explores themes of social class, revenge, love, and the destructive power of passion. "Wuthering Heights" is considered a classic of English literature and is known for its dark and gothic tone, complex characters, and exploration of the darker aspects of human nature. Chapter 4 Wuthering heights Book AuthorEmily Brontë was a British author born on July 30, 1818 in Yorkshire, England. She is best known for her only novel, "Wuthering Heights," which was published in 1847 under the pen name Ellis Bell. The novel "Wuthering Heights" was originally met with mixed reviews due to its dark and controversial themes, but it has since come to be regarded as a classic of English literature.Emily Brontë's other works include poetry that was published alongside her sisters Charlotte and Anne in a collection called "Poems by Currer, Ellis and Acton Bell" (1846). However, Emily's writing career was cut short by her untimely death from tuberculosis at the age of 30 in 1848.As for editions of "Wuthering Heights," the best one remains subjective, as different readers may have different preferences. However, many readers and scholars consider the 1992 edition edited by David Daiches to be a comprehensive and well-annotated version of the novel. Other popular editions include the Penguin Classics and Oxford World's Classics versions.Chapter 5 Wuthering heights Book Meaning & ThemeWuthering heights Book Meaning"Wuthering Heights" is a novel written by Emily Brontë, published in 1847....

Đồi Gió Hú (tiếng Anh: Wuthering Heights) là tiểu thuyết duy nhất của nữ nhà văn Emily Brontë, được xuất bản lần đầu năm 1847 dưới bút danh Ellis Bell. Lần xuất bản thứ hai của tác phẩm là sau khi Emily đã qua đời và lần xuất bản này được biên tập bởi chính chị gái của nhà văn là Charlotte Brontë.Tên của tiểu thuyết bắt nguồn từ một trang viên nằm trên vùng đồng cỏ hoang dã ở Yorkshire, nơi những sự kiện trong tiểu thuyết diễn ra. Tiểu thuyết kể về câu chuyện tình yêu không thành giữa Heathcliff và Catherine Earnshaw, cũng như làm thế nào mà sự đam mê không thể hóa giải đó đã tiêu diệt chính họ và cả những người thân khác xung quanh.Ngày nay, tác phẩm này được coi là một tiểu thuyết kinh điển của Văn học Anh với một cấu trúc rất sáng tạo, đó là cấu trúc truyện như một chuỗi búp bê Matryoshka. Cũng vì sự sáng tạo này mà ý kiến của giới phê bình trong lần xuất bản đầu tiên của Đồi Gió Hú là rất khác nhau. Thời gian đầu, nhiều người đánh giá tác phẩm Jane Eyre của người chị Charlotte Brontë là sáng tác tốt nhất của Chị em nhà Brontë, tuy vậy sau này nhiều ý kiến phê bình đã cho rằng chính Đồi Gió Hú mới là tác phẩm xuất sắc hơn cả. Đồi Gió Hú cũng đã được chuyển thể thành rất nhiều thể loại khác như phim truyện, phim truyền hình, nhạc kịch và cả trong các bài hát.--Về Fonos:Fonos là ứng dụng sách nói có bản quyền. Trên ứng dụng Fonos, bạn có thể nghe định dạng sách nói của những cuốn sách nổi tiếng nhất từ các tác giả trong nước và quốc tế. Ngoài ra, bạn được sử dụng miễn phí nội dung Premium khi đăng ký trở thành Hội viên của Fonos: Tóm tắt sách, Ebook, Thiền định, Truyện ngủ, Nhạc chủ đề, Sách nói miễn phí cho Hội viên.--Tải ứng dụng Fonos tại: https://fonos.app.link/tai-fonosTìm hiểu về Fonos: https://fonos.vn/Theo dõi Facebook Fonos: https://www.facebook.com/fonosvietnam/Theo dõi Instagram Fonos: https://www.instagram.com/fonosvietnam/Đọc các bài viết thú vị về sách, tác giả sách, những thông tin hữu ích để phát triển bản thân: http://blog.fonos.vn/

Following on from Episode 2.8, Dr Nicole Dittmer joins us for a discussion about the Victorian view of women as inherently monstrous and how this widespread fear of women influenced the gothic fiction of the time, notably Jane Eyre and Wuthering Heights. Literary nerds, rejoice! This week we're talking Catherine Earnshaw, Bertha Mason, hysteria, demon uteruses, and…werewolves?! Plus, this episode comes with merch! Join the Monstrous Women squad with our new “Demon Uterus” design, up now at Tee Public teepublic.com/user/dirtysexyhistory

Heathcliff, it's me, Cathy, I've come home... Ce mois-ci, Victoire, Pascale, Jeanne et Marianne comparent l'unique roman d'Emily Brontë, Les Hauts de Hurlevent, paru en 1847, à l'une de ses plus récentes adaptations réalisée par Andrea Arnold et sortie au cinéma en 2011. Le quotidien tranquille de la famille Earnshaw est bouleversé par l'arrivée d'un garçon sauvage, baptisé Heathcliff. Très vite il forme une relation fusionnelle avec Catherine, la jeune fille des Earnshaw. Par jalousie, le frère de Catherine, Hindley, décide de rabaisser Heathcliff et de le priver d'éducation. En grandissant, Catherine décide à contre-coeur d'épouser Edgar Linton, leur riche voisin. Heathcliff jure alors de se venger de Catherine, Edgar, Hindley, ainsi que de leur descendance... Mais le film d'Andrea Arnold est-il fidèle au chef d'oeuvre d'Emily Brontë ? Réponse dans l'épisode ! 3 min 47 : On commence par parler du roman Les Hauts de Hurlevent (1847) écrit par Emily Brontë. 1 h 00 min 46 : On enchaîne sur l'adaptation en film des Hauts de Hurlevent (2011), réalisée par Andrea Arnold avec Kaya Scodelario et James Howson. 1h 45 min 43 : On termine sur nos recommandations de films et de livres autour des soeurs Brontë et des amours maudites. Avez-vous lu ou vu Les Hauts de Hurlevent ?  N'hésite pas à partager votre avis avec nous sur Facebook, Twitter  et Instagram !  Recommandations : Jane Eyre, écrit par Charlotte Brontë (1847) Autant en emporte le vent, écrit par Margaret Mitchell (1936) et adapté par Victor Fleming (1939) Les Hauts de Hurlevent, un feuilleton de France Culture (2022) Les Hauts de Hurlevent, réalisé par Peter Kosminsky (1992) Les Soeurs Brontë, la force d'exister, écrit par Laura El Makki (2017) Une Enquête des Soeurs Brontë, Tome 1 : La Mariée Disparue, écrit par Bella Ellis (2021) Crédits : Mumford & Sons - The Enemy (From "Wuthering Heights" Soundtrack) 

Wuthering Heights by Emily Bronte audiobook. A tale of passion and vengeance set in the bleak Yorkshire moors, Wuthering Heights depicts the mutual love of Catherine Earnshaw and Heathcliff till destruction and death rend the narration. There is no place for remorse in our antihero's breast as he sets about ruining the lives of those he considers responsible for his own misery. Yet cruelty is only to be met with compassion in the following generations. Romantic, impassioned and wild, it is also a dark journey in the human soul.

It has taken your favorite commie book jerks nearly 100 episodes to answer the much-debated question – what is the horniest novel of the British 19th century? Comrades, it's Emily Brontë's Wuthering Heights (1847). We absolutely love this brilliant novel about the torrid love affair between Catherine Earnshaw and the mysterious, often sinister, Gothic villain/anti-hero Heathcliff. (Did we mention he's her adoptive brother? He's her adoptive brother. It wouldn't be a Gothic novel if it wasn't HAVING THOUGHTS about endogamy and incest.) We talk gender, sexuality, patriarchy, repression that's kind of not, and racialization, as well as the pressure this novel puts on Victorian “realism.” This is one damp novel, folks. Who knew the Yorkshire moors were so turnt? We read the Oxford edition with notes and introduction by John Bugg. For a wonderful and concise reading of Wuthering Heights that explores Brontë's novel as a critique of normative Victorian epistemology, we highly recommend Nathan K. Hensley's blog post “The Lapwing's Feather (Wuthering Heights)”: http://www.nathankhensley.net/blog/the-lapwings-feather-wuthering-heights. There is a ton of great scholarship on Heathcliff as a figure of otherness, but one book we recommend is Terry Eagleton's Heathcliff and the Great Hunger which discusses many texts but builds part of its analysis by thinking of Wuthering Heights in the context of the Great Famine, ongoing as Wuthering Heights was published. Find us on Twitter, Instagram, and Facebook @betterreadpod, and email us nice things at betterreadpodcast@gmail.com. Find Tristan on Twitter @tjschweiger, Katie @katiekrywo, and Megan @tuslersaurus.

WUTHERING HEIGHTS by Emily Bronte CONVERSATIONS WITH FRIENDS by Sally Rooney After years of pretending he read the book, Andrew finally digs into the toxic love story of Catherine Earnshaw and Heathcliff No First Name in WUTHERING HEIGHTS. Then, Bailey debates whether the characters in CONVERSATIONS WITH FRIENDS are cruel or just normal people. Plus, we discover the best Kate Bush songs to listen to in Dublin and why we're all Emily Bronte stans!

Visit our website https://psycho-killer.co for exclusive videos, photos, articles, and transcripts.See our exclusive picture gallery https://bit.ly/parker-murder-imagesThomas Parker's mother doted on her little boy. This spoilt brat grew up to be a workshy, wife-beating drunk. And he repaid his parents by turning a shotgun on them. Parker's father survived with slight injuries. But his mother lingered for weeks with a festering head wound. The year was 1864. Elizabeth Parker fell into a coma and died in April. Four months later, her son also met his maker — at the end of a rope in front of 10,000 citizens. Thomas Parker was the last person to be hanged in public at Nottingham. This is his story. The Six O'clock Knock© is a Psycho Killer production.See our news article https://psycho-killer.co/psycho-killer-true-crime-podcast/news for photographs of the crime scene as it is today, contemporary court documents and the post mortem sketch prepared for the coroner.With contributions from Emmaline Severn, a distant relative of Elizabeth Parker, and Paul Mann QC.The traditional folk songs in this episode are performed by Catherine Earnshaw and Keith Clouston. 'The Quiet Joys of Brotherhood' is a traditional tune with lyrics by Richard and Mimi Fariña. 'Blue Bleezin' Blind Drunk' is also traditional, with the last verse written by Linda Thompson. 'False, False' is a traditional Scottish song collected in 1962 by Ewan McColl and Peggy Seeger.Transcript[Music] This podcast contains descriptions of death and violence that some listeners may find upsetting we begin at the end [Music] a cool dry morning in august a Wednesday a 29 year old man in the prime of his life stands on a scaffold the roar from the crowd arrayed below engulfs him like flood water buffeting and deafening him with abuse [Music] for the first but not the last time today tom parker tilts his head back and gasps for air he is surrounded by a sea of faces so many it's impossible to count them all some are contorted in rage and scorn some are giddy with excitement others turn away afraid to look upon the condemned man's face out of respect or superstition but then there are those men just like him or like he used to be full of drink leering and braying as if revelling in a day at the races pressed in a doorway a youth and a maid steal an unlikely embrace her bare breast hidden only by her lover's needing hand their passion inflamed by the bloodlust of those thronged before them some have been here all night keen to take a prime spot from which to enjoy the day's grisly spectacle i am the resurrection and the life saith the lord he that believeth in me though he were dead yet shall he live the chaplains words are drowned out by another wave of impatient jeers a hush descends now though as the white hood is placed over the prisoner's head in the distance the barking of dogs and the striking of a clock it is eight o'clock parker's eyes are swimming his heart beating as though to break free from his rib cage a hot dark bloom spreads in his trousers betraying his terror [Music] those closest can see and smell his shame some hurl obscenities at him fanning the air melodramatically the dirty bastard shat himself i know that my redeemer liveth and that he shall stand on the latter day upon the earth parker mouths the verse almost in unison desperate to display his newly restored faith in the almighty the summer breeze fills the chaplain's surplus like a sail and snatches at the brittle leaves of the prayer book he had fretted that the expected rain would make the scaffold slick any slip up here would be greeted with a very public type of ridicule that he wished to avoid and though after my skin worms destroy this body parker shuts his eyes as the noose is slipped over his hooded head and tries to mouth the verse [Music] but a vision swims into view a familiar kindly face every detail is there from the carefully parted gray hair under the modest bonnet to the cameo brooch at her throat to his horror the vision distorts then revealing a bloated sightless eye and a skein of dried blood staining the pallid cheek man that is born of woman hath but a short time to live and is full of misery in tones the reverend howard he cometh up and he is cut down like a flower he flees as it were a shadow and never continueth in one stay parker screws up his eyes but still the apparition of his mother dances before him her lolling head now reveals a shaved pallid scalp peppered with birdshot he tries to scream but his tongue has swollen and his mouth fills once more with the brandy he'd sucked at breakfast in the midst of life we are in death the bolt is drawn with a terrible sound richard thomas parker dangles in agony on the scaffold his struggles lasting much longer than expected for a moment he imagines he is airborne gliding above the throng impervious to the sting of their insults their jeers finally silenced in ore but then the roar of the crowd crashes back in waves febrile animalistic they're chanting like peels of thunder an urgent response to the denial of the reverend's fervent prayers he died hard they will say thomas askin the executioner has a reputation for botched hangings parker convulses but the drop is too short to break his neck the noose draws tight the brass ring behind his ear trapping his last breath compressing the vagus nerve and in that instant as his consciousness evaporates he is briefly aware of an overpowering odor it is blood and pig shit and lilac blossom...Read more https://bit.ly/psycho-killer-fiskerton-murder

Ik zeg Emily van Yentl van Stokkum, met Yentl van Stokkum Radio Savannah zegt Emily! Met schrijver Yentl van Stokkum praten wij over Ik zeg Emily, Yentls fantastische debuutbundel over bewondering voor schrijfster Emily Bronte en haar werk. We kletsen over rituelen, de dunne lijn tussen fascinatie en obsessie, Kate Bush en dichterschap. Wil je meekletsen over Radio Savannah? Volg Savannah Bay op Instagram, Twitter en Facebook en gebruik #RadioSavannah. Voor (lees)tips en fanmail zijn we te bereiken op info@savannahbay.nl . Wil je meer Ik zeg Emily? Lees dan de recensies van de bundel op Meander en Tzum. Speciaal voor Notulen van het Onzichtbare maakte Yentl leesinstructies voor bij het lezen van haar bundel, inclusief luisterlijst voor de perfecte achtergrondmuziek. (Wuthering Heights van Kate Bush, het nummer waarvan je in de podcast een stukje hoorde, ontbreekt uiteraard niet!) De hele afspeellijst vind je op Spotify. Wil je meer Yentl? Volg haar @yentlvanstokkum op Instagram voor updates en info. Ik zeg Emily is het debuut van Yentl van Stokkum. Een bundel die zich tussen poëzie en spookverhaal in bevindt waarin een jonge dichter het graf bezoekt van een door haar geliefde schrijver en bezeten terugkeert. Ik zeg Emily onderzoekt de grens tussen bewondering en liefde, bezwering en gedicht, reis en ritueel, maar vooral de delicate lijn tussen het zelf en de ander. Vind het boek hier in de webshop. Ook (een beetje) bezeten door de Brontes? Savannah Bay wel, en daarom staat de webshop vol met boeken en andere goodies van de beroemde schrijverszussen. Staat jouw lievelingsboek er niet tussen? Vul dan het bestelformulier voor in, dan regelen wij de rest. Woeste hoogten vertelt de klassieke en tragische liefdesgeschiedenis tussen de weesjongen Heathcliff en Catherine Earnshaw. De jonge Heathcliff komt als vondeling terecht bij de rijke familie Earnshaw en wordt hopeloos verliefd op Catherine, de mooie dochter des huizes. Catherine ziet zich gedwongen te kiezen tussen een zorgzame, veilige relatie met meneer Linton en de vurige passie met Heathcliff. Ze kiest uiteindelijk voor Linton en Heathcliff ontvlucht het landgoed. Als volwassen man keert hij terug en zweert wraak op de hele familie. Het Engelse boek vind je hier in de webshop, de Nederlandse vertaling vind je hier. Jane Eyre wordt gerekend tot de hoogtepunten van de wereldliteratuur, een roman die vandaag de dag nog steeds tot ieders verbeelding spreekt. Na een zware jeugd vindt Jane werk als gouvernante en ontdekt de liefde van haar leven: meneer Rochester. Maar Rochester koestert een monsterlijk geheim, verborgen op de zolder van Thornfield Hall - een geheim dat de geliefden uit elkaar dreigt te drijven... Het Engelse boek vind je hier in de webshop, de Nederlandse vertaling vind je hier. Het verhaal van Jane Eyre verteld door een ander perspectief! Begin negentiende eeuw trouwt de rijke creoolse erfgename Antoinette Cosway met de Engelse Mr. Rochester. Samen vertrekken ze van Dominica naar Engeland. Aanvankelijk gefascineerd door haar schoonheid en sensualiteit, voelt hij zich langzamerhand steeds meer gefrustreerd door haar ondoorgrondelijkheid. Antoinette raakt in het kille Engeland steeds meer geïsoleerd, en als het gerucht de ronde begint te doen dat er in haar familie krankzinnigheid voorkomt, wordt haar situatie steeds ondraaglijker. Vind het boek hier in de webshop. Altijd al een kopje koffie willen drinken met Charlotte, Emily en Anne Bronte? Deze mok met hun portretten en bekende quotes is waarschijnlijk as close as you will get. Vind de mok hier in de webshop.

It's catch up time. This Invisible Folk Club radio show went out live to four community stations across England.  An eclectic mix of material from a variety of performers including two contrasting versions of the same song. Listen out also for three songs from our most recent Arts Council project, words sourced from a booklet of folk songs published by the Bedfordshire Times in 1904, music and arrangements by Catherine Earnshaw, Gemma Khawaja and Jon Bickley. Nothing in the broad church of folk related music is off limits, there's many shades of folk, ours is an eclectic mix. https://invisiblefolkclub.com/ has a listening guide to our show Catherine Earnshaw - The Deserted Lover Jon Bickley - Hodge of the Mill Gemma Khawaja - Lace Tells Craig Joiner - The Cottager's Reply Tu-kay & Ryan - What Comes Next Paul Gilbody - Angels Share Village Quire - The Cottager's Reply DiElle - She Is The Moon AVA - Wildflowers Stewart Murdoch - Mary Barbour’s Army Liz Lawley - Little Yellow Roses Lost Chimes - Island

Merriam-Webster's Word of the Day for February 13, 2021 is: limn • LIM • verb 1 : to draw or paint on a surface 2 : to outline in clear sharp detail : delineate 3 : describe Examples: "The book limns how the two men, so different in their origins and art, were remarkably similar in profound ways." — Nancy Hass, The New York Times, 17 Dec. 2020 "Her turbulent relationship with her husband, superstar poet Ted Hughes, is limned in terms of the relationship between Heathcliff and Catherine Earnshaw, as they saw themselves. Together they wanted to be the most important poets of their generation." — Denise J. Stankovics, The Library Journal, 11 Dec. 2020 Did you know? Allow us to shed some light on the history of limn, a word with lustrous origins. Limn traces to the Anglo-French verb aluminer and ultimately to the Latin illuminare, which means "to illuminate." Its use as an English verb dates from the days of Middle English; at first, limn referred to the action of illuminating (that is, decorating) medieval manuscripts with gold, silver, or brilliant colors. William Shakespeare extended the term to painting in his poem Venus and Adonis: "Look when a painter would surpass the life / In limning out a well-proportioned steed...."

Comedian David Mitchell discusses his West End debut playing William Shakespeare in Ben Elton’s stage adaptation of the BBC TV sitcom, Upstart Crow. The play, which also stars Gemma Whelan and Mark Heap, explores the realities of life for the man behind the drama as he attempts to resurrect his career and save London theatre form the puritans. Leading soprano Elizabeth Llewellyn has, over the last 10 years, won many plaudits for her voice that’s been described as distinctive and unforgettable. She discusses taking on the title role in a production of Verdi’s Luisa Miller at ENO – the first time the opera, dating from the middle of Verdi’s career, has been performed at the Coliseum. Emily Brontë’s novel Wuthering Heights is a 19th century classic with its tempestuous love story between spirited Catherine Earnshaw and brooding Heathcliff becoming a shorthand for obsessive passion. Conventionally, it’s been seen as book for girls but that hasn’t deterred playwrights Andrew Sheridan and Ben Lewis who join Stig to discuss their respective new stage adaptations of Brontë’s gothic tale. Presenter Stig Abell Producer Jerome Weatherald

Tonight, we’ll be reading, "Wuthering Heights"published in 1847, it was Emily Brontë's only novel. Early critics were mixed in their assessment and many were puzzled by the novel's multiple narrators and non-chronological structure. Much of the Victorian public believed the novel was written by a man based on the violent and passionate imagery. Even though the novel received mixed reviews when it came out, it has since become an English literary classic, and tells the tale of a tempestuous romance between Heathcliff, an orphan, and Catherine Earnshaw who becomes his close companion.Support the show (https://www.patreon.com/snoozecast)

This week on StoryWeb: Emily Brontë’s novel, Wuthering Heights. Ooh! Heathcliff! That’s who I think of when I think of Emily Brontë’s 1847 novel, Wuthering Heights. Sure, there’s Catherine and Nelly Dean and the moors and the intricately layered story within a story, but for me, it is all about Heathcliff, the quintessential dark, brooding, fiery, untamed Romantic hero. We know we shouldn’t be drawn to the rough-and-tumble Heathcliff. But, oh, how can we can help it? I love the novel’s opening – as Mr. Lockwood, Heathcliff’s new tenant at the lofty estate Thrushcross Grange, recounts his “welcome” by Heathcliff and his hearth-side dogs, surlier even than their master. This scene is quickly followed by Lockwood’s haunting night spent at Wuthering Heights – the nightmares to which he succumbs, the tree branch banging incessantly against the window, the ghostly appearance of Catherine. If those scenes don’t draw you into a novel, you might as well give up, dear reader. In a way, I guess you could say Wuthering Heights is a ghost story – for certainly Catherine haunts Heathcliff throughout the novel. Indeed, it is a spooky but thoroughly compelling experience to read Wuthering Heights, drawn in as we are by the Lockwood’s mysterious visits to Wuthering Heights. As Nelly (the very definition of an “unreliable narrator”) begins to weave her yarn for Lockwood, we’re drawn in further still, yearning to know who Catherine Earnshaw is, to unlock the puzzle of the forbidding Heathcliff. I first read Wuthering Heights when I was in junior high. It was one of the classics my mother and I read together one summer. I’d read a book first – Jane Austen’s Pride and Prejudice, Charlotte Brontë’s Jane Eyre, her sister’s Wuthering Heights – and when I had finished, my mother would take her turn. At that young age and at that first reading, I fell for Nelly’s version of events – hook, line, and sinker. It wasn’t until I read the novel again (and again) and began to really study it that I discovered just how untrustworthy Nelly was, how she was not just an innocent bystander to Catherine and Heathcliff’s doomed romance but perhaps the cause of the bitter outcome. Perhaps if Nelly had not played the role she did, Catherine and Heathcliff – those ill-fated lovers – would have fulfilled their love. But then we wouldn’t have Wuthering Heights, would we? Wuthering Heights is Emily Brontë’s only novel, published under the pseudonym “Ellis Bell.” Brontë died the following year at age thirty from tuberculosis. After she died, her sister Charlotte edited Wuthering Heights and had a second edition published in 1850. The novel sparked strong reactions from nineteenth-century readers. The English poet and painter Dante Gabriel Rossetti called it “A fiend of a book – an incredible monster. . . . The action is laid in hell, – only it seems places and people have English names there.” The book is indeed fiendish, from its brooding hero and vexing heroine to the wild moors they call home. When the novel opens and Lockwood visits Heathcliff at Wuthering Heights and encounters the wild curs, it’s as if he is face to face with Cerberus, the hound of Hades. What an introduction to Wuthering Heights – the place and the novel! You can read Wuthering Heights online at Project Gutenberg, but you’ll definitely want to have a hard copy of this marvelous, enduring novel. As you read, it can help to consult a family tree, a relationships map, or a timeline. Want to know more about Emily Brontë, Wuthering Heights, and the Yorkshire moors? Check out Mental Floss’s “10 Things You May Not Know about ‘Wuthering Heights.’” For links to numerous scholarly resources on Emily Brontë and Wuthering Heights, visit The Victorian Web. For more on Emily Brontë and her family, read the StoryWeb post on her sister’s novel Jane Eyre. You’ll definitely understand why their brother, Branwell, has often been said to be the inspiration for Hindley Earnshaw, Catherine’s older brother. And finally, you’ll want to visit the moors. When Emily Brontë died just a year after Wuthering Heights’ first publication, she thought the book had been a failure. Little could she have known that it would go on to become one of the best-known and, unlikely as it seems given its haunting, “fiendish” qualities, one of the most beloved novels in the English language. Long live Heathcliff! For links to all these resources, visit thestoryweb.com/emilybronte. Listen now as I read Chapter I of Emily Brontë’s Wuthering Heights.   1801.—I have just returned from a visit to my landlord—the solitary neighbour that I shall be troubled with.  This is certainly a beautiful country!  In all England, I do not believe that I could have fixed on a situation so completely removed from the stir of society.  A perfect misanthropist’s heaven: and Mr. Heathcliff and I are such a suitable pair to divide the desolation between us.  A capital fellow!  He little imagined how my heart warmed towards him when I beheld his black eyes withdraw so suspiciously under their brows, as I rode up, and when his fingers sheltered themselves, with a jealous resolution, still further in his waistcoat, as I announced my name. ‘Mr. Heathcliff?’ I said. A nod was the answer. ‘Mr. Lockwood, your new tenant, sir.  I do myself the honour of calling as soon as possible after my arrival, to express the hope that I have not inconvenienced you by my perseverance in soliciting the occupation of Thrushcross Grange: I heard yesterday you had had some thoughts—’ ‘Thrushcross Grange is my own, sir,’ he interrupted, wincing.  ‘I should not allow any one to inconvenience me, if I could hinder it—walk in!’ The ‘walk in’ was uttered with closed teeth, and expressed the sentiment, ‘Go to the Deuce:’ even the gate over which he leant manifested no sympathising movement to the words; and I think that circumstance determined me to accept the invitation: I felt interested in a man who seemed more exaggeratedly reserved than myself. When he saw my horse’s breast fairly pushing the barrier, he did put out his hand to unchain it, and then sullenly preceded me up the causeway, calling, as we entered the court,—‘Joseph, take Mr. Lockwood’s horse; and bring up some wine.’ ‘Here we have the whole establishment of domestics, I suppose,’ was the reflection suggested by this compound order.  ‘No wonder the grass grows up between the flags, and cattle are the only hedge-cutters.’ Joseph was an elderly, nay, an old man: very old, perhaps, though hale and sinewy.  ‘The Lord help us!’ he soliloquised in an undertone of peevish displeasure, while relieving me of my horse: looking, meantime, in my face so sourly that I charitably conjectured he must have need of divine aid to digest his dinner, and his pious ejaculation had no reference to my unexpected advent. Wuthering Heights is the name of Mr. Heathcliff’s dwelling.  ‘Wuthering’ being a significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather.  Pure, bracing ventilation they must have up there at all times, indeed: one may guess the power of the north wind blowing over the edge, by the excessive slant of a few stunted firs at the end of the house; and by a range of gaunt thorns all stretching their limbs one way, as if craving alms of the sun.  Happily, the architect had foresight to build it strong: the narrow windows are deeply set in the wall, and the corners defended with large jutting stones. Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and especially about the principal door; above which, among a wilderness of crumbling griffins and shameless little boys, I detected the date ‘1500,’ and the name ‘Hareton Earnshaw.’  I would have made a few comments, and requested a short history of the place from the surly owner; but his attitude at the door appeared to demand my speedy entrance, or complete departure, and I had no desire to aggravate his impatience previous to inspecting the penetralium. One stop brought us into the family sitting-room, without any introductory lobby or passage: they call it here ‘the house’ pre-eminently.  It includes kitchen and parlour, generally; but I believe at Wuthering Heights the kitchen is forced to retreat altogether into another quarter: at least I distinguished a chatter of tongues, and a clatter of culinary utensils, deep within; and I observed no signs of roasting, boiling, or baking, about the huge fireplace; nor any glitter of copper saucepans and tin cullenders on the walls.  One end, indeed, reflected splendidly both light and heat from ranks of immense pewter dishes, interspersed with silver jugs and tankards, towering row after row, on a vast oak dresser, to the very roof.  The latter had never been under-drawn: its entire anatomy lay bare to an inquiring eye, except where a frame of wood laden with oatcakes and clusters of legs of beef, mutton, and ham, concealed it.  Above the chimney were sundry villainous old guns, and a couple of horse-pistols: and, by way of ornament, three gaudily-painted canisters disposed along its ledge.  The floor was of smooth, white stone; the chairs, high-backed, primitive structures, painted green: one or two heavy black ones lurking in the shade.  In an arch under the dresser reposed a huge, liver-coloured bitch pointer, surrounded by a swarm of squealing puppies; and other dogs haunted other recesses. The apartment and furniture would have been nothing extraordinary as belonging to a homely, northern farmer, with a stubborn countenance, and stalwart limbs set out to advantage in knee-breeches and gaiters.  Such an individual seated in his arm-chair, his mug of ale frothing on the round table before him, is to be seen in any circuit of five or six miles among these hills, if you go at the right time after dinner.  But Mr. Heathcliff forms a singular contrast to his abode and style of living.  He is a dark-skinned gipsy in aspect, in dress and manners a gentleman: that is, as much a gentleman as many a country squire: rather slovenly, perhaps, yet not looking amiss with his negligence, because he has an erect and handsome figure; and rather morose.  Possibly, some people might suspect him of a degree of under-bred pride; I have a sympathetic chord within that tells me it is nothing of the sort: I know, by instinct, his reserve springs from an aversion to showy displays of feeling—to manifestations of mutual kindliness.  He’ll love and hate equally under cover, and esteem it a species of impertinence to be loved or hated again.  No, I’m running on too fast: I bestow my own attributes over-liberally on him.  Mr. Heathcliff may have entirely dissimilar reasons for keeping his hand out of the way when he meets a would-be acquaintance, to those which actuate me.  Let me hope my constitution is almost peculiar: my dear mother used to say I should never have a comfortable home; and only last summer I proved myself perfectly unworthy of one. While enjoying a month of fine weather at the sea-coast, I was thrown into the company of a most fascinating creature: a real goddess in my eyes, as long as she took no notice of me.  I ‘never told my love’ vocally; still, if looks have language, the merest idiot might have guessed I was over head and ears: she understood me at last, and looked a return—the sweetest of all imaginable looks.  And what did I do?  I confess it with shame—shrunk icily into myself, like a snail; at every glance retired colder and farther; till finally the poor innocent was led to doubt her own senses, and, overwhelmed with confusion at her supposed mistake, persuaded her mamma to decamp.  By this curious turn of disposition I have gained the reputation of deliberate heartlessness; how undeserved, I alone can appreciate. I took a seat at the end of the hearthstone opposite that towards which my landlord advanced, and filled up an interval of silence by attempting to caress the canine mother, who had left her nursery, and was sneaking wolfishly to the back of my legs, her lip curled up, and her white teeth watering for a snatch.  My caress provoked a long, guttural gnarl. ‘You’d better let the dog alone,’ growled Mr. Heathcliff in unison, checking fiercer demonstrations with a punch of his foot.  ‘She’s not accustomed to be spoiled—not kept for a pet.’  Then, striding to a side door, he shouted again, ‘Joseph!’ Joseph mumbled indistinctly in the depths of the cellar, but gave no intimation of ascending; so his master dived down to him, leaving me vis-à-vis the ruffianly bitch and a pair of grim shaggy sheep-dogs, who shared with her a jealous guardianship over all my movements.  Not anxious to come in contact with their fangs, I sat still; but, imagining they would scarcely understand tacit insults, I unfortunately indulged in winking and making faces at the trio, and some turn of my physiognomy so irritated madam, that she suddenly broke into a fury and leapt on my knees.  I flung her back, and hastened to interpose the table between us.  This proceeding aroused the whole hive: half-a-dozen four-footed fiends, of various sizes and ages, issued from hidden dens to the common centre.  I felt my heels and coat-laps peculiar subjects of assault; and parrying off the larger combatants as effectually as I could with the poker, I was constrained to demand, aloud, assistance from some of the household in re-establishing peace. Mr. Heathcliff and his man climbed the cellar steps with vexatious phlegm: I don’t think they moved one second faster than usual, though the hearth was an absolute tempest of worrying and yelping.  Happily, an inhabitant of the kitchen made more despatch: a lusty dame, with tucked-up gown, bare arms, and fire-flushed cheeks, rushed into the midst of us flourishing a frying-pan: and used that weapon, and her tongue, to such purpose, that the storm subsided magically, and she only remained, heaving like a sea after a high wind, when her master entered on the scene. ‘What the devil is the matter?’ he asked, eyeing me in a manner that I could ill endure, after this inhospitable treatment. ‘What the devil, indeed!’ I muttered.  ‘The herd of possessed swine could have had no worse spirits in them than those animals of yours, sir.  You might as well leave a stranger with a brood of tigers!’ ‘They won’t meddle with persons who touch nothing,’ he remarked, putting the bottle before me, and restoring the displaced table.  ‘The dogs do right to be vigilant.  Take a glass of wine?’ ‘No, thank you.’ ‘Not bitten, are you?’ ‘If I had been, I would have set my signet on the biter.’  Heathcliff’s countenance relaxed into a grin. ‘Come, come,’ he said, ‘you are flurried, Mr. Lockwood.  Here, take a little wine.  Guests are so exceedingly rare in this house that I and my dogs, I am willing to own, hardly know how to receive them.  Your health, sir?’ I bowed and returned the pledge; beginning to perceive that it would be foolish to sit sulking for the misbehaviour of a pack of curs; besides, I felt loth to yield the fellow further amusement at my expense; since his humour took that turn.  He—probably swayed by prudential consideration of the folly of offending a good tenant—relaxed a little in the laconic style of chipping off his pronouns and auxiliary verbs, and introduced what he supposed would be a subject of interest to me,—a discourse on the advantages and disadvantages of my present place of retirement.  I found him very intelligent on the topics we touched; and before I went home, I was encouraged so far as to volunteer another visit to-morrow.  He evidently wished no repetition of my intrusion.  I shall go, notwithstanding.  It is astonishing how sociable I feel myself compared with him.    

FAVORITE STORY aired from September 1947 through December of 1949 hosted by Ronald Colman. This is an excellent dramatic series of great stories from classic literature brought to radio. It's popularity was so high and with such well done stories, it was rebroadcasted for many years.Wuthering Heights is Emily BrontÃ's only novel. It was first published in 1847 under the pseudonym Ellis Bell, and a posthumous second edition was edited by her sister Charlotte. The name of the novel comes from the Yorkshire manor on the moors on which the story centres. (As an adjective, wuthering is a Yorkshire word referring to turbulent weather.) The narrative tells the tale of the all-encompassing and passionate, yet thwarted love between Heathcliff and Catherine Earnshaw, and how this unresolved passion eventually destroys both themselves and many around them. Now considered a classic of English literature, Wuthering Heights has also given rise to many adaptations and inspired works, including films, radio, television dramatisations, musicals and songs (notably the hit Wuthering Heights by Kate Bush) and opera.