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Audible sample Sample
Wuthering Heights Audio CD – Audiobook, May 1, 2006
Purchase options and add-ons
- Print length11 pages
- LanguageEnglish
- PublisherRecorded Books, Inc.
- Publication dateMay 1, 2006
- Dimensions5.2 x 1.5 x 5.59 inches
- ISBN-101428108483
- ISBN-13978-1428108486
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Product details
- Publisher : Recorded Books, Inc.; Unabridged edition (May 1, 2006)
- Language : English
- Audio CD : 11 pages
- ISBN-10 : 1428108483
- ISBN-13 : 978-1428108486
- Item Weight : 8 ounces
- Dimensions : 5.2 x 1.5 x 5.59 inches
- Best Sellers Rank: #6,367,043 in Books (See Top 100 in Books)
- #9,304 in Historical British & Irish Literature
- #58,848 in Books on CD
- #108,685 in Classic Literature & Fiction
- Customer Reviews:
About the authors
Diane Long Hoeveler was born in Chicago, IL and educated at the University of Illinois-Urbana. She is a Professor of English at Marquette University in Milwaukee, WI, where she has taught since 1987. She publishes on gothic, romantic, and women's literatures.
Her most recent book, "The Gothic Ideology: Religious Hysteria and Anti-Catholicism in British Popular Fiction, 1780-1880," examines the representations of nuns, monks, the Inquisition, and ruined abbeys in dozens of British gothic texts. Her other books are "Gothic Riffs" (2010), "Gothic Feminism" (1998), and "Romantic Androgyny" (1990). She has coauthored "Charlotte Bronte," and edited/coedited another 15 books.
Emily Jane Brontë (/ˈbrɒnti/, commonly /ˈbrɒnteɪ/; 30 July 1818 - 19 December 1848) was an English novelist and poet who is best known for her only novel, Wuthering Heights, now considered a classic of English literature. Emily was the third eldest of the four surviving Brontë siblings, between the youngest Anne and her brother Branwell. She wrote under the pen name Ellis Bell.
Bio from Wikipedia, the free encyclopedia. Photo by Patrick Branwell Brontë (http://www.abm-enterprises.net/emily.htm) [Public domain], via Wikimedia Commons.
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First, I was overwhelmed by the intricate structure of the narrative, which flashes back and forward and intertwines several layers of narrators, from the ostensive Lockwood, to the fantastic voice of Nelly Dean, and then in another layer to what Nelly heard and read from Heathcliff, Isabella and Zillah. Emily Brontë manages to transition from one voice to the next smoothly and seamlessly, while sustaining a cohesive and consistent narrative that, for the length of time it covers, moves really fast. Indeed, I was amazed with how well she cuts any 'shoe leather' (there is particularly one transition, from the moors to inside Heathcliff's house in Chapter 27 that made me wow.) Nelly is a formidable storyteller if not a film editor, not only for what she tells and comments but also for what she disregards or conveniently excludes altogether. Some people say there are unnecessary characters, Lockwood being the most notorious one. But to me, having Lockwood to open room for Nelly is as clever as using Ellis Bell as a pen name, because with that Emily Brontë not only circumvented the prejudice against women authors in the Victorian Society but managed to tell a story in which a housekeeper has a lot to say and do. And imho this device also serves the plot well, because Lockwood's interest on Catherine adds to his unreliability (while he seems to let Nelly's voice reverberate untouched) as much as Nelly's own subtle influence on the destinies of the Earnshaws and Lintons goes unnoticed.
Second, there is a formidable storytelling that is both dark, cold and gloomy but also bright, warm, tender and beautiful, and this balance is so well put that readers can either see the novel as a romantic love story or a horror tale of violence and hatred. There are many duplicates and characters are also multifaceted. Most readers detest all characters because of their arrogant, selfish and even violent behavior but, in my view, they are tremendously rich of vulnerability and ambiguity. There is no one to clearly root for but at least to me it was difficult to hate them either. I may be a too indulgent kind of reader, but I felt WH was like Shyamalan's Servant where characters are mostly dislikeable but you just can't let them go. They are a too interesting pack of people to be forsaken. Virginia Woolf describes these characters as impossible in the real world, but yet captivating, which she attributes to Emily's rarest of all powers in a poet: "She could free life from its dependence on facts; with a few touches indicate the spirit of a face so that it needs no body." These characters are not real people, but they feel like people you know all the same.
Third, there is the supernatural. From the first scene when Lockwood meets Heathcliff, it became clear that Emily Brontë was no Jane Austen. Indeed, I began WH imagining Heathcliff as a kind of Servant's Uncle George in his natural habitat, rude and rough but tough and disciplined. Then there is the dreamlike haunting scene in Catherine's room (what was that, Kate Bush?) and the creepy, supernatural atmosphere never leaves completely anymore. The second half of the book that covers the second generation was so suffocating that I kept asking myself, as indeed I did in Servant, "why didn't these people escape the evil influence of Heathcliff and go live their lives peacefully elsewhere?" Like Leanne Grayson in Servant, Heathcliff's ability to take control of people seems superhuman, it transcends. Some scholars even see Heathcliff as a demonic figure in the Miltonian tradition of Frankenstein.
I didn't know before finishing WH that the Brontë Sisters were not from upper classes in England and wrote their books from their reclusive lives in the far lands of Yorkshire (that made me admire the power of Emily's ideas even more.) Inspiration certainly came from her readings, and I can see Hamlet and Macbeth in WH, while its creepy conclusion goes along with Victor Hugo's The Hunchback of Notre Dame (and now I think, Heathcliff a gypsy just like Esmeralda!). Harold Bloom recognizes Lord Byron, and other scholars explore the hidden parallels of WH with John Milton's Paradise Lost. Richard Ellman mentions that James Joyce once said to Eugene Jolas, while reading WH: "This woman had pure imagination; Kipling had it too, and certainly Yeats." That is more or less how I felt when finishing WH: Emily Brontë's imagination is powerful and irresistible as is her language and style, even when she goes over the top. WH is a force of nature that is futile to resist, it engulfs you with its hyperbolic style, cruel and violent characters, and bleaky and foggy atmosphere. In my case, it took me completely and does not seem to let me go anytime soon.
Honestly, though, there is no need for me to go into more detail concerning the dark mastery of this book or the brilliance of its writer. Even those who have never read it can surely find more than enough information on its contents without me adding to the deluge already available. As for those who are not interested in complex writing that enhances the mind, being drawn more towards quick and easy reads with over simplified language, it surely must be obvious that this book is not for them, so there is no need for me to grant further warning.
Instead I shall review this specific edition of Wuthering Heights.
First, let me start by saying that the Longman Cultural Edition is by far the best edition of the book I have yet come across in regard to its accuracy. It does not water down Bronte's prose nor edit it in a vain attempt to make it more palatable for today's readers, instead choosing to remain true to the books original form. So, if you, like me, prefer a version that tries to remain faithful to the original then this edition is most certainly for you. As a bonus for those who have difficulty understanding Joseph's speech there are handy notes left at the bottom of the pages to translate them for you, which I think is a thoughtful touch on the part of the publishers.
The book does contain more than the story, however, so allow me to wrap this review up by briefly describing the extra content. At the end of the story itself there are notes detailing certain aspects of life in the 1800's: the laws, women's rights, racism, religion, etc. This information can be useful for those who may not understand why certain events in the book played out the way they did - I will say nothing more on the matter since I do not wish to ruin it for those who have not had the pleasure of reading the book yet. It's true that the notes in the back may be a bit superfluous, but they can be interesting despite that. Besides, what's the harm in learning a bit more history, right? So, there is that bonus with this edition as well, if you're into the sort of thing.
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Just be aware that currently you cold feasibly find either this edition or a newer one and that each comes with a different introduction, mine is the older one with the ominous gray landscape on the cover (the new one has a desperate looking woman in sepia) and I'm assuming the notes on both are basically the same