The Bronte MythThe Bronte Myth
Title rated 4 out of 5 stars, based on 3 ratings(3 ratings)
Book, 2003
Current format, Book, 2003, 1st American ed, No Longer Available.Book, 2003
Current format, Book, 2003, 1st American ed, No Longer Available. Offered in 0 more formatsAn in-depth portrait of the Brontë family and their literary endeavors takes a close-up look at some of the myths of the last 150 years that have distorted their lives, images, and works and provides fresh insight and facts about the Brontë sisters and their novels. 15,000 first printing.
Discusses the lives and literary careers of the Brontèe sisters, uncovering the myths surrounding them and how they become cultural symbols.
Lucasta Miller, in The Bronte Myth, shows us how the Brontes become cultural symbols almost as soon as their novels were published; how they became notorious even before the veil dropped from their carefully chosen pseudonyms, as Charlotte's Jane Eyre and Emily's Wuthering Heights, appearing out of nowhere, instantly fascinated, inspired, and scandalized English readers.
The subsequent discovery that Currer, Ellis, and Acton Bell were three youngish spinsters - parson's daughters - living rural lives of utmost propriety made interest in the sisters obsessive. Add a supposedly ferocious father and untimely death, to say nothing of the Victorian penchant for seeing noble sacrifice in every possible situation, and the production of legends multiplied.
Lucasta Miller provides fascinating insight into the manufacture of cultural myth and how it can distort our memory of the artist even as it obscures the art. She traces the reinterpretations, indeed recreations, of the Brontes, from Charlotte's own efforts to soften her dead sisters' reputations and Mrs. Gaskell's classic portrait of the artists as exemplary Christian ladies to the fashionably Freudian psychobiographies of the 1920s and '30s, from counterfeit memorabilia and the promotion of literary tourism to Hollywood representations of gloomy heroines on savage windswept moors. She rescues the Brontes from their admirers and attackers, giving us back three vivid women who were writing in the days when few women dared to try: geniuses and sisters who, in the words of a household witness in the late 1850s, were "as cheerful and full of spirits as possible ... full of fun and merriment."
Since 1857, hardly a year has gone by without a book or play or monograph or film about the Brontës. Each generation has reimagined Charlotte, Emily, and Anne in ways that reflect changing visions—of the role of the woman writer or of sexuality or of the very concept of personality. Charlotte Brontë has been seen as domestic saint, as sex-starved hysteric, as ambitious literary careerist. Her sister Emily has been furnished with apocryphal lovers of both sexes; has even been denied the authorship of Wuthering Heights by conspiracy theorists who attribute it to her brother, Branwell.
Now Lucasta Miller, in The Brontë Myth, shows us how the Brontës became cultural symbols almost as soon as their novels were published; how they became notorious even before the veil dropped from their carefully chosen pseudonyms, as Charlotte’s Jane Eyre and Emily’s Wuthering Heights, appearing out of nowhere, instantly fascinated, inspired, and scandalized English readers.
The subsequent discovery that Currer, Ellis, and Acton Bell were three youngish spinsters— parson’s daughters—living rural lives of utmost propriety made interest in the sisters obsessive. Add a supposedly ferocious father and untimely death, to say nothing of the Victorian penchant for seeing noble sacrifice in every possible situation, and the production of legends multiplied.
Lucasta Miller provides fascinating insight into the manufacture of cultural myth and how it can distort our memory of the artist even as it obscures the art. She traces the reinterpretations, indeed re-creations, of the Brontës, from Charlotte’s own efforts to soften her dead sisters’ reputations and Mrs. Gaskell’s classic portrait of the artists as exemplary Christian ladies to the fashionably Freudian psychobiographies of the 1920s and ’30s, from counterfeit memorabilia and the promotion of literary tourism to Hollywood representations of gloomy heroines on savage windswept moors. She rescues the Brontës from their admirers and attackers, giving us back three vivid women who, with little formal education, were writing in the days when few women dared to try: geniuses and sisters who, in the words of a household witness in the late 1850s, were “as cheerful and full of spirits as possible.... full of fun and merriment.”
From the Trade Paperback edition.
Discusses the lives and literary careers of the Brontèe sisters, uncovering the myths surrounding them and how they become cultural symbols.
Lucasta Miller, in The Bronte Myth, shows us how the Brontes become cultural symbols almost as soon as their novels were published; how they became notorious even before the veil dropped from their carefully chosen pseudonyms, as Charlotte's Jane Eyre and Emily's Wuthering Heights, appearing out of nowhere, instantly fascinated, inspired, and scandalized English readers.
The subsequent discovery that Currer, Ellis, and Acton Bell were three youngish spinsters - parson's daughters - living rural lives of utmost propriety made interest in the sisters obsessive. Add a supposedly ferocious father and untimely death, to say nothing of the Victorian penchant for seeing noble sacrifice in every possible situation, and the production of legends multiplied.
Lucasta Miller provides fascinating insight into the manufacture of cultural myth and how it can distort our memory of the artist even as it obscures the art. She traces the reinterpretations, indeed recreations, of the Brontes, from Charlotte's own efforts to soften her dead sisters' reputations and Mrs. Gaskell's classic portrait of the artists as exemplary Christian ladies to the fashionably Freudian psychobiographies of the 1920s and '30s, from counterfeit memorabilia and the promotion of literary tourism to Hollywood representations of gloomy heroines on savage windswept moors. She rescues the Brontes from their admirers and attackers, giving us back three vivid women who were writing in the days when few women dared to try: geniuses and sisters who, in the words of a household witness in the late 1850s, were "as cheerful and full of spirits as possible ... full of fun and merriment."
Since 1857, hardly a year has gone by without a book or play or monograph or film about the Brontës. Each generation has reimagined Charlotte, Emily, and Anne in ways that reflect changing visions—of the role of the woman writer or of sexuality or of the very concept of personality. Charlotte Brontë has been seen as domestic saint, as sex-starved hysteric, as ambitious literary careerist. Her sister Emily has been furnished with apocryphal lovers of both sexes; has even been denied the authorship of Wuthering Heights by conspiracy theorists who attribute it to her brother, Branwell.
Now Lucasta Miller, in The Brontë Myth, shows us how the Brontës became cultural symbols almost as soon as their novels were published; how they became notorious even before the veil dropped from their carefully chosen pseudonyms, as Charlotte’s Jane Eyre and Emily’s Wuthering Heights, appearing out of nowhere, instantly fascinated, inspired, and scandalized English readers.
The subsequent discovery that Currer, Ellis, and Acton Bell were three youngish spinsters— parson’s daughters—living rural lives of utmost propriety made interest in the sisters obsessive. Add a supposedly ferocious father and untimely death, to say nothing of the Victorian penchant for seeing noble sacrifice in every possible situation, and the production of legends multiplied.
Lucasta Miller provides fascinating insight into the manufacture of cultural myth and how it can distort our memory of the artist even as it obscures the art. She traces the reinterpretations, indeed re-creations, of the Brontës, from Charlotte’s own efforts to soften her dead sisters’ reputations and Mrs. Gaskell’s classic portrait of the artists as exemplary Christian ladies to the fashionably Freudian psychobiographies of the 1920s and ’30s, from counterfeit memorabilia and the promotion of literary tourism to Hollywood representations of gloomy heroines on savage windswept moors. She rescues the Brontës from their admirers and attackers, giving us back three vivid women who, with little formal education, were writing in the days when few women dared to try: geniuses and sisters who, in the words of a household witness in the late 1850s, were “as cheerful and full of spirits as possible.... full of fun and merriment.”
From the Trade Paperback edition.
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