- Paperback: 220 pages
- Publisher: Wisehouse Classics (August 17, 2016)
- Language: English
- ISBN-10: 9176372553
- ISBN-13: 978-9176372555
- Product Dimensions: 6 x 0.5 x 9 inches
- Shipping Weight: 12 ounces (View shipping rates and policies)
- Average Customer Review: 5,961 customer reviews
- Amazon Best Sellers Rank: #1,476,968 in Books (See Top 100 in Books)
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Wuthering Heights (Wisehouse Classics Edition)
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About the Author
Emily Jane Brontë (1818 - 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.
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As a reader, I have to wonder what state of mind Emily Bronte was in when she wrote the turbulent tale. Published in 1847 the story was considered lurid and shocking, but a masterpiece. It is Bronte's only novel and is as relevant today as it was back then. Emily Bronte had been ill for some time and died in December of 1848.
1. Jane Eyre. The movie versions I've seen were, surprisingly, fairly true to the book (not often the case, as anyone who reads a book and then watches its movie knows). Shy governess, obnoxious-but-philosophical middle aged guy. Crazy wife in the attic. Missionaries. They hit all the high points. But Bronte's prose is well-done, and her characters are far more complex than the movies. She has a great way of building suspense, too. Even though I knew what was going to happen, I wanted to see it happen, so I kept reading. And I was satisfied when I closed the book: a good story, well-told.
2. The notes. Weiland's notes are, at the risk of sounding sycophantic, brilliant. Remember, these notes are about the writing of the book, not about the historicity or any of the other kinds of analysis you'd usually see in annotations. (My annotated "Sense and Sensibility" practically explains each curtsy as well as why dances lasted half an hour.) There's plenty of analysis, but it's all about how Bronte tells the story. For readers of Weiland's "Structuring Your Novel," it's like a Part II, showing the First Plot Point, (p118), Midpoint (p216), Third Plot Point (p325), Resolution and Epilogue. There are even pages at the back with questions (and lines for answering them or writing other notes) about structure. But wait, there's more! There are notes on perspective, voice, POV, conflict and tension, obstacles, character development, transitions, and way more than that. (I'm laundry listing here--but trust me, the notes could practically be their own book.)
I'm a writer myself, though you won't see my name in Amazon in that capacity--I ghost write. Under my own name, I'm also a freelance editor (developmental, substantive, and copy--you name it, I do it) and have been one for years. But I still read books on writing all the time. Some I love, some I tolerate, and a few I've ridiculed (after jumping up and down on their tattered remains). But this book is its own category, or perhaps it defies category. It's a writing master class, analyzing a masterpiece of English literature to make its key points. If I were a writing teacher, this would be required reading for my classroom.
One thing alone keeps the book from getting the fifth star, and it's a mechanical thing, nothing against Bronte or Weiland. They did their jobs well! But the typeface for the story is a serif font, and it's ten points at most, maybe eight. I needed to buy a +2 set of "cheaters" to read the story alone--and the notes are worse. They're a pale blue sans serif (the contrasting serif/sans serif fonts are good; the size is not and the pale color is not) that was hard to read even with the +2 cheaters. The notes are in the outer margins and take up about a third (one column) of each page. I wish they'd gone for broke and instead of giving us a six-by-nine (I'm eyeballing it, so the measurements are probably not exact), gone up a couple of sizes, just for the sake of those of us who are over 40. Then maybe they could've made the print a decent size.
Though it may seem over-dramatic to some, think of it more as a view into the harsh reality of the Victorian mindset: the fear of miasma, and now possibly water, causing death; the brutality afflicted by the upper classes; the few amongst them who were truly good and brought hope, even sometimes offering a step up to the next rung in a ladder; the quickness with which a family's status could rise and fall; the fact that death and loss were every day realities; but most importantly, the tragedy of love itself, in an Era divided by the haves and have nots.