The Red Room, New Short Stories Inspired by the Brontës

 

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This collection of short fiction is another Unthank publication (I recently reviewed their new writing Unthology here) in which editor A. J. Ashworth has gathered together twelve new stories inspired by all things Brontë. As she explains in her Introduction, the collection came about as part of an effort  to celebrate the Brontës’ association with the village of Thornton where, “Our nation’s most famous sisters – Charlotte, Emily and Anne” were in fact born. A percentage of the proceeds from the sales of this collection will be donated to The Brontë Birthplace Trust by Unthank, not only to support the promotion of Thornton as a tourist attraction but also to contribute to ongoing fundraising to purchase 72/74 Market Street which appears to be currently be in private hands.

In addition to these stories, the collection also features ‘Emily B’, a poem by Simon Armitage that effectively captures the essence of the Brontës’ or at least, their essence as it exists in the collective imagination. Armitage conveys a wild, hard-edged natural energy, inextricable from the setting of the moors  and the ‘dry wind that rushes’ there, whilst alluding to the inherent tragedy of Emily’s, and indeed all the sisters’ lives, as ‘bad water/leaches the graveyard’ and premature death becomes inescapable.

The stories gathered here are variously dark, playful, sad and eerie. Some extremely accomplished writers engage with the work and lives of the Brontës in different ways, whether it be through the figure of the lost little boy or the isolated governess, the limitations of poverty set in contrast to the freedom afforded by wealth, or most consistently through the weather and landscape of Yorkshire, so integral to the tales they tell us.

Alison Moore’s opening piece is an eerie re-imagining of Catherine repressed in a different time. It draws on familiar ideas of religion and marriage as tools of masculine oppression, even, it is suggested, as the sinister Mr Blakemore puts “four fingers and a thumb inside her mouth so that she would not forget” of physical violation. Elsewhere, the tone shifts to a more playful one, Zoë King’s ‘My Dear Miss…’ imagines a correspondence between the ever-meddlesome Emma Woodhouse (of Emma fame) and Jane Eyre, troubled under the pressure of St John’s proposal. Other stories engage with the influence and impact of the works themselves, Sarah Dobbs’ portrait of a young boy in the anguish of grief and the impressionable teenager in Elizabeth Baines’ ‘The Turbulent Stillness’ both feel the import of Wuthering Heights in one way or another.

The writing is at times moving and reverential in its treatment of the sisters and their works and at others entirely irreverent and ironic. I teach both Jane Eyre  and Wuthering Heights and I see daily the lasting effects that those two works specifically (sorry Anne!) have on students and the longstanding power they hold within the imagination. Part of the pleasure in any tribute is tracing the lines and patterns to the originals, spotting the references and enjoying the sense that you, like a conspirator, are in on the secret. This collection is rich with clues of this nature but it is, in places, wonderfully original with them and invites you, with the contributors to meditate on your own, personal encounters with these wonderful, ill-fated sisters. I read this at home with my family for the half-term break and it’s a good job too as I find myself reaching for my own, rather dog-eared, first and very special copy of Wuthering Heights once again.

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