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Discover the hauntingly beautiful tale of “Wuthering Heights” by Emily Brontë. Immerse yourself in the dark and passionate world of the Earnshaw and Linton families, as love, revenge, and the supernatural intertwine to create a literary masterpiece that continues to captivate readers. A tale of passion and dark romance!Emily Brontë’s iconic Gothic novelA tale of love, passion, and vengeance on the Yorkshire moorsRichly developed characters with complex relationshipsAtmospheric and evocative writing styleA timeless classic that explores the depths of human emotions. Read more
Publisher : Fingerprint! Publishing
Publication date : November 1, 2020
Edition : Reprint
Language : English
Print length : 408 pages
ISBN-10 : 8194898889
ISBN-13 : 87
Item Weight : 1.1 pounds
Dimensions : 6 x 1.2 x 9 inches
Best Sellers Rank: #11,063 in Books (See Top 100 in Books) #3 in Comparative Literature #3 in Gothic & Romantic Literary Criticism (Books) #16 in British & Irish Literature
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Top Amazon Reviews
Readers either love or hate Wuthering Heights with a passion but under no circumstance are they indifferent and there is a reason for that. This book is a too powerful force of nature that devours the reader and does not let they leave. Many hate to be dragged like that. I'm among those who love it, and here are three reasons why: 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.
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Reviewed in the United States on May 5, 2024 by Regis
I was revisiting this classic that more people now know from films rather than reading. While the story is basically the same, you can never beat the experience of a book.
Reviewed in the United States on September 22, 2024 by Saundra Wright
Wuthering Heights is about the relationship between two people named Heathcliff and Catherine. Now, from everything I knew about this book before I read it, I thought the novel was going to be a great love story full of romance and hugging and declarations of devotion. Boy, was I wrong. At the heart of the book is a revenge drama carried out by a man so consumed by hatred that he makes Palpatine from the first Star Wars trilogy look like a nice guy. Heathcliff was raised from childhood with Catherine Earnshaw and her older brother Hindley, but Heathcliff was not related to them. Mr. Earnshaw brought Heathcliff home with him one day after finding him living the life of an orphan on the streets of London. I kinda suspect that maybe Heathcliff was a secret love child Earnshaw had with a mistress in the city. But that's just my take. Heathcliff rapidly becomes Earnshaw's favorite, even more so than Hindley, much to the son's disgust, which fuels an intense hatred and jealousy that only gets worse after the elder Earnshaw dies. Up to that point, Heathcliff had always been treated as a member of the family, but afterwards Hindley treats him as nothing more than a common servant to be abused and made to work his hands to the bone. And by abused, I do mean actual physical beatings. Catherine, the great love of Heathcliff's life, decides that he has nothing to offer her and instead marries Edgar Linton, the son of one of their neighbors. Hindley too, gets married. The only one left out of this whole lovefest is, you guessed it, Heathcliff, and he leaves the windswept moors only to return years later to exact his revenge on both families Monte Cristo style. I was really caught off guard by this book. Like I said, I was expecting a romance instead of a Shakespearean revenge tragedy. That's not to say there isn't a happy ending, but that it takes a long and convoluted path, wrought with broken lives and bittersweet death. What turns Heathcliff into such a monster is that both he and Catherine know that they were meant to be together but she makes the decision to reject him based solely on improving her social standing. And let's be frank, the supposed social mobility she craves doesn't amount to squat when you live out in the middle of nowhere in some backwater Gothic swamp. To me, I can almost see precursors to Faulkner's decaying nobility. Something else that really struck me about the novel was its haunting theme of sexual frustration. What Heathcliff and Catherine feel for each other is very sexual. There isn't any idealistic or poetic flowers growing out of each other's imagination. They see each other for what they are and love each other for what they are. Neither of them were cannibals but I almost felt like if they could find a way to eat each other, they would have. Bronte does a virtuoso job of moving between time periods and showing different generations of the Earnshaws and Lintons as the children of both have to deal with the legacy left them by the destructive failed love of Catherine and Heathcliff. The main narrators of the story are not the two main characters. Instead, the tale is told by Nelly, a maid just a little older than them who was a witness to everything that happened. She tells the story to a certain Mr. Lockwood, a man who is renting a house from Heathcliff many years after all this has gone down. Emily moves from present to past to future and back again during different chapters that really seems a more postmodern way of looking at things. This book was far ahead of its time in terms of novelistic technique. Bronte even takes up the issue of racism in Wuthering Heights, as part of the reason Hindley and the Lintons look down on Heathcliff is because of his "dark gipsy skin". I look at Catherine as a coward who recognized that Heathcliff was who she was meant to be with, but in her superficial thinking, she was more worried about marrying well (weren't all women of that time the same) than marrying for love. Marrying for love was for peasants. If you had money or land you had to marry an equal or someone higher than you. She chose wrongly and a lot of people had to suffer for it.
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Reviewed in the United States on January 2, 2010 by Sesho