Monday, 16 June 2008

Pilgrimage to Haworth - My initiation


Main St, Haworth

This year eight members from Belgium and the Netherlands attended the Brontë Society AGM weekend in Haworth, Yorkshire (the Society's main annual event) on 7-8 June. This account of a first visit to Haworth was written by Sherry Vosburgh, who joined our group just a few weeks ago and made a last-minute decision to go to the June weekend. Most of the accommodation in the village had been booked months in advance but she managed to find a room, albeit right at the bottom of the steep hill up to the Brontë Museum and the venue for the events. However, she survived the experience and seems to have enjoyed it! Would any of you like to join us in Haworth for the 2009 AGM weekend (6-7 June)?

Helen somehow talked me into it - leaving from Kings Cross for a Northern adventure for five glorious days. I felt a bit of a fraud as I had only read three of the Brontës' books, and wondered if I'd be accepted into the august circle of the Brontë Society en masse.

I arrived without incident at my palatial B&B to a warm welcome. The "full monty" breakfast the next day stoked up the fires for my first visit to the Parsonage - waltzing in free as a fully paid-up member. I found the experience very moving, imagining the family living there and Emily dying on the sofa in the drawing room protesting that she was not ill... The exhibitions were fascinating - especially Charlotte's tiny dress and gloves for Emily's funeral... The letters and Gondal books were in minuscule fairy hand, impossible to read but transcribed for visitors. There was also an exhibition of fine modern photographs of the moors by Fay Godwin which put the house in context and made one realize how isolated Haworth was before the tea shoppes, pubs, curio shops and second-hand bookshops moved into Main Street.

The climb up Main Street to the Parsonage had been described to me as steep, but I hadn't realized I'd need my heavy walking shoes every day for the cobbled street that never seemed to end. Between Brontë Society events it proved too time-consuming to go back down to the B&B and up again, so I ended up drinking endless pints of bitter and tea (complete with typical Yorkshire cakes and buns) and meeting others who were engaged in exactly the same activity. I met slightly eccentric people like myself all over the village, all very friendly and united in their common interest in the Brontë family - from as far afield as the United States chapter, the Netherlands and, of course, Belgium. The Brontë crowd had a certain look about them - urbane but rather wild-eyed - which made it easy to strike up conversations with complete strangers.

The first event organized by the Society was a performance by a young professional theatre company called "Through the Window" of the earliest dramatic version of "Jane Eyre". The play had originally been performed at the theatre that became the Old Vic and had been adapted by Catherine McDonald from Patsy Stoneman's newly published edited version. Patsy was there to give an introduction and plans to come to Brussels this year. The play, skilfully filleted and using only a handful of actors, was very well received and was preceded by a cheese and wine party so that people could start getting to know each other.

The next day brought a lecture on the originality of Wuthering Heights from Professor Heather J. Glen, from Cambridge University - fascinating - followed by a service in the local church to thank the family of James Roberts, who donated the Parsonage to the Society in 1928. We all sang lustily and the church was full of Brontë Society and local people. The female rector's daughter sang the final Blessing beautifully. The AGM followed, at which plans were described for improving the modern exhibition space and to refloat the coffers. A few members seemed curious to know why there had been so many resignations from Council lately, but lips were sealed on their personal reasons for resigning. A dynamic-sounding Council was elected and the eloquent acting director of the museum shed light on its day-to-day running. The meeting had to close in time for the literary panel that followed (all events took place in the nearby Baptist Hall) in which the influence of Wuthering Heights was discussed by Toby Litt, Helen Dunmore, Sally Beauman and Stevie Davies, with Patsy Stoneman in the chair. All the writers spoke passionately about their admiration for Emily Brontë and produced a lively and fascinating discussion.

The next day, Sunday, kicked off with two walks, one long and the other shorter. Feeling cowardly, I plumped for the shorter one, which turned out to be expertly led by Hedley Hickling, the outgoing Membership Secretary, who is a geologist and really knew his stuff. We wandered in a leisurely fashion over Penistone Hill and saw in the distance Top Withins, which may have been the model for Wuthering Heights. The views over the moors were breathtaking. In the afternoon a special treat awaited us - a performance of "The Well-Dressed Governess" by the History Wardrobe in a costume-in-context presentation of handmade replica and original costume items. The lady who presented the show has made all her own costumes and gave details of the kind of dresses considered suitable for governesses at the time (who had to blend into the background and favoured blue and grey) and told us how the undergarments were worn, demonstrating enough within the bounds of decency.

On the last day there was a full-day excursion to the "Shirley" country, which I had to miss as it was fully booked. There were also two talks, one by Beryl Bainbridge on her novel- writing technique and what she owed to the Brontës and one in the old schoolroom, used by the Brontës to teach Sunday School, where a historical slide-show of Old Haworth was given by a local historian.

I spent several happy hours browsing the two second-hand bookshops as well as the wide selection of old and new books on sale at the meeting venue over the weekend. I was most impressed with the wide selection of Brontëana at the Parsonage itself but had to limit my purchases to avoid carting them up hill and down dale throughout the day. That damned hill!

I was introduced to lots of people, all charming, and by the end of the weekend I felt I was leaving a group of comrades and new friends. Doubtless we will all meet again next year at the next June AGM weekend. I can't wait for more of that lovely pub grub in good company, interspersed with cultural activities and wonderful views. A lovely break from Brussels. And much recommended.

Sherry Vosburgh

Thursday, 29 May 2008

EMILY’S JOURNAL – a personal impression

I have just finished reading “Emily’s journal”, a book written by Sarah Fermi and published in 2006 and wanted to share my personal impressions.
I met the author, Sarah Fermi, during the BS Southern Excursion in October 2007 and learnt about her theory that Emily must have had a relationship which in the end was the basis of her one great novel “Wuthering Heights”. I got fascinated by this theory and bought the book. Unfortunately, I only got to reading the book just recently.

Reading this book really is an exciting experience: you start reading and the book does not let you go. You just have to continue reading until it is finished!!
The starting point of the author, writing a journal as Emily could have done, stepping into Emily’s shoes, describing the events in Emily’s words, even if they are imaginary though based on factual data, with the comments of both her sisters, is really a remarkable but fascinating point of view. When reading the journal, you can really picture Emily sitting at her writing desk all alone in her room writing these words in her diary, keeping it away from the rest of her family.
I was fascinated by the idea expressed by the author that Emily had “a boyfriend”. It is true, the passion elaborated in Wuthering Heights is very strong, difficult to believe it was all coming solely from the imagination of a young “innocent” woman. So the idea that she must have had a boyfriend at some stage in her life was most appealing to me. It also explained a lot.

I have loved reading this book. Even though the author, based on her research, had to imagine how things might have been in Emily’s life (since so few real facts are known to us, Emily being a very private person), you can really believe this story and believe that these things actually happened. The author has really succeeded in convincing me of her theory. It made me look at Emily from quite a different perspective. It is a wonderful, extraordinary, fascinating, remarkable book, one that each Emily Brontë fan should have read! Perhaps they have, and perhaps I was the only one that had not read the book yet, but still! A book to be recommended!

Marina Saegerman

Monday, 28 April 2008

An interview with Judith Adams

Our thanks to BrontëBlog who let us publish this item, "Charlotte Brontë still has genius after 192 years", on our Blog. And a big thank-you to Judith Adams.

Some time ago we listened to Judith Adam's radioplay "I Believe I Have Genius on BBC 4" and were very pleasantly surprised. The Brussels period was key to Charlotte's development as a writer although it sometimes is glossed over as a mere continental whim. Judith Adams showed just how powerful and influential it actually is by literally placing us inside Charlotte's mind.

As the radioplay cast advanced Charlotte is divided in two: Reason and Passion, the conventional and the unconventional sides of Charlotte respectively. Between them they recall the incidents, events, etc. that landed her (them?) where she now is - now being a Catholic confessional in Brussels. Charlotte is extremely lonely and he love and anguish for M. Heger grows and grows. In a rather cruel twist of fate this experience seems to have been vital for Charlotte to emerge as the writer we all know.

The radioplay cast were all brilliant but let offer a humble hat tip in particular to Rosie Cavaliero who played the Passionate Charlotte and to Julian Rhind-Tutt who played a brilliant, interesting M. Heger.

But who better to talk about this play than its very author? Judith Adams was so kind to keep us updated on it and to answer some questions. The answers are all amazing and have a good deal of food for thought. Read them carefully:

You also adapted Villette in the past - what is it about the 'Brussels period' that attracts your attention so much?

Villette was the job I was given by Deborah Paige, then artistic director of the Sheffield Crucible Theatre. It was my first professional job, second stage play, and first adaptation.Though not my idea, I was delighted she chose the unconventional text - it was also the text that fascinated me most (though I'd dearly love to dramatise Wuthering Heights in a way which altered the 'romance' and foregrounded the structure, which resembles the late plays of Shakespeare).
It had come to my attention when Education Officer and setting up the department at the Parsonage, how few people read Villette - even enthusiasts - and what a relatively unpopular book it has always been, dealing, as it does, with harsh and powerful feminist issues less congenial and more intense than those of Jane Eyre.

The uncongenial (I'm told by others - I love her) and unreliable narrator Lucy Snowe, who tries to tell us she is invisible, while being, in fact, the god-creator of the novel, simply fascinates me. Only having funding for 6 actors - I made them all Lucy Snowe (both genders) rather than making them try to represent the population of Brussels. So schizophrenia began there, I suppose. I really wanted to call it "Who ARE you, Lucy Snowe?" but the publicity department wouldn't let me.

My closeness to the Brussels period started here, and went on when asked to review Sue Lonoff's wonderful book translating the devoirs - which revealed so much that has been largely ignored in favour of their exaggerated moorland isolation mythology, and the tedious and prurient speculation about whether she had a pseudo-affair with Heger or not.

The breath-taking guts both Brontes needed to make this journey at that period in history still awes me, and the development of their talents was spectacular, though just being heard was, in a sense, the main spur they needed to go home and do what they were born to do, I suspect.

Hearing words spoken out loud one has written has a huge, terrifying and wonderful impact, if one can survive the shock of it. Hence the obsession in both my Brussels pieces with "play you must, play you shall".

CB, EB and George Eliot (I've dramatised Middlemarch and Mill on the Floss) would have all been fabulous playwrights. But it would not have been permitted, of course.

It hardly is now. Count the numbers.

We are so close to that burial of women still - so often tipping back into it - knowing what is happening in the world to women - how can we be post-feminist? It's dismal and dangerous and gutless to behave as though the job of feminism is done. We have simply been assimilated into the ever-prevailing culture (the 'lucky' western ones that is..).

When did you come up with the idea for this radioplay?

About 9 years ago. It was turned down then. I had a chance to pitch it again through Jonquil Panting, BBC Producer, only this year. I'm pleased there was a delay - I wouldn't have been able to do it justice before, and she was the perfect dramaturg and director. I did have to re-visit all the research I had had at my fingertips as Education Officer at the time: quite an epic of reading. It was fascinating to read the same section of their lives in all the biographies, swiftly, all together - to discover how much interpretative bias affects everyone, even those who pride themselves on being the most "factual".

Did you choose to have Mary Taylor on the play because she was the driving force behind the Brussels period and because she was, of course, there as well or because Charlotte tended to be less conventional and more open with her than she was with Ellen Nussey?

Yes to both your suggestions, plus she represents action/travel to me - and courage - the things most likely to call out Charlotte's best genius - and one is haunted by the letters CB would have sent her which we have lost. Ellen was her longing-to-be conventional and please-daddy side (CB1), Mary her wildness and feminism (CB2).

Also, in terms of the play's structure, it was Mary observing CB was "ugly" on her arrival at Roe Head which splits CB in two, and Heger acknowledging the same, but with the added force of his teaching, which fuses them back together.

I was always so fascinated by the fact that Mary tells us CB still had an Irish accent when she arrived at Roe Head: what volumes this speaks about their isolation from the village.

Oddly, it was never my intention to have two CBs - it was never in the original proposal. It just happened - very early on - and was awkward until CB2 suddenly started speaking with an Irish accent. Then I remembered the Roe Head story. Sometimes one's fictions go their own way, and you have to let them. Scary, but that's when I really enjoy my job. That's when I know the piece has its own life. I might not get it quite right even so, but it's alive, not dead.

I really like this piece. It needed more broadcast time, but I'm deeply proud of it, and the whole team who gave it shape and voice (Jonquil, the fabulous actors, and the technicians).I really like its overt feminism, and that I avoid the traditional places of Bronte legend (moors, Cowan Bridge, EB's misanthropy etc.) and go to other places and people - the sea and Chapelle, for example.

Also - of course - I could largely escape the clutter of their past and futures - except that CB2 crosses all time zones when she wishes, as Genius.

My favourite speech is her one about ugliness, and photos, and so many Emanuels in time to come wanting to stand up for her, so where are they when you need one? Yeh. Makes me smile. For there is huge prejudice still against female, especially feminist voices; especially female, feminist, heretical voices like Charlotte's. Unless the women concerned are dead. Burial is a big issue for women.

Globally, things are not looking good for women's voices, and religion is one of their key threats.

On the contrary, although the present of the play is Charlotte's second stay in Brussels - sans Emily - Emily never speaks at all in Charlotte's memory. Was this a conscious decision or just where the plot led?

Factual clutter is the main factor again - this is a huge story. Time is desperately short in an Afternoon Theatre. We would have preferred an hour at least for this - much was cut. But I cut Emily from the start - there was no way to begin to do her justice - and, as with Madame Heger, I cut her to make this very much CB2's fictional/narrational trajectory.

It is about one self - and the self tells its own story about itself, ruthlessly self-centred. As Genius would have to be, in the end, I imagine.

This is not dramatised biography, it is a fiction - my fiction - about two parts of CB splitting then getting re-united through Heger's teaching.

To have given voice to Emily, I would need twice the broadcast time and twice the research I had time for beforehand, and it still would not have worked. In fact, I did brush against something that gave me a powerful idea of how I might approach her time in Brussels - but this would be another play.

Speaking of the family - Patrick is portrayed à la Gaskell.

Not so. Just à la through his own words in this case.

Is this because you believe him to be the authoritative figure she showed us?

No. He seemed fairly ineffectual - powerless to control his children in my scene - at least, to me - which inadvertently gave them a vast amount of wonderful freedom. He was also a deeply unconventional man by virtue of his background (which CB2 points out) who tried unevenly to be a conventional patriarch without the will or family conditioning to pull it off. His values were unimaginative but not cruel, thank heaven for the Bronte sisters' heretical feminism. Branwell, his preferred child, and his own doubtless great virtues were not the subjects of this piece, and both men have anyway been covered exhaustively by Juliet Barker.

Or because in such a short piece you didn't think there would be time to portray him in a way most people wouldn't recognise him?

Time is always a factor. Sometimes it works with clarity, sometimes against it.There was certainly not much time to worry about Mr B's layers.

Finally, do you think you will be returning to the Brontës in the future?

I do. I carry their astonishing inspiration with me always - I think we have not yet caught up with their genius. We are sometimes too busy with the minutiae of their "tragic lives", and too mesmerised by romanticism to interpret even the most favoured books truthfully.

Sunday, 27 April 2008

Brontë weekend in Brussels, 18-20 April

For a second year our group had organised a weekend of events which would coincide with the date of Charlotte Brontë's birthday (21 April).

After nearly 6 months of planning, organising and promoting our weekend, this year started off with a Brontë evening in Waterstone’s, the English bookshop in Brussels, who kindly provided a specially set-up space and also drinks and nibbles. This was our test, to see how many would turn up to our event this time. We were actually quite surprised to see a great turn-out; some 60 people turned up, and some had to stand, as the chairs were all taken! Robert Barnard gladly accepted our invitation to come to this weekend and he introduced the evening, and with that the weekend, with his witty and erudite anecdotes. Also present were Derek Blyth, Maureen Peeck and Eric Ruijssenaars.
Maureen enlightened us with some wonderful perceptions of two ‘devoirs’ by Emily; Derek told the audience a bit about his experience of the Heger letters (he gave a talk about this last October) and Eric would answer any questions in a question and answer session after the talks. At the beginning people were a little shy and hesitant to ask questions, yet people were mingling and conversations flowing once the official part was over.That is the moment people will start to meet others. Those attending came from near and far. We recognized members from the Czech Republic who also joined us last year. This time, however, they didn’t make the journey by bus! Old and new friendships were made when we walked to the Grand Place and decided to have a drink and talk in one of the old cafés. Our weekend had started of with a bang.

Saturday included a one-day conference entitled The Brontë sisters in Brussels organised by the public library Bibliothèque des Riches Claires, with assistance from us. This event was mainly down to them and so we had to wait and see how it would all go. The conference room was in the library which was situated in a lovely old part of Brussels, with a wonderful monument, the old Church of Riche Claires opposite us.With still more people turning up for this day, the number of attendants was about 100. To our surprise the mayor of Brussels, Freddy Thielemans, was present and opened the conference day, with lively banter, switching easily and naturally from English to Dutch to French. Incredible! (That’s Brussels for you.)
Six speakers, all with their different expertise, talked on a variety of subjects related to the Brontës, 19thC Brussels, the Hegers and other subjects. It was a long, and at times warm and fatiguing day but nevertheless very interesting and at times very amusing. Simultaneous interpretation was provided, so people could follow the speech on headphones. Both English and French were spoken.In the same room there was an exhibition called Les Soeurs Brontë à Bruxelles which was organised by the library to coincide with the conference and our weekend. Panels and glass cases were full of interesting pictures, photos and books on Brussels in the period of the Brontës' stay, a lot relating to the Quartier Isabelle and the Pensionnat Heger. There was also plenty of material on the Brontë and Heger families, and a display of Brontë novels and biographies in French from Brussels libraries.
In the evening a unique gastronomic occasion, a Victorian banquet, was on the programme, organised by ‘Le Centre de Gastronomie historique’.

On Sunday morning a guided walk around Brontë places in Brussels was organised, one group led by Derek Blyth and one by Eric Ruijssenaars. There was a tremendous amount of interest by people, so they were fully booked.
The weekend concluded with an informal meeting in A La Mort Subite, another characteristic old Brussels café, where we also had our afternoon tea last year. There were almost 30 people present, including many new members as well as those of us who were there from the start. The meeting was very productive with those present showing enthusiasm and coming up with inspiring ideas. There is a lot of creativity and talent we can draw from, so future events seem guaranteed.


Again, our activities didn’t go unnoticed by the Belgian media; a radio interview with Eric on a Flemish radio station, and an article in ‘De Standaard’, written by Kristien Hemmerechts who visited our events, were among those.

In a relatively short space of time, only two years, we've grown from about five people to around 60, and new people are joining all the time. The Brontë weekend attracted a very large number of new members.

It seems the Brontës are here to stay in Brussels.

Friday, 25 April 2008

A perfect match


A perfect match, made in heaven : Celtic Music and Emily Brontë!

As a Brontë enthusiast, and in particular an Emily Brontë fan, I was delighted to learn about a project which is at present going on in the Netherlands.
A Dutch band, called ANOIS (the Gaelic-Irish word for “now”), is at the moment working on a CD which is to combine Emily Brontë poems and Celtic music. We were contacted by Veronica Metz, who is the main vocalist of the band, and who composes and performs most of the songs.

Anois was founded at the end of 1996 and is based around the vocals & compositions of lead singer Veronica Metz. The band has in the past been inspired by the writer J.R.R.Tolkien (“Lord of the Rings”) but also by other musicians such as Deanta, Enya, Loreena McKennit and Clannad.
On their website, which is worthwhile visiting (www.anois.nl), they describe their music as being “poetic Celtic music”.

Anois is:

Veronica Metz - Lead Vocal
Ieteke van der Meulen - Backing Vocals
Nick Hubers - Backing Vocals, Whistles and Percussion
Marieke Lesparre - Celtic Harp
Gert-Jan Greven - Guitars and Backing Vocals
Kees Mook - Fiddle
Wym v Noort - Keyboard
Harry Smit - Sound technique

For their present project on Emily Brontë Veronica and her band have given their personal musical interpretation to a number of Emily Brontë poems.

A few of the poems used are:

- I know not how it falls on me”
- Tell me tell me
- Song to A.A. (“This shall be thy lullaby”)
- Song (“The Linnet in the rocky dells”)
- Remembrance (“Cold in the earth …)
- Stars
- No coward soul is mine

The songs are beautifully performed by Veronica with her “angelic voice from heaven”, assisted by excellent musicians and backing vocals. This is the music I like to listen to and the texts being Emily’s words make it for me THE PERFECT MATCH!

Have I raised your interest? Do you want to know more? You can contact Veronica Metz (veronica@anois.info), or visit their website (www.anois.nl)

Marina Saegerman