In which I think about Heathcliff and Isabella and what makes a hero

Is Heathcliff a romantic hero? He’s dark and brooding and he dominates Wuthering Heights even during the long sections where he’s not on the page. And wherever two or three romantic authors are gathered in one place, his romantic hero status is a topic that’s highly likely to come up for discussion. And it’s one where I’ve always been firmly on the ‘Hell, no!’ side of the argument.

Team Romantic-Heathcliff will argue, quite rightly, that he is horribly mistreated and ostracized as a child and his adult anger is firmly rooted in a childhood of neglect and abuse. They’ll point out that Cathy is just as much at fault for the horrendous omnishambles of their relationship as Heathcliff. They’ll point out that he always puts Cathy on a pedestal and idealizes her throughout the story. And they’ll be right. They’ll generally go a bit quiet when we get onto discussing the whole ‘digging up her corpse’ thing, which even for the most ardent Heathcliff fan is tricky to sell, but generally all the points above are entirely correct.

But.

But I still can’t see Heathcliff as a romantic, or heroic, figure. And it’s not because of how he treats Cathy. It’s because of how he treats everyone else, and specifically how he treats Isabella. Without over-spoilering either Wuthering Heights or The Heights, let me gently remind you that Cathy isn’t Heathcliff’s only romantic entanglement. He also gets involved with Isabella Linton – when I reread Wuthering Heights before starting writing on The Heights, Isabella was the character that most resonated with me. Heathcliff doesn’t love Isabella. He doesn’t care about her at all actually.

And I think you can judge people by how they treat those they’re not emotionally invested in. I am completely comfortable with judging people in real-life based on how they talk to waiters and shop assistants. And so far as Heathcliff is concerned Isabella’s physical and emotional wellbeing is about as important to him as that of a waitress who once handed him a coffee and was never seen again. And he treats her horrendously – he brutalizes her – which can’t be excused because she’s not the love of his life. Excusing Heathcliff’s treatment of Isabella by claiming that he treats Cathy better is in the same territory as defending a serial killer cos he was nice to his mum. I mean great for the mum and everything, but even she would probably have preferred the ‘not murdering’ option.

For me Isabella is the real heroine of Wuthering Heights and she’s a heroine for the #MeToo world we live in now. She’s the only character in the story who clearly recognises the abusive nature of her situation and takes definite steps to change it. If you come to Wuthering Heights looking for heroism, I don’t think Heathcliff has much to offer you. Isabella on the other hand is heroic. She tries to change her situation and she tries to protect her child. Whether she’s successful or not is something you’ll just have to read a book to find out…

 

Two hundred years since Emily Brontë’s birth comes The Heights: a modern re-telling of Wuthering Heights set in 1980s Yorkshire.

A grim discovery brings DCI Lockwood to Gimmerton’s Heights Estate – a bleak patch of Yorkshire he thought he’d left behind for good. There, he must do the unthinkable, and ask questions about the notorious Earnshaw family.

Decades may have passed since Maggie closed the pits and the Earnshaws ran riot – but old wounds remain raw. And, against his better judgement, DCI Lockwood is soon drawn into a story.

A story of an untameable boy, terrible rage, and two families ripped apart. A story of passion, obsession, and dark acts of revenge. And of beautiful Cathy Earnshaw – who now lies buried under cold white marble in the shadow of the moors.

The Heights is available now in ebook from Amazon, iTunes, Kobo, and Google Play, and in audiobook.

In which I think about Wuthering Heights (again)

Yesterday was publication day for The Heights, my first collaborative novel, co-written with Janet Gover. And in it’s honour I’m blogging for the second day in a row! I have definite strong intentions that in 2018 I will definitely blog at least once a week. But we all know that ain’t gonna happen, don’t we? So I’m taking the two in two days as a small victory for now.

Anyway, The Heights is an adaptation of Wuthering Heights, and is the third adaptation I’ve written so far, after Sweet Nothing and Midsummer Dreams.

Rereading Wuthering Heights when we were planning this novel was a strange experience – I wittered on a bit here about that. So why write a whole novel based on a book you have a love-hate relationship with?

Well largely because of that love-hate relationship. Wuthering Heights is a fascinating book. It’s not at all the book that we think it is in our shared popular imagination. It’s a book that’s encapsulated in many people’s minds by the image of Heathcliff and Cathy running towards each other across a misty, atmospheric moor. But that image doesn’t in any way sum up the book. Really that image doesn’t even sum up the Kate Bush song.

Wuthering Heights is about Heathcliff and Cathy. It’s also about passion. But I don’t think it’s about love, at least not in the sense that most stories that we’d describe as love stories are about love. If it is about love, it’s about love gone wrong, turned bad, turned in on itself. And it’s about families that go the same way. And about abuse, and the way that abuse ripples through generations.

And those generations form a whole chunk of Wuthering Heights that’s often forgotten. Cathy, the wild beautiful heroine, isn’t even in the second half of the book. That’s all about her child, and Heathcliff’s child, and Hindley’s child, and how the toxicity of their parents’ lives reverberates through the next generation.

Wuthering Heights is a big, unconfined, almost indefineable, beast of a novel. It ranges across time and across themes. In writing it Emily Bronte achieved a staggering feat of imagination. Her novel is almost infinitely open to interpretation. And maybe that’s what made us want to write The Heights – because when something is that unconstrained and open to exploration and reimagining, you need a whole novel’s worth of words to try to understand it.

Adapting an existing story forces you to identify the central theme and plot. Those become your touchstones, your pillars that can’t be messed about with. Very early on in the process Janet said to me, ‘This is a story about obsession.’ And that became our watchword, our obsession if you like, while we were writing. But it’s fascinating to think that another author could take the same ingredients – Wuthering Heights, Thatcher’s Britain, the miners’ strike – and write a wholly different book, simply by fixating on a different interpretation of what the story is about. If you set off on an adaptation of Wuthering Heights thinking ‘The story is about loss,’ or ‘this story is about abuse’, or ‘this story is about family,’ or ‘this story is about love,’ then you’d be just as right as we were when we landed on ‘obsession’ but your story would be quite quite different.

Emily Bronte’s genius is that her story manages to be about all those things.

The Heights is out now on kindle, iTunes, kobo and Google Play.

The Heights

Two hundred years since Emily Brontë’s birth comes The Heights: a modern re-telling of Wuthering Heights set in 1980s Yorkshire.

A grim discovery brings DCI Lockwood to Gimmerton’s Heights Estate – a bleak patch of Yorkshire he thought he’d left behind for good. There, he must do the unthinkable, and ask questions about the notorious Earnshaw family.

Decades may have passed since Maggie closed the pits and the Earnshaws ran riot – but old wounds remain raw. And, against his better judgement, DCI Lockwood is soon drawn into a story.

A story of an untameable boy, terrible rage, and two families ripped apart. A story of passion, obsession, and dark acts of revenge. And of beautiful Cathy Earnshaw – who now lies buried under cold white marble in the shadow of the moors.’

In which it is publication day and I have a whole new name

It is a new year. A new day.* And I have a new book out under a whole new name. Which, frankly, is a lot of shiny newness to get one’s head around.

So let’s focus on the new book and the new name. And I’ll do that by telling you all a little story of the birth of that new book and new name…

Once upon a time, in a land far far away** the Romantic Novelists’ Association held a conference and I did get up at that conference and give a little talk on adapting classic literature into contemporary fiction.

Adaptation talk
Me talking. With PowerPoint. And excitable hand gestures.

After the talk I was chatting to Janet Gover who said, ‘I’d like to adapt Wuthering Heights but they’re all Northern and I can’t write Northern.’ (Because she is from Australia which is a really very long way South.) And I thought ‘Lawks!’ and also ‘Aha!’ Because I am from North Yorkshire which is very much more North than Australia. So we agreed we should write it together. We were only joking of course, but then we drank quite a lot of wine which made the whole thing seems like an absolutely marvelous idea.

So we did it. And we finished it. And the lovely publishing people at Harper HQ thought it was a marvelous idea too. But they looked at us closely and noticed that there are two of us, and decreed that a new joint penname would be a jolly good idea too. So here it is –  a new book and a new name – inspired by an absolute classic of an old story:

The Heights

Two hundred years since Emily Brontë’s birth comes The Heights: a modern re-telling of Wuthering Heights set in 1980s Yorkshire.

The searchers took several hours to find the body, even though they knew roughly where to look. The whole hillside had collapsed, and there was water running off the moors and over the slick black rubble. The boy, they knew, was beyond their help.
This was a recovery, not a rescue.

A grim discovery brings DCI Lockwood to Gimmerton’s Heights Estate – a bleak patch of Yorkshire he thought he’d left behind for good. There, he must do the unthinkable, and ask questions about the notorious Earnshaw family.

Decades may have passed since Maggie closed the pits and the Earnshaws ran riot – but old wounds remain raw. And, against his better judgement, DCI Lockwood is soon drawn into a story.

A story of an untameable boy, terrible rage, and two families ripped apart. A story of passion, obsession, and dark acts of revenge. And of beautiful Cathy Earnshaw – who now lies buried under cold white marble in the shadow of the moors.

 

So that’s The Heights. You can buy it right here for your kindle. Also available from iTunes, kobo, and Google Play. I’m super excited for people to read this book. Wuthering Heights is a book that still inspires fierce debate – is Heathcliff a hero? Is Cathy a heroine? Is the story a romance? The Heights is our interpretation – our version of Heathcliff and Cathy, and I can’t wait to see people discussing how our idea matches up with their own.

*A new Wednesday to be specific.

** Telford. It was near Telford.

In which I reread an old classic

I’m currently rereading Emily Bronte’s masterpiece, Wuthering Heights. It’s probably the fourth or fifth time I’ve read the book – the first was when I was about 17, and the most recent was seven or eight years ago when I read it as part of my Creative Writing degree course. Having read it so many times and studied it at university I would have said, with confidence, that Wuthering Heights was a novel I knew pretty well, but here’s a newsflash from the current rereading: it’s absolutely nothing like I remember it. There are whole sections that I don’t remember at all, and some of the bits I thought I did remember are quite quite different from how I remembered them. This is odd, because it’s, obviously, still the same book. In fact, in this case, it’s physically, literally, actually the same book that I’ve read before, but the experience of reading it is completely different.

I think there are reasons for this, and I don’t think any of them are that aliens have come to earth and rewritten bits of Wuthering Heights, which is a shame, because that would have made an awesome blog post.

The non-alien related reasons are twofold:

1. I’ve changed

Well given that the book hasn’t changed, that leaves the reader as the only remaining variable, so if the thing I’m looking at isn’t different, but the experience of looking is, then that must be down to me. The things I’m picking up on during this reading are far more to do with the characters and far less to do with the brooding atmosphere and oppressive moor. This might be because I’ve moved on as a writer since I last read the book, and am currently fixated by character in terms of how I plot and revise my own writing. I’m noticing, for the first time, how complex, and essentially unpleasant, the minor characters are. Joseph, Nellie Dean, Mr Lockwood are all astonishingly self-involved in their own different ways.

I’m also noticing how dated the prose style is, and how slow the opening chapters are, which I don’t remember picking up on before. I’m actually quite impressed with my seventeen-year-old self for sticking with it. Again – that’s the writer in me coming through, and noticing deviations from the contemporary received wisdom about how to start and pace a novel.

It’s not the first time I’ve had a book change in front of me on rereading. I started Kazuo Ishiguro’s The Remains of the Day about eight times and couldn’t get past the first chapter, until one random day when I sat down and read about two-thirds of the book in one sitting. The book hadn’t changed, but something about my mood on that one given day married with the story and away we went together.

2. Some novels end up bigger than the novel itself

Wuthering Heights is the poster book for novels that exist in the public imagination in a completely different form from how the are on the page. Wuthering Heights has been adapted and retold in films, on TV, in musicals (thanks for that Cliff), and nearly all the retellings underplay the bleakness of the original novel. Somehow that perception of Wuthering Heights as a romantic story of star-crossed lovers on a windswept, but ultimately picturesque, moor, seeps into our consciousness, even if we’ve read the actual book and know it isn’t really like that. The idea of Heathcliff and Cathy as a slightly more consumptive Romeo and Juliet is stuck in our collective memories, even if none of us actually remember where it came from.

So there you go. Wuthering Heights – it’s not at all how you think you remember it. After this I shall be going to see Romeo and Juliet again with fingers crossed that I might have misremembered that ending. In the meantime, feel free to chat to me in the comments. What do you think of Wuthering Heights? Are there any books that have surprised you on rereading, or have turned out to be completely different from your expectations?

And finally, a quick reminder that my new Christmas Kisses novella, Cora’s Christmas Kiss, is out now for kindle.