000			03345cam a2200301 a 4500
001			029925
005			20231009192548.0
008			041108s20052001nyu b 001 0ceng
010			_a2002040620
020			_a9781400078356
050	0	0	_aPR4168 _b.M49 2003
082	0	0	_a92 BRO
100	1		_aMiller, Lucasta
245	1	4	_aThe Brontë myth _c/ Lucasta Miller
260			_aNew York _b: Anchor Books _c, 2005, c2001.
300			_axvi, 351 p. _c; 25 cm.
500			_a"Originally published in Great Britain in slightly different form by Jonathan Cape, London, UK, 2001"--T.p. verso.
504			_aIncludes bibliographical references (p. [329]-337) and index.
520			_aSince 1857, hardly a year has gone by without a book or play or monograph or film about the Brontës. Each generation has reimagined Charlotte, Emily, and Anne in ways that reflect changing visions of the role of the woman writer or of sexuality or of the very concept of personality. Charlotte Brontë has been seen as domestic saint, as sex-starved hysteric, as ambitious literary careerist. Her sister Emily has been furnished with apocryphal lovers of both sexes; has even been denied the authorship ofWuthering Heightsby conspiracy theorists who attribute it to her brother, Branwell. Now Lucasta Miller, inThe Brontë Myth,shows us how the Brontës became cultural symbols almost as soon as their novels were published; how they became notorious even before the veil dropped from their carefully chosen pseudonyms, as Charlotte'sJane Eyreand Emily's Wuthering Heights, appearing out of nowhere, instantly fascinated, inspired, and scandalized English readers. The subsequent discovery that Currer, Ellis, and Acton Bell were three youngish spinsters parson's daughters living rural lives of utmost propriety made interest in the sisters obsessive. Add a supposedly ferocious father and untimely death, to say nothing of the Victorian penchant for seeing noble sacrifice in every possible situation, and the production of legends multiplied. Lucasta Miller provides fascinating insight into the manufacture of cultural myth and how it can distort our memory of the artist even as it obscures the art. She traces the reinterpretations, indeed re-creations, of the Brontës, from Charlotte's own efforts to soften her dead sisters' reputations and Mrs. Gaskell's classic portrait of the artists as exemplary Christian ladies to the fashionably Freudian psychobiographies of the 1920s and '30s, from counterfeit memorabilia and the promotion of literary tourism to Hollywood representations of gloomy heroines on savage windswept moors. She rescues the Brontës from their admirers and attackers, giving us back three vivid women who, with little formal education, were writing in the days when few women dared to try: geniuses and sisters who, in the words of a household witness in the late 1850s, were as cheerful and full of spirits as possible.... full of fun and merriment. From the Trade Paperback edition.
600	3	0	_aBronte family
600	1	0	_aBronte, Charlotte, 1816-1855
600	1	0	_aBronte, Emily, 1818-1848
600	1	0	_aBronte, Anne, 1820-1849
650		4	_aNovelists, English _y-19th century _v--Biography
650		4	_aWomen novelists, English _y-19th century _v--Biography
651			_aHaworth (England) _v--Biography
942			_cMO
999			_c242314 _d242314