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Posted onJanuary 01, 2012 - 9:38 am by Admin | 0 Comments

The 'Gothic' is now considered to be an attempt to expose and explore the unconscious world of desires and fears that both society and the individual attempt to suppress. In short, Gothic writers are primarily interested in the breakdown of boundaries, in the exploration of what is forbidden, and in desires that should neither be spoken of nor acted upon. If one were to limit a definition to the above characteristics, however, it would be difficult to locate Emily Brontë’s Wuthering Heights (1847) firmly within the Gothic genre, as the majority of the conventional Gothic trappings have disappeared.

Background/Context: Wuthering Heights

Ever since its publication in 1847, Wuthering Heights has astounded and baffled readers. Emily Jane Brontë was born on 30 July 1818, the fifth child and fourth daughter of the Reverend Patrick Brontë, an Irish clergyman who held a succession of not very well-paid curacies in the North of England. Emily, along with her sisters Charlotte and Anne, all published their works under the guise of pseudonyms, in order to conceal their identities and perhaps even more importantly, their sex, for in the Nineteenth Century a double critical standard clearly operated: the power which stunned contemporary reviewers of Wuthering Heights if exercised by a male writer was one thing – permissible, even admired; in the hands of a woman, however, it could easily trespass the boundaries of good taste and become ‘coarse’.

That a decent, respectable woman could envisage such a tale, a tale characterised moreover by an astonishing amount of physical violence, was inconceivable to Emily Brontë’s readers. Therefore, does Emily Brontë’s Wuthering Heights, a novel one can now approach without sexual prejudice, perpetuate or challenge Gothic stereotypes of women?


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