Ratings103
Average rating3.8
From Longman's Cultural Editions series, Wuthering Heights, edited by Alison Booth, presents Emily Bronte's haunting, brilliant novel freshly edited, smartly annotated, and illuminated by various contexts.
Handsomely produced and affordably priced, the Longman Cultural Editions series presents classic works in provocative and illuminating contexts-cultural, critical, and literary. Each Cultural Edition consists of the complete text of an important literary work, reliably edited, headed by an inviting introduction, and supplemented by helpful annotations; a table of dates to track its composition, publication, and public reception in relation to biographical, cultural and historical events; and a guide for further inquiry and study.
The following Longman Cultural Editions are available now: Beowulf; Emma; Persuasion; Hamlet, 2/e; Othello and the Tragedy of Mariam; Pride and Prejudice; Frankenstein, 2/e; Hard Times; Northanger Abbey; King Lear; The Merchant of Venice; Heart of Darkness, The Man Who Would Be King, and Other Works on Empire; John Keats; Antony and Cleopatra; The Castle of Otranto and the Man of Feeling; The Picture of Dorian Gray; A Vindication of the Rights of Woman and the Wrongs of Woman, or Maria; and Henry IV, Parts I & II.
New titles include Dorothy Wordsworth and Jekyll and Hyde, The Secret Sharer, and Transformation: Three Tales of Doubles.
One Longman Cultural Edition can be packaged at no additional cost with The Longman Anthology of British Literature by Damrosch, Dettmar, et al. and Masters of British Literature, or at a discount with any other Longman textbook.
Features
The text is enriched by poems, diaries, and memoirs, from Brontë to Virginia Woolf.
This illustrated edition is unique in locating Wuthering Heights in its region as well as period, while it follows every phase of the Brontë renown, from tourism to adaptations, from early reviews to recent critical trends.
Alison's Booth's extraordinary edition will fascinate students of the Brontës, the novel, female literature, the gothic, and the fraught conflicts of Victorian literary imagination.
Reviews with the most likes.
Overall this book is amazing. It is written with a looming sense of suspense that makes it in many ways a thriller. the characters are written in a fully realized way that makes you wonder at there bruteness and sever honesty.They are overindulgent and at times insane, but their actions keep you on their side. The passion of Catherine and Heathcliff makes their relationship impossible to fulfill in life. But the satisfaction of the story comes from their future generations. The story is all in the characters. It truly captures the culture of the time.
I felt extremely satisfied with the story, and the writing is immaculate, therefore I give this book 5 stars.
I read this on the tail end of my Twilight phase and boy did it hammer the last nail into the coffin. I was like it's Bella's favourite book, I know I'll love it. Oh honey no. I love classics but damn I struggled through this one.
Just another boring story. The prose felt too old for me. The typical stereotypes revolving a unjustly mistreated child that grows up to be a mean old man holds no sway for my appreciation. This kind of unreasonable treatment of people without any consequence, just as a character building tool, is too annoying, specially when it is so long.
Read 1:58/12:19 16%
Listening to this as an audiobook was a VERY BAD IDEA. The orator doing the different voices for Heathcliff and Linton and UGH Joseph was just insufferable. Also it was like 12 hours long. I won't lie, by the end I picked it up to 1.75x speed and had to read some SparkNotes for the parts where I got distracted.
I had just finished watching Bridgerton and thirsted for more early 19th century romance and scandal. Alas, Wuthering Heights is not quite that. It's far more gothic and disturbing. And the fact that most of the book is told second-hand through the housekeeper Nellie, while an interesting literary device that leads to an equally interesting conclusion when the narration transitions into real-time, left me feeling unsatisfied. Like, cmon, she really remembered all of those details years and years later, and had the stamina to repeat them? I guess storytelling was the form of entertainment back then, so flourish would be common; so the natural conclusion then is that little of this is to be believed. Unreliable narrator and whatnot.
Maybe I'll revisit this in print sometime later, but I think I prefer the other Brontë sister.