Emily Bronte's romantic masterpiece Wuthering Heights established the quintessentially dark, brooding antihero in the form of the character Heathcliffe when first published. Heavily influenced by the poet Lord Byron, the beautiful flow of her words is matched by Rick Geary's art in this comics adaptation. Fan favorite and award-winning artist and writer Rick Geary's work was seen in Papercutz' CLASSICS ILLUSTRATED #1 "Great Expectations."
Emily Bronte's romantic masterpiece Wuthering Heights established the quintessentially dark, brooding antihero in the form of the character Heathcliffe when first published. Heavily influenced by the poet Lord Byron, the beautiful flow of her words is matched by Rick Geary's art in this comics adaptation. Fan favorite and award-winning artist and writer Rick Geary's work was seen in Papercutz' CLASSICS ILLUSTRATED #1 "Great Expectations."
Wuthering Heights (Illustrated Graphic Novel)
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Wuthering Heights (Illustrated Graphic Novel)
56Hardcover(Anniversary)
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Overview
Emily Bronte's romantic masterpiece Wuthering Heights established the quintessentially dark, brooding antihero in the form of the character Heathcliffe when first published. Heavily influenced by the poet Lord Byron, the beautiful flow of her words is matched by Rick Geary's art in this comics adaptation. Fan favorite and award-winning artist and writer Rick Geary's work was seen in Papercutz' CLASSICS ILLUSTRATED #1 "Great Expectations."
Product Details
| ISBN-13: | 9781597072496 |
|---|---|
| Publisher: | Papercutz |
| Publication date: | 09/13/2011 |
| Series: | Classics Illustrated Graphic Novels Series , #14 |
| Edition description: | Anniversary |
| Pages: | 56 |
| Sales rank: | 339,416 |
| Product dimensions: | 6.70(w) x 9.00(h) x 0.40(d) |
| Age Range: | 8 - 14 Years |
About the Author
Rick Geary is one of the most celebrated and widely recognized artists working in comics today. He started his career at The National Lampoon where he drew for 13 years. His graphic novels include adaptations for CLASSICS ILLUSTRATED and the nine-volume series A TREASURY OF VICTORIAN MURDER for NBM Publishing. A new series A TREASURY OF 20th CENTURY MURDER began in 2008 with "The Lindbergh Child" and was followed by 2009's "The Famous Players" and 2010's "The Ax-Man of New Orleans," all of which were Junior Library Guild selections. The series has sold over 120,000 copies. He lives and works in Carrizozo, New Mexico.
Read an Excerpt
CHAPTER 1
1801--I have just returned from a visit to my landlord--the solitary neighbour that I shall be troubled with. This is certainly a beautiful country! In all England, I do not believe that I could have fixed on a situation so completely removed from the stir of society. A perfect misanthropist's Heaven: and Mr. Heathcliff and I are such a suitable pair to divide the desolation between us. A capital fellow! He little imagined how my heart warmed towards him when I beheld his black eyes withdraw so suspiciously under their brows, as I rode up, and when his fingers sheltered themselves, with a jealous resolution, still further in his waistcoat, as I announced my name.
'Mr. Heathcliff?' I said.
A nod was the answer.
'Mr. Lockwood, your new tenant, sir. I do myself the honour of calling as soon as possible after my arrival, to express the hope that I have not inconvenienced you by my perseverance in soliciting the occupation of Thrushcross Grange: I heard yesterday you had had some thoughts--'
'Thrushcross Grange is my own, sir,' he interrupted, wincing. 'I should not allow any one to inconvenience me, if I could hinder it--walk in!'
The 'walk in' was uttered with closed teeth, and expressed the sentiment, 'Go to the Deuce': even the gate over which he leant manifested no sympathizing movement to the words; and I think that circumstance determined me to accept the invitation: I felt interested in a man who seemed more exaggeratedly reserved than myself.
When he saw my horse's breast fairly pushing the barrier, he did pull out his hand to unchain it, and then suddenly preceded me up the causeway, calling, as we entered the court,--
'Joseph, take Mr. Lockwood's horse; and bring up some wine.'
'Here we have the whole establishment of domestics, I suppose,' was the reflection, suggested by this compound order. 'No wonder the grass grows up between the flags, and cattle are the only hedge-cutters.'
Joseph was an elderly, nay, an old man: very old, perhaps, though hale and sinewy.
'The Lord help us!' he soliloquised in an undertone of peevish displeasure, while relieving me of my horse: looking, meantime, in my face so sourly that I charitably conjectured he must have need of divine aid to digest his dinner, and his pious ejaculation had no reference to my unexpected advent.
Wuthering Heights is the name of Mr. Heathcliff's dwelling. 'Wuthering' being a significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather. Pure, bracing ventilation they must have up there at all times, indeed: one may guess the power of the north wind blowing over the edge, by the excessive slant of a few stunted firs at the end of the house; and by a range of gaunt thorns all stretching their limbs one way, as if craving alms of the sun. Happily, the architect had foresight to build it strong: the narrow windows are deeply set in the wall, and the corners defended with large jutting stones.
Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and especially about the principal door; above which, among a wilderness of crumbling griffins and shameless little boys, I detected the date '1500,' and the name 'Hareton Earnshaw.' I would have made a few comments, and requested a short history of the place from the surly owner; but his attitude at the door appeared to demand my speedy entrance, or complete departure, and I had no desire to aggravate his impatience previous to inspecting the penetralium.
One step brought us into the family sitting-room, without any introductory lobby or passage: they call it here 'the house' pre-eminently. It includes kitchen and parlour, generally; but I believe at Wuthering Heights the kitchen is forced to retreat altogether into another quarter: at least I distinguished a chatter of tongues, and a clatter of culinary utensils, deep within; and I observed no signs of roasting, boiling, or baking, about the huge fire-place; nor any glitter of copper saucepans and tin cullenders on the walls. One end, indeed, reflected splendidly both light and heat from ranks of immense pewter dishes, interspersed with silver jugs and tankards, towering row after row, on a vast oak dresser, to the very roof. The latter had never been underdrawn: its entire anatomy lay bare to an inquiring eye, except where a frame of wood laden with oatcakes and clusters of legs of beef, mutton, and ham, concealed it. Above the chimney were sundry villanous old guns, and a couple of horse-pistols: and, by way of ornament, three gaudily painted canisters disposed along its ledge. The floor was of smooth, white stone; the chairs, high-backed, primitive structures, painted green: one or two heavy black ones lurking in the shade. In an arch under the dresser, reposed a huge, liver-coloured bitch pointer, surrounded by a swarm of squealing puppies; and other dogs haunted other recesses.
The apartment and furniture would have been nothing extraordinary as belonging to a homely, northern farmer, with a stubborn countenance, and stalwart limbs set out to advantage in knee-breeches and gaiters. Such an individual seated in his armchair, his mug of ale frothing on the round table before him, is to be seen in any circuit of five or six miles among these hills, if you go at the right time after dinner. But Mr. Heathcliff forms a singular contrast to his abode and style of living. He is a dark-skinned gipsy in aspect, in dress and manners a gentleman: that is, as much a gentleman as many a country squire: rather slovenly, perhaps, yet not looking amiss with his negligence, because he has an erect and handsome figure; and rather morose. Possibly, some people might suspect him of a degree of underbred pride; I have a sympathetic chord within that tells me it is nothing of the sort: I know by instinct, his reserve springs from an aversion to showy displays of feeling--to manifestations of mutual kindliness. He'll love and hate equally under cover, and esteem it a species of impertinence to be loved or hated again. No. I'm running on too fast: I bestow my own attributes over liberally on him. Mr. Heathcliff may have entirely dissimilar reasons for keeping his hand out of the way when he meets a would-be acquaintance, to those which actuate me. Let me hope my constitution is almost peculiar: my dear mother used to say I should never have a comfortable home; and only last summer I proved myself perfectly unworthy of one.
While enjoying a month of fine weather at the seacoast, I was thrown into the company of a most fascinating creature: a real goddess in my eyes, as long as she took no notice of me. I 'never told my love' vocally; still, if looks have language, the merest idiot might have guessed I was over head and ears: she understood me at last, and looked a return--the sweetest of all imaginable looks. And what did I do? I confess it with shame--shrunk icily into myself, like a snail; at every glance retired colder and farther; till finally the poor innocent was led to doubt her own senses, and, overwhelmed with confusion at her supposed mistake, persuaded her mamma to decamp.
By this curious turn of disposition I have gained the reputation of deliberate heartlessness; how undeserved, I alone can appreciate.
I took a seat at the end of the hearthstone opposite that towards which my landlord advanced, and filled up an interval of silence by attempting to caress the canine mother, who had left her nursery, and was sneaking wolfishly to the back of my legs, her lip curled up, and her white teeth watering for a snatch.
My caress provoked a long, guttural gnarl.
'You'd better let the dog alone,' growled Mr. Heathcliff in unison, checking fiercer demonstrations with a punch of his foot. 'She's not accustomed to be spoiled--not kept for a pet.'
Then, striding to a side door, he shouted again--'Joseph!'--
Joseph mumbled indistinctly in the depths of the cellar, but gave no intimation of ascending; so his master dived down to him, leaving me vis-a-vis the ruffianly bitch and a pair of grim shaggy sheep-dogs, who shared with her a jealous guardianship over all my movements.
Not anxious to come in contact with their fangs, I sat still; but, imagining they would scarcely understand tacit insults, I unfortunately indulged in winking and making faces at the trio, and some turn of my physiognomy so irritated madam, that she suddenly broke into a fury, and leapt on my knees. I flung her back, and hastened to interpose the table between us. This proceeding roused the whole hive. Half-a-dozen four-footed fiends, of various sizes and ages, issued from hidden dens to the common centre. I felt my heels and coat-laps peculiar subjects of assault; and, parrying off the larger combatants as effectually as I could with the poker, I was constrained to demand, aloud, assistance from some of the household in re-establishing peace.
Mr. Heathcliff and his man climbed the cellar steps with vexatious phlegm: I don't think they moved one second faster than usual, though the hearth was an absolute tempest of worrying and yelping.
Happily, an inhabitant of the kitchen made more dispatch: a lusty dame, with tucked-up gown, bare arms, and fire-flushed cheeks, rushed into the midst of us flourishing a frying-pan: and used that weapon, and her tongue, to such purpose, that the storm subsided magically, and she only remained, heaving like a sea after a high wind, when her master entered on the scene.
'What the devil is the matter?' he asked, eyeing me in a manner I could ill endure after this inhospitable treatment.
'What the devil, indeed!' I muttered. 'The herd of possessed swine could have had no worse spirits in them than those animals of yours, sir. You might as well leave a stranger with a brood of tigers!'
'They won't meddle with persons who touch nothing,' he remarked, putting the bottle before me, and restoring the displaced table. 'The dogs do right to be vigilant. Take a glass of wine?'
'No, thank you.'
'Not bitten, are you?'
'If I had been, I would have set my signet on the biter.'
Heathcliff's countenance relaxed into a grin.
'Come, come,' he said, 'you are flurried, Mr. Lockwood. Here, take a little wine. Guests are so exceedingly rare in this house that I and my dogs, I am willing to own, hardly know how to receive them. Your health, sir!'
I bowed and returned the pledge; beginning to perceive that it would be foolish to sit sulking for the misbehaviour of a pack of curs: besides, I felt loath to yield the fellow further amusement at my expense; since his humour took that turn.
He--probably swayed by prudential considerations of the folly of offending a good tenant--relaxed a little in the laconic style of chipping off1 his pronouns and auxiliary verbs, and introduced what he supposed would be a subject of interest to me,--a discourse on the advantages and disadvantages of my present place of retirement.
I found him very intelligent on the topics we touched; and before I went home, I was encouraged so far as to volunteer another visit to-morrow.
He evidently wished no repetition of my intrusion. I shall go, notwithstanding. It is astonishing how sociable I feel myself compared with him.
CHAPTER 2
Yesterday afternoon set in misty and cold. I had half a mind to spend it by my study fire, instead of wading through heath and mud to Wuthering Heights.
On coming up from dinner, however, (N.B.--I dine between twelve and one o'clock; the housekeeper, a matronly lady, taken as a fixture along with the house, could not, or would not, comprehend my request that I might be served at five.) On mounting the stairs with this lazy intention, and stepping into the room, I saw a servant-girl on her knees, surrounded by brushes, and coal-scuttles; and raising an infernal dust as she extinguished the flames with heaps of cinders. This spectacle drove me back immediately; I took my hat, and, after a four miles' walk, arrived at Heathcliff's garden gate just in time to escape the first feathery flakes of a snow-shower.
On that bleak hill-top the earth was hard with a black frost, and the air made me shiver through every limb. Being unable to remove the chain, I jumped over, and, running up the flagged cause-way bordered with straggling gooseberry bushes, knocked vainly for admittance, till my knuckles tingled, and the dogs howled.
'Wretched inmates!' I ejaculated, mentally, 'you deserve perpetual isolation from your species for your churlish inhospitality. At least, I would not keep my doors barred in the day-time. I don't care--I will get in!'
So resolved, I grasped the latch and shook it vehemently. Vinegar-faced Joseph projected his head from a round window of the barn.
'Whet are ye for?' he shouted. 'T' maister's dahn i' t' fowld. Goa rahnd by th' end ut' laith, if yah went tuh spake tull him.'2
'Is there nobody inside to open the door?' I hallooed, responsively.
'They's nobbut t' missis; and shoo'll nut oppen 't an ye mak yer flaysome dins till neeght.'3
'Why? cannot you tell her who I am, eh, Joseph?'
'Nor-ne me! Aw'll hae noa hend wi't,' muttered the head, vanishing.4
The snow had began to drive thickly. I seized the handle to essay another trial; when a young man without coat, and shouldering a pitchfork, appeared in the yard behind. He hailed me to follow him, and, after marching through a wash-house, and a paved area containing a coal-shed, pump, and pigeon-cote, we at length arrived in the huge, warm, cheerful apartment, where I was formerly received.
It glowed delightfully in the radiance of an immense fire, compounded of coal, peat, and wood; and near the table, laid for a plentiful evening meal, I was pleased to observe the 'missis,' an individual whose existence I had never previously suspected.
I bowed and waited, thinking she would bid me take a seat. She looked at me, leaning back in her chair, and remained motionless and mute.
'Rough weather!' I remarked. 'I'm afraid, Mrs. Heathcliff, the door5 must bear the consequence of your servants' leisure attendance: I had hard work to make them hear me!'
She never opened her mouth. I stared--she stared also. At any rate, she kept her eyes on me in a cool, regardless manner, exceedingly embarrassing and disagreeable.
'Sit down,' said the young man, gruffly. 'He'll be in soon.'
I obeyed; and hemmed, and called the villain Juno, who deigned, at this second interview, to move the extreme tip of her tail, in token of owning my acquaintance.
'A beautiful animal!' I commenced again. 'Do you intend parting with the little ones, madam?'
'They are not mine,' said the amiable hostess, more repellingly than Heathcliff himself could have replied.
From the Paperback edition.
Table of Contents
List of Illustrations viiiAbout Longman Cultural Editions ix
About This Edition xi
Introduction xv
Table of Dates: The Life of Emily Bronte xxvi
The Chronology of Wuthering Heights xxx
Wuthering Heights 1
Volume 1 3
Volume 2 141
Contexts 299
Biographical 303
Biographical Sketch 303
Emily Bronte in Elizabeth Gaskell's The Life of Charlotte Bronte (1857) 308
Writings Emily Bronte 313
from "Diary Papers" (1834-1845) 313
"The Cat" (translation) (1842) 319
Charlotte Bronte's Selection of Poems by Ellis Bell (1850) 320
Charlotte Bronte on Ellis Bell 329
from "Biographical Notice of Ellis and Acton Bell" (1850) 330
from "Editor's Preface" (1850) 335
Historical, Social, and Legal 339
Heathcliff and the Unsettled Classes 339
Nomads of City and Country 341
Henry Mayhew, from London Labour and the London Poor (1861) 341
Self-Made Men and Luddites 343
Samuel Smiles, from Self-Help (1859) 343
Women's Rights and Roles 348
Ellis Bell and Sarah Stickney Ellis 348
Sarah Stickney Ellis, from The Women of England, Their Social Duties and Domestic Habits (1839) 349
Harriet Martineau, from "On Female Education" (1823) 352
Wills, Women, and Property 355
Barbara Leigh Smith Bodichon, from A Brief Summary, in Plain Language, of the Most Important Laws Concerning Women (1854) 355
A Tale of Two Houses: Interiors and Servants 357
Interiors 358
John Ruskin, from "The Nature of Gothic," The Stones of Venice (1851-1853) 359
Domestic Servants 361
Isabella Beeton, from The Book of Household Management (1861) 362
Regional and Popular 366
Where Are the Brontes From? 366
Ireland, Heathcliff, and the Brontes 367
William Wright, from The Brontes in Ireland (1893) 368
Yorkshire: Regionalism, Dialect, and Ballads 374
Regionalism 374
Elizabeth Gaskell, from The Life of Charlotte Bronte (1857) 375
Dialect 377
Richard Blakeborough, from Wit, Character, Folklore and Customs of the North Riding of Yorkshire (1898) 377
Ballads 380
Anonymous, "The Ghaist's Warning" (1812) 382
Pilgrims to Haworth 387
Matthew Arnold, from "Haworth Churchyard, April 1855" (1877) 387
Claude Meeker, from "Haworth; Home of the Brontes" (1895) 390
Virginia Woolf, from "Haworth, November 1904" (1904) 393
Shifting Literary Honors and the Beaten Track 395
Critical and Artful 398
Reviews of Wuthering Heights, 1848-1851 399
from Douglas Jerrold's Weekly Newspaper (January 1848) 399
from Atlas (January 1848) 400
G. W. P[eck], from "Wuthering Heights," The American Review (June 1848) 401
[E. P. Whipple], from "Novels of the Season," North American Review (October 1848) 403
[George Henry Lewes], from The Leader (December 1850) 404
[Sydney Dobell], from Eclectic Review (February 1851) 405
Early Criticism 406
Algernon Charles Swinburne, from "Emily Bronte" (1883) 406
Angus M. MacKay, from The Brontes: Fact and Fiction (1897) 407
Mary A. Ward [Mrs. Humphry Ward], from "Introduction," Wuthering Heights, Haworth Edition (1900) 409
May Sinclair, from The Three Brontes (1912) 410
Virginia Woolf, from "Jane Eyre and Wuthering Heights" (1916) 412
Sites and Resources on the Brontes 413
Exhibits 413
Selected Web sites 415
Adaptations and Translations 415
Performances 415
Film/Television Adaptations 417
Some Translations 418
Some Sequels, Pendants, and Biographical Fiction 422
Further Reading 425
General Resources and Biographical Studies 425
Popular Reception and Travels to Bronte Country 430
Selected Criticism Since 1995 430
What People are Saying About This
Wuthering Heights was hewn in a wild workshop, with simple tools, out of homely materials... And there it stands colossal, dark, and frowning, half statue, half rock; in the former sense, terrible and goblin-like; in the latter, almost beautiful, for its colouring is of mellow grey, and moorland moss clothes it; and heath, with its blooming bells and balmy fragrance, grows faithfully close to the giant's foot.
Reading Group Guide
1. To what extent do you think the setting of the novel contributes to, or informs, what takes place? Do you think the moors are a character in their own right? How do you interpret Bronte's view of nature and the landscape?
2. Discuss Emily Bronte's careful attention to a rigid timeline and the role of the novel as a sober historical document. How is this significant, particularly in light of the turbulent action within? What other contrasts within the novel strike you, and why? How are these contrasts important, and how do they play out in the novel?
3. Do you think the novel is a tale of redemption, despair, or both? Discuss the novel's meaning to you. Do you think the novel's moral content dictates one choice over the other?
4. Do you think Bronte succeeds in creating three-dimensional figures in
Heathcliff and Cathy, particularly given their larger-than-life metaphysical passion? Why or why not?
5. Discuss Bronte's use of twos: Wuthering Heights and Thrushcross Grange; two families, each with two children; two couples (Catherine and Edgar, and Heathcliff and Isabella); two narrators; the doubling-up of names. What is Bronte's intention here? Discuss.
6. How do Mr. Lockwood and Nelly Dean influence the story as narrators? Do you think they are completely reliable observers? What does Bronte want us to believe?
7. Discuss the role of women in Wuthering Heights. Is their depiction typical of Bronte's time, or not? Do you think Bronte's characterizations of women mark her as a pioneer ahead of her time or not?
8. Who or what does Heathcliff represent in the novel? Is he a force of evil or a victim of it?How important is the role of class in the novel, particularly as it relates to Heathcliff and his life?
Foreword
1. To what extent do you think the setting of the novel contributes to, or informs, what takes place? Do you think the moors are a character in their own right? How do you interpret Bronte's view of nature and the landscape?
2. Discuss Emily Bronte's careful attention to a rigid timeline and the role of the novel as a sober historical document. How is this significant, particularly in light of the turbulent action within? What other contrasts within the novel strike you, and why? How are these contrasts important, and how do they play out in the novel?
3. Do you think the novel is a tale of redemption, despair, or both? Discuss the novel's meaning to you. Do you think the novel's moral content dictates one choice over the other?
4. Do you think Bronte succeeds in creating three-dimensional figures in
Heathcliff and Cathy, particularly given their larger-than-life metaphysical passion? Why or why not?
5. Discuss Bronte's use of twos: Wuthering Heights and Thrushcross Grange; two families, each with two children; two couples (Catherine and Edgar, and Heathcliff and Isabella); two narrators; the doubling-up of names. What is Bronte's intention here? Discuss.
6. How do Mr. Lockwood and Nelly Dean influence the story as narrators? Do you think they are completely reliable observers? What does Bronte want us to believe?
7. Discuss the role of women in Wuthering Heights. Is their depiction typical of Bronte's time, or not? Do you think Bronte's characterizations of women mark her as a pioneer ahead of her time or not?
8. Who or what does Heathcliff represent in the novel? Is he a force of evil or a victimof it? How important is the role of class in the novel, particularly as it relates to Heathcliff and his life?