Oxford University Press's
Academic Insights for the Thinking World
Only one birthday is “celebrated” in Wuthering Heights. It doesn’t go well. The young Catherine Linton begins her 16th birthday with a modestly optimistic plan to buck the established family pattern of solitary mourning to mark the date when she came into the world (“a puny, seven months child”), but her mother died two hours later.
One of the more affordable forms in which it is possible to acquire the manuscript signatures of Victorian writers today is the used cheque. Quantities of these minor, sometimes biographically revealing, documents left the archives of banks and went onto the open market in the 1990s; they now circulate through the catalogues of manuscript dealers and in the online pages of eBay, some of them leaving traceable e-narratives of their patterns of ownership.
Catherine’s removal from the plot (other than as a haunting presence in the background, much less potent hereafter than the waif-like child ghost whose wrist Lockwood rubs back and forth across the broken window glass till the blood runs freely (p. 21)) has seemed to some readers to weaken the second half of the novel. One modern critic has suggested, indeed, that the whole of the second-generation narrative was an afterthought.
Last week we announced the launch of the Oxford World’s Classics Reading Group, and the first book, Wuthering Heights by Emily Brontë. Helen Small, editor of the Oxford World’s Classics edition of the book, has put together some helpful discussion questions that will help you gain a deeper understanding of the text as you read it and when you finish it.