#scottish feminist

[misty1111]

Fuck J.K. Rowling.

True and based.

[aisling-on-art]

Frankie Raffles: Photography, Activism, Campaign Works

Baltic Centre for Contemporary Art – Ends 16 March 2025 – Free Franki Raffles Exhibition at Baltic – Picture: Photo By Amey A short history of Franki Raffles and her life in retrospective Franki Raffles (1955-1994) contributed a lot to both the field of photography and to female art during her relatively short lifetime; she passed away during childbirth aged just 39.  Her career emerged in the…

[slowlightmusic]

5 years since our last single, we present to you a 3 minute pop banger, That's Pretty Good (For a Girl). Available to stream now on all platforms and to purchase (or download for free) via bandcamp.

Released on June 19th through GoldMold.

More to come soon! http://linktr.ee/slowlight

[lilianeruyters]

Kate Foster || The Maiden

Women’s Prize for Fiction Longlist 2024 Spoiler alert! On the internet The Maiden is lauded as a daring, feminist, debut novel. After having read it, I am not quite sure why it would deserve the epitaphs daring and feminist. To be honest, I felt the novel lacked the quality I would have prescribed to the Women’s Prize for Fiction Longlist. Let me try and explain why I am that harsh on Foster…

[cut-my-tongue]

Being a radical feminist but also a Scottish teenager who takes Higher History is horrible because WHAT DO YOU MEAN EVERY WRETCHED TEENAGE BOY IN MY CLASS IS CALLING MARY QUEEN OF SCOTS THE TOWN TART AND A WHORE FOR GETTING POLITCALLY MARRIED 3 TIMES?????? BUT YOU'RE CALLING HENRY VIII THE RIZZLER?????? I FUCKING HATE THIS STUPID COUNTRY

[femvaylin]

Speaking of Phyllis James. She was forced out of school at age 16 by her father to care for her younger siblings, because her mother had suffered a mental break and was institutionalised. She married at 21 in 1941, had two children, after which her husband went to fight in WW2. He came back with unspecified mental illness, and was institutionalised sporadically during the years until his death in 1964, during which time Phyllis felt unsafe coming home, because her husband would discharge himself randomly, and she was scared of what she'd come home to. After the death of her husband, freed from fear, she went on to become one of the greatest crime novelists of all time, becoming a baroness at age 71, having published her first book at age 42, and final at age NINETY-FUCKING-ONE. She wrote all her books under her maiden name.

This is what women can do when they're free from men. It's never too late to free yourself and do what you've always dreamt of doing.

What a queen.

[marimoes]

Margaret Skinnider (1892 -1971) pictured in the centre.

She was a Scottish-Irish teacher, Irish Revolutionary, member of Cumann na mBan, Easter Rising veteran, sniper, Irish Civil War veteran, trade unionist, feminist, and lesbian. Her partner was Nora O'Keefe, a fellow revolutionary, feminist and trade unionist.

[antifainternational]

Kirkcaldy reportback!

On Saturday the 18th of May 2024 a group of antifascist members of the community disrupted an event organised by Women Won't Wheesht in Kirkcaldy.

These people were workers, locals and members of the public. They were transgender, cisgender, gay and straight. They were unaffiliated with any organisation, group or political party. Their actions were their own and were organised on their own initiative. They acted to protect their community from an intolerant group who aim to plant a seed of cruelty, a seed of hate that would grow and overshadow everything around it, which would poison the earth and kill off wildflower and bramble and thistle alike.

"A community is made up of many different types of people," one member of the group said, "and what makes a community strong is celebrating the diversity of its members and standing in solidarity with those who need it most. Trans people are one of the most marginalised groups of people in society, and yet groups like Women Won't Wheesht seek to sow division in our local communities by painting trans people as a danger. Trans people are part of the fabric of our communities and groups like Women Won't Wheesht have no place in inclusive and safe communities. We all need to stand up against hate speech and protect our neighbours and friends."

Women Won't Wheesht is a hate group which peddles anti-transgender bigotry. Their events, veiled under vague 'concerns about women' have historically been attended by anti-abortion anti-feminist groups such as the Scottish Family Party, homophobes such as the Destiny Church, and members of the fascist Scottish Defence League. Their members also attended rallies organised by the neo-nazi Kelly Jay Keen.

Women Won't Wheesht's rhetoric calls for the elimination of drag queens, transgender and nonbinary people from public life. It is the same rhetoric which was used to murder members of the gay community during the AIDS epidemic. It advocates both social murder (murder by inaction from the state) and violence against transgender people. To achieve this, they bully and harass transgender people in society and online. They publicly share people's addresses and names. They accuse all transgender people of being sexual predators, thereby toxifying and dehumanising them so they are seen as less-than-human. They lobby politicians to spread their hate and appear legitimate.

The anti-transgender reactionary movement in the UK has been called explicitly genocidal by the Lemkin Institute for Genocide Prevention.

We, as proud members of our community, denounce all genocides and any who participate in them. We stand for a world where everyone has the right to speak their mind, where everyone has the right to be who they are. We stand for a world where gay, straight, brown, white, man, woman, and everything in between can live and love together. We cannot stand by and allow Women Won't Wheesht platform to spread hate and cruelty. We are fighting for a kinder, more caring world.

If the members of Women Won't Wheesht reach out to their local queer community, if they choose to talk, and listen, and learn, if they come with humility and gentleness, they will be greeted and welcomed with kindness and respect. We understand that many of those who come to join these movements have done so under a deception. They have been told that their alienation is not due to the United Kingdom's misogynist society and the social murder and violence of neoliberal capitalism, but due to transgender people existing. Many of us have been caught and deceived by such lies too. We have learned, and we have grown.

But if Women Won't Wheesht continue their campaign of violence, they will meet resistance. Their platform will be taken away, because it is by the grace of the people of Scotland that they have it in the first place, and the people of Scotland will not allow genocide of any kind.

At the action on Saturday, members of the public were overwhelmingly in support of transgender liberation.

One organiser said "People of all ages stopped to speak to the outreach team and expressed disgust at the transphobia from the Women Won't Wheesht incomers." Over one hundred trans flags were distributed to supportive people of Kirkaldy.

SOLIDARITY. LOVE AND KINDNESS.

ANTI-FASCISTS OF SCOTLAND.

[genderqueerpond]

You know, I think Clara knew about Amy.

Not at first, of course, but Clara grew up with her --- that is, grew up reading Amelia Williams books. And they were precious to her, books she's read many times over the course of her childhood -- how else does she know exactly which chapter holds what in the book she gave Artie? Perhaps she has always felt connected to her, this moderately obscure children's fantasy author, following in the footsteps of E Nesbit; this contemporary (and sometime friend (oh yes!) ) of Edward Eager's; although not nearly as widely known as either of these. Perhaps because of her choice to publish openly under a "woman's name", thus, in the time in which she lived, relegating her books to the inferior realm of "girls' books", despite the more than equal balance of male viewpoint characters.

But Amelia Williams is different from these authors too -- often fantasy, but sometimes more like early science fiction, a barely- recognized pioneer in both genres. Her views were feminist and daring. In so many ways she was ahead of her time, and the innovations she imagined! almost as if she knew what the future would hold.

And if Clara knows and loves her books so well, she can hardly fail to recognize the most frequently repeated character archetype in them. especially after she rereads a few on a subconscious hunch, during that summer after the Maitlands found a permanent nanny and she insisted that before anything else, she go off and fulfill her original travel plans from 101 Places To See. (The Doctor purported to leave her alone to forge her own way with this, but was in actuality very bad at that, and kept popping up nearly every place she went.) She's Clara, she's clever, how can she fail to look up from her book and notice that the person who's just appeared out of nowhere to stand in front of her with a plate of jammie dodgers and a goofy smile has stepped directly out of the pages?

And then of course, there are the dedications. Sure, there's normal stuff like "to my daughter", "to my loving and patient husband", and "to my parents, who are children now" which is rather weird and whimsical, but fits in with the fantasy author's signature style of dream-like imagination.

But the majority of Amelia Williams' dedication pages say things like "to You", "to My Doctor", "to My Raggedy Doctor" "to my raggedy man" (weird but clearly connected to the other variants), and, cryptically, over and over again: "to you", "to you", "to you", "to you (wherever in time and space you are)".

There's "to my imaginary friend" and "to my imaginary friend, and to all children who have an imaginary friend" and "to my imaginary friend, and every child in the universe who's ever met him, or ever will". Nerds and English teachers have occasionally debated what, if anything, she meant by all this, and now Clara thinks she knows, but she can never say....

And then there are the nights that the Doctor wakes up crying out for "Amy!" and then refuses to talk about it when Clara asks, refuses to acknowledge ever even knowing an Amy, "well everyone shouts random things when they're asleep, it doesn't mean anything" and "I don't remember." if pressed for details about his dreaming. And later he might go off somewhere and cry quietly, reading a book he never lets Clara see.

And then he regenerates, and calls out for "Amelia!", "the first face this face saw."

There's newborn twelve, with his Scottish accent, letting her name slip. It's the first - and only - time he's spoken of her while awake and not actively dying. And Clara is too busy with the immediate threat to their lives to think about it in the moment, but at this point she at the very least has a hunch about the connection between him and the Scottish-American author with the rather opaque background --- that as far as anyone can trace it (although to be fair, no one really cares enough to try very hard) she and her husband just kind of appeared out of nowhere in pre-WWII New York. It seems kind of obvious, now, that the doctor would have had a hand in that.

And now with all the books everywhere, the library gradually migrating into the console room, what else is obvious is that he owns every single one of her books. multiple copies, first editions, last editions, signed copies, mass paperbacks, everything. There's a TARDIS key hidden in a well-worn, well-loved, tear streaked copy of The Cuckoo And The Doll's House, which Clara finds when she's cataloging all the locations of TARDIS keys, just in case she should ever need that information one day.

This all is enough for Clara to know. There doesn't really need to be any more proof, but there is. What totally and fully clinches it are the pictures. Tucked in the pages of another tearstained book (The Beast Below this time), are photographs of Amelia, looking just as she does in her black and white author photos, but younger, and in 21st century clothes. Elsewhere, later, she finds photo booth polaroids of a still younger Amelia, goofing off and smiling. Some of them feature another young man Clara doesn't recognize, and some of them feature the Doctor. He's wearing a tweed jacket instead of his purple wool, and no vest, but otherwise he is exactly the same as the Doctor she first met. The three of them hang off each other like old friends, like family.

idk how to end this.

[stoutguts]

headcanon rambling/my personal hc for Johnny's backstory bc I think it'd be interesting also I like the idea of Ghoap where the both of them had a shitty childhood bc of an abusive parent and the both of of them hv trauma/I love angst 💕

CW: drug add\ction, s*lf-h*rm/s*icide, parental/child abvse

Soap was born into a big family in the Scottish countryside, being the youngest with 6 older sisters. His father was a deadbeat, and walked out on him at a young age, being effectively raised by his mom and big sisters. Having strong female influences on his life benefited him greatly in the long run, he grew up to be a very well-adjusted, kind, and respectful man (particularly towards women, as he is a staunch feminist (you go Johnny).

However, on the other hand the only true parental figure in his life, his mother, was a horrible person. She was mentally and emotionally abusive, as well as unstable. She would even get physical with her children at times, including Soap. Johnny was also raised Roman Catholic, though today he considers himself agnostic or a flat out atheist. His mother was incredibly homophobic and transphobic and would use religion to justify her bigotry towards him, leading Soap to hating himself and struggling with self-harm and suicidal ideation for years. Particularly, by cutting himself (he has s/h scars all over his thighs, arms, and shoulders). Has attempted at least 10+ times in the past. Not to mention, he did a lot of hard drugs during his middle and high school years to cope with his mother's abuse. (Particularly coke and heroin). He's come incredibly close to ODing on a few occasions. An addict and a total mess, until his sisters intervened and forced him against his will into rehab.

After 2 or so years he was clean and eligible for the military.

He still relapses from time to time (whether it's self-harm or drugs), and when he does its bad. He even still regularly smokes weed to this day, though it's not nearly as bad as some other substances. It's a wonder he hasn't been discharged, (because he doesn’t try to hide it too much), but probably because he's too much of an asset.

Ghost is the one to bring him out of his slumps now. Not minding one bit, as all Simon cares about is Johnny's safety and well-being.

Needless to say, he could never see religion in the same light after that. He’s even quite apprehensive and wary of people whom are religious and religion in general.

He and his mother were never close and soon would never get along with each other, as he’s proud and not the type to even tolerate shit from anyone. It was an almost daily occurrence that he and his mom would fight, particularly when he finally reached his pre-teen/teen years, sometimes evolving into full-blown screaming matches.

Being the protective type of person that he is, most of the time he’d get into fights because of his sisters coming to him about how mom had hit them or made them cry (despite the fact he feels nothing but pure hatred for his mum, he has a very deep bond/connection to each and everyone of his sisters and loves them all dearly).

That was what pissed him off more than anything.

His mom could do whatever she wanted with him, frankly he stopped caring and her cutting words no longer held any weight or meaning to him at some point, and being hit was soon the equivalent to getting bit by a mosquito, he became numb. He didn't know when he stopped feeling, but he did. (He of course wasn't entirely immune, she'd eventually break him). But he was determined to stay strong for his siblings.

Bringing harm upon his sisters? No way in hell that was ever gonna fly, and he didn't care if she was his mother or not.

Johnny naturally grew to resent his mother, and to this day he still calls her a “witch” or a "cunt" instead of his mum. Eventually he’d had enough and couldn’t take his mother’s abuse any longer, (she is half of the reason he went into the military as soon as he possibly could, besides it being a lifelong and childhood dream of his).

He kept in touch with his sisters (and still does), of course, calls them everyday or whenever he gets the chance to let them know he’s alive and well and to see how their doing. Visits when he can or when he’s off duty. Though he completely cut ties with his mother after joining the military,—a couple of his sisters would keep him posted on what was going on with her.

Later on, his mother went to go on to be diagnosed with terminal cancer, and passed shortly thereafter.

He attended the funeral up in Scotland, but mainly for his sisters’ sakes. He actually ended up staying in Scotland for a while after that to provide support for his sisters, (emotional or otherwise), and to try to ease the grieving process. Even though she wasn’t the greatest mom or person in general, it was still a tough loss. Though Soap still didn’t regret cutting her out of his life,—it was fucked up but he was glad that she died in a way, and even visited her grave just once after the funeral, by himself, just so he could spit on it. Maybe even say some things he never was able to say to her, half as retribution and half to just get it off his chest.

Ghost is the only one who knows of Johnny's past and his abusive mother, and is incredibly understanding and gentle about it (as naturally it's a particularly touchy subject). On all official stuff regarding his background, the most it ever details is where he was born or that he was raised Roman Catholic. Not to mention, although Soap is a yapper and almost never shuts up, he’s a very private person and just simply doesn’t like others knowing his business (with the exception of Ghost of course).

Even though Johnny didn’t let his mother’s death bother him regarding the funeral and his prolonged visit to Scotland, when he got back he broke down completely.

He stayed strong for his sisters as he felt like he had to and just as he's always done, but the facade came crashing down once he was in Simon's arms again.

He hated his mum, she didn't really deserve his tears, yet she was still his mum. That fact still reigned true even after everything.

And Ghost was there by his side the whole time. Hell, if anyone knows what it's like to lose a family member, it's Simon "Ghost" Riley. Whether they be toxic or not. Simon's heart positively ached for Soap, and they couldn't help but get all misty eyed at Johnny's pure, unbridled grief.

Ghost had never felt so sorry for anyone in his life, and Soap was eternally grateful for Simon's patience, empathy, and it consoling him to the best of their ability. 💖

DADDY ISSUES GHOST AND MOMMY ISSUES SOAP MY BELOVED(S)

[laundry-and-taxes]

This novel was so horrible. I demand financial recompensation. Why was Malcolm a half English man named Lisander? Why was Lady Macbeth a teenage French girl?? Why are all Scottish men described as brutes who are dishonorable, violent, and misogynistic? Moreover, why is it even a retelling if the author has gone off the rails with characterization and plot and chosen to do whatever they wished with a brilliant play? Retellings have become a buzzword in the increasingly consumerist publishing industry for authors to drive up sales. They don't want to critically engage with the themes of the text they're meant to be retelling. They want to be praised for being subversive and feminist by people who haven't ever engaged with the original text.

I was even more disappointed because I enjoyed Reid's earlier novel 'Juniper and Thorn' but the issues I had with that novel were highlighted even more in this novel. Scenes of gratuitous sexual and physical violence piled upon each other which serve no purpose except for shocking the readers with half done characters who shame their original counterparts.

I need authors to stop writing feminist retellings. Madeline Miller I think you've done irreparable damage to retellings.

[plantingseedsfortomorrow]

Is she attacking trans people? It sounds to me like she’s concerned about women’s rights as a protected class.

Besides, it’s not the trans people are helpless! Why, they’ve sent hundreds of threats, dozed her, and made her and her family unsafe in their own home. Has JKR done any of those things?

Perhaps the UK is dissolving, that’s not what I’m concerned about. I’m concerned about your insistence on continuing a smear campaign designed to oppress women because if all of that can happen to one of the richest women in the world, what would happen to an ordinary woman.

[phryneluvbot]

Why Phryne Fisher is a great character

and why you should love her too:

She's hot

She's extremely athletic (have you ever seen her running in heels?! you should, asap)

The timeless bob cut

The cunty outfits... chef's miss

She's a polyglot

She's a feminist icon with a mindset far ahead for her times (Phryne is the textbook of "Fuck The Patriarchy" imo)

She's a survivor of abuse, constantly blamed herself for the death of her sister when she was younger, was an ambo driver during WWI and still uses all of those experiences as strength to help everyone she can reach out to

She knows how to drive a plane

She's an amazing dancer

Her best (and oldest) friend is a scottish butch doctor (mac would totally love he/him pronouns btw)

The two cab drivers she befriends after coming back to Melbourne are communists (I love my two red-raggers)

Her "butler" (because phryne always treats them like equals to her, so it's always assistant or friend, never any word/expression that creates an hierarchy) being named "Mr.Butler", who's also an expert in guns and always a good comedy relief

The shy girl that once dot was that she helped on growing into a strong lady, leading to her on finding love (they better name the kid phryne if it's a girl, or I'll do it myself)

Aunt P and Phryne interacting is always the hardest giggles you will ever get

Literally adopted a pickpocket girl she saw in a train station and never judged her. In fact, she understood her, her struggles and fears, and gave her a new life under her wing (now watch jane calling phryne and jack "mom and dad" whenever she sees them sharing a moment or two, lmfao)

Every single Phrack moment... They're a match in heaven (and nathan and essie's acting is sooo good)

Also about Phrack: Both characters being so similar morally, I love it

The adventuress club being formed by many strong and independent women from different backgrounds, with phryne on the wheel of the boat, to celebrate their achievements and goals (and how much they can do for feminism and social justice)

And many other aspects that I'd love to point out, but I don't want this post to be thaaaaaaaaaaaaaaaaaaat long

[themoonking]

me finding out that in ava reid’s lady macbeth, an allegedly feminist reimagining of the scottish play, lady macbeth is the one that needs to be convinced to kill the king by her husband. biting and ripping and killing why would you do that to her.

[ladymacbeths]

macbeth related posts/articles/essays masterlist

hi! here's a list of almost every single anaysis Thing I've come across in like two months of being insane about the scottish play. Most are about lady macbeth/the gender theme btw.

‘He has no children’: The centring of grief in The Show Must Go Online’s Macbeth - Gemma Allred: on the misogyny that frequently surrounds conversations around Lady Macbeth

this post by @amillionmillionvoices: Same topic as the previous one, but goes more in depth, explains ladymac’s motivations as mostly coming from love not self-serving ambition.

this post by @dukeofbookingham: also explains the prior point very prettily— that ladymac is (mostly) motivated by love, but also makes the case that many of it is guilt born from not fulfilling societal expectations

On the character of Lady Macbeth - Dr. Emil Pfundheler: paper that explains the same point made in the previous post, using the text to explain. Written in 1873 so explains gender as a dichotomy, but once you take that out, its points are very good.

Characteristics of women: moral, political, and historical - Anna Jameson: aka Why Lady Macbeth is not inherently evil— same topic and the other two, but focuses a bit on the fact that she is A Woman. Not my favorite, but worth reading I suppose. Also includes analyses of many female Shakespeare characters. It does include some very bad history in the beginning— Gruoch did not orchestrate Duncan’s murder. That’s something Hector Boece made up.

Lady Macbeth: “Infirm of purpose” (from The Woman’s Part: Feminist Criticism of Shakespeare) - Joan Larsen Klein: on how she both fits and doesn’t fit the idea of a reinassance wife— doesn’t fit because she isn’t aligned to god (this read more like a Christian analysis than a feminist one if I’m being honest), but fits them because she behaves like one, only subverts them because she’s like, the evil murder girl version of the Wife. The essay right after this one is also very good.

The Hysteria of Lady Macbeth: required reading if you wanna play her Btw not kidding. Analyzes her character thru the lens of freudian psychology. Screws up the text of the play a bit but provides an actual in-depth explanation of how sonnambulism works. Note that "hysteria" is not a current psychological diagnosis, but a symptom of other conditions. Still extremely interesting.

The Macbeths - G. K. Chesterton: analysis of their relationship, makes some interesting point on the differences of the nature of their ambition and desire to kill the king

Shakespeare’s tragic frontier; the world of his final tragedies - Willard Farnham: this one is long but oh boy does it go deep. Talks about the lore of the witches, explains historical context to find out how the real events were so screwed up, makes an interesting point about Macbeth’s conscience against Lady Macbeth’s, and lastly talks about the tragic world of Macbeth compared to other tragedies.

Women’s fantasy of manhood: a Shakespearean theme - D. W. Harding: exactly what it says on the tin, using ladymac and her skewed (and I’d call romanticized) idea of what a man is that she pushes on Macbeth. So yeah, talks about the gender theme. Also talks about Goneril from Lear, Cleopatra, and Volumnia from Coriolanus and how they fit the theme— although ladymac is the only one who goes downhill from it.

Unnatural women in William Shakespeare’s Macbeth - Elizabeth Klett: I’ll be honest I didn’t love this one a lot. Basically talks about how every woman in Macbeth defies gender roles. Doesn’t go too deep however. But the book has a ton of essays analyzing female characters in classic lit.

[burningvelvet]

Ranking all the Brontë novels + briefly reviewing The Professor

I finally finished The Professor by Charlotte Brontë, which means I HAVE COMPLETED ALL THE BRONTË NOVELS, which means I can now rank them. This is a rough order, but brief explanations will be given...

As an aside, bc I don't want to make a separate post for my review of The Professor, but I did note several strong similarities to Jane Eyre (the female lead's description, her elvish comparisons) and The Tenant of Wildfell Hall (Hunsden/Huntington as the cynic, although the former is mostly good and the latter mostly bad). Really all the Brontë novels are very similar so there are tons of more common themes I could mention but won't. Also, more references to Scottish besties Walter Scott & Lord Byron!

Now for my official Brontë Book Ranking (which may be subject to change over the years...)

7. Shirley - I would like to revisit this one. There are some great gems in it, and I'm fascinated by the Luddism subject matter. It is also a strong contender for the most feminist Brontë novel and has probably the most in-depth female relationships which does count for something. But it's SO UNNECESSARILY LONG! And often boring! And it took me the longest to finish. So it has to be last.

6. The Professor - this one benefits from not being Shirley. It's also a good attempt at a first novel I think. It has some gems, but it's often boring like Shirley is in my opinion. I thought the main male, Crimsworth, was a bit more exciting to follow than any of the men in Shirley. I actually think Crimsworth is a pretty inspiring figure and I enjoyed his observations and his anti-work rhetoric. Like most Brontë protagonists, he's a teacher who experiences classism, poverty, and oppression, and manages to overcome these things through frugality, faith, love, hope, etc.

5. Agnes Grey - it's hard to get through at times but it's generally worth it and has a strong pay off. I think Anne's writing style is generally enjoyable. It's has a lot of the horror of Wuthering Heights and the lighter parts of Jane Eyre but it lacks Charlotte and Emily's stronger passions and has more of Anne's calm reasoning, faith, and stoicism. That makes it sound more boring than it really is maybe. I also think it's fascinating for being largely semi-autobiographical like Charlotte's works can be. We get to "know" Anne more than we do in Tenant I feel, and I think she's pretty admirable. The bird scene was based on a real experience she had as a governess, and she wrote most of the novel as a rebellious act in her room right after work. All teachers and childcare workers – and really all women and members of the working-class – should take this novel as the cautionary tale it was written to be.

4. Villette - this is the weirdest Brontë novel. Some interesting scenes and characters. Charlotte's last novel shows far more writerly evolution than in Shirley where she was again trying for more progressive social commentary (and mostly succeeded I think) but often fell back into the more sedate or conventional nature that parts of The Professor has (saving Crimsworth's sometimes strong, sassy, rebellious attitude). Villette was written in a strange period of grief for Charlotte and it shows. Villette is basically Jane Eyre's weirder older sister.

3 and 2 are almost tied for me. I have also written about 3, 2, and 1 so much on my blog that I probably won't go into as much detail as I have with the others.

3. The Tenant of Wildfell Hall - shockingly underrated. Hard to get through, but so is Wuthering Heights which it's pretty similar to at times. Radically progressive and daring, it is a strong contender for being the most feminist Brontë novel and the most oriented toward social justice (although they really all are). Brilliant use of mystery and gothic allure with a social realism that was too ahead of its time to fall into the common traps of that genre. Has everything you could want in a Brontë novel.

2. Wuthering Heights - a bomb in your face. Full of passion. Grand drama. What can I say? It's infamous for valid reasons. Never a boring moment, which instantly pushes it to the top of the list for me who am easily bored. I have elaborated on this work very often on my page so I don't feel the need to reiterate everything here but I will say that this novel has basically everything you could want.

1. Jane Eyre - has all the gothic mystery and passion of Wuthering Heights but focuses on fewer characters whose arcs thus feel more personable and fulfilling in my opinion. We get to know Jane and Rochester much more fully than almost any of the other Brontë characters I feel. And it is my love for the characters that really makes this one my favorite Brontë novel as well as one of my favorite tales of all time (whereas Heights is notorious for its unlikeable characters which actually repel many readers from enjoying it). No wonder it's the most adapted and tied with Wuthering Heights for being the most famous (although I think it may have surpassed Wuthering Heights in pop culture at times). I also think there are a lot of really meaningful themes, morals, and subjects that are explored in this novel, which again can be said of all Brontë novels, but it all feels so much more full in this one. The plot itself is also the most well-crafted in my opinion, and it has one of the greatest twists in all of literature/media imo.