Wuthering Heights, however it may appear in retrospect, demands a reading of the utmost intensity, the feeling present in the writing seems to seek a matching response in the reading. If we turn from the story that Emily Brontë tells to the kind of story that Hardy tells, we find a markedly different kind of reader being called into being, a reader who is to be drawn not so much into an intensity of response, but rather into a continual oscillation betweenintensity of involvement and contemplative detachment

Wuthering Heights, however it may appear in... | Ian Gregor

Wuthering Heights, however it may appear in retrospect, demands a reading of the utmost intensity, the feeling present in the writing seems to seek a matching response in the reading. If we turn from the story that Emily Brontë tells to the kind of story that Hardy tells, we find a markedly different kind of reader being called into being, a reader who is to be drawn not so much into an intensity of response, but rather into a continual oscillation betweenintensity of involvement and contemplative detachment - Ian Gregor


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Wuthering Heights, however it may appear in retrospect, demands a reading of the utmost intensity, the feeling present in the writing seems to seek a matching response in the reading. If we turn from the story that Emily Brontë tells to the kind of story that Hardy tells, we find a markedly different kind of reader being called into being, a reader who is to be drawn not so much into an intensity of response, but rather into a continual oscillation betweenintensity of involvement and contemplative detachment Ian Gregor

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Wuthering Heights, however it may appear in retrospect, demands a reading of the utmost intensity, the feeling present in the writing seems to seek a matching response in the reading. If we turn from the story that Emily Brontë tells to the kind of story that Hardy tells, we find a markedly different kind of reader being called into being, a reader who is to be drawn not so much into an intensity of response, but rather into a continual oscillation betweenintensity of involvement and contemplative detachment Ian Gregor

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Wuthering Heights, however it may appear in retrospect, demands a reading of the utmost intensity, the feeling present in the writing seems to seek a matching response in the reading. If we turn from the story that Emily Brontë tells to the kind of story that Hardy tells, we find a markedly different kind of reader being called into being, a reader who is to be drawn not so much into an intensity of response, but rather into a continual oscillation betweenintensity of involvement and contemplative detachment Ian Gregor

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Wuthering Heights, however it may appear in retrospect, demands a reading of the utmost intensity, the feeling present in the writing seems to seek a matching response in the reading. If we turn from the story that Emily Brontë tells to the kind of story that Hardy tells, we find a markedly different kind of reader being called into being, a reader who is to be drawn not so much into an intensity of response, but rather into a continual oscillation betweenintensity of involvement and contemplative detachment Ian Gregor

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Wuthering Heights, however it may appear in retrospect, demands a reading of the utmost intensity, the feeling present in the writing seems to seek a matching response in the reading. If we turn from the story that Emily Brontë tells to the kind of story that Hardy tells, we find a markedly different kind of reader being called into being, a reader who is to be drawn not so much into an intensity of response, but rather into a continual oscillation betweenintensity of involvement and contemplative detachment Ian Gregor

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Wuthering Heights, however it may appear in retrospect, demands a reading of the utmost intensity, the feeling present in the writing seems to seek a matching response in the reading. If we turn from the story that Emily Brontë tells to the kind of story that Hardy tells, we find a markedly different kind of reader being called into being, a reader who is to be drawn not so much into an intensity of response, but rather into a continual oscillation betweenintensity of involvement and contemplative detachment Ian Gregor

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