Charlotte Bronte – Feminism and Religion

Anne Brontë’s Agnes Grey: Lifting the Veil on Cruelty, part 1 by Maria Dintino

Moderator’s Note: This piece is in co-operation with The Nasty Women Writers Project, a site dedicated to highlighting and amplifying the voices and visions of powerful women. The site was founded by sisters Theresa and Maria Dintino. To quote Theresa, “by doing this work we are expanding our own writer’s web for nourishment and support.” This was originally posted on their site on November 19, 2024. You can see more of their posts here.

Anne, the youngest of the Brontë sisters, penned two novels in her short life. The first was Agnes Grey (1847), then The Tenant of Wildfell Hall (1848).

A sketch of Anne by her sister Charlotte.

It’s probably safe to say that Agnes Grey is the least read and appreciated of all the Brontë novels, of which there are seven. Emily’s Wuthering Heights and Charlotte’s Jane Eyre garner the most praise and attention. But Anne’s The Tenant of Wildfell Hall is not far behind, and by some accounts leads the pack.

Interestingly, all the sisters’ first novels were released in the same year, under their pen names Currer, Ellis, and Acton Bell. First was Jane Eyre in October 1847 and then Wuthering Heights and Agnes Grey together as a ‘triple decker’ in December 1847, with Wuthering Heights making up the first two parts, and Agnes Grey the third.

RACHEL KADISH: TRANSCENDENCE AND TEXT, part 2 by Theresa C. Dintino

THE SYMBOL OF THE GENIZAH

Being a non-Jew, the first word I had to look up while reading The Weight of Ink was genizah—a hiding place or the act of hiding sacred texts until they can receive proper burial in the earth. In Jewish tradition this is a required honoring of the written word, especially if it is writing about God. It can also mean depository or treasure; something hidden away in time with hope for more welcome in the future that finds it.

Genizah was the perfect word for me to have etched into my mind with regard to The Weight of Ink as it set the stage and opened a space in my heart for a novel which concerns itself with the power of writing and words through time. The story is centered around human lives engaged in passionate intellectual pursuits, the love of books and learning, and imaginations set afire by the academic.

We the People by Joyce Zonana

jz-headshot During the January 21^st Women’s March in New York City, I was inspired and delighted by so many of the signs women and men had crafted to express their opposition to the current disastrous regime in the United States: “Grab America Back,” “Support Your Mom,” “Sad!,” “Miss Uterus Strikes Back.” But one image stood out, mesmerizing me: that of a woman proudly wearing an American flag as hijab, with a message below—“We The People Are Greater Than Fear.” For several blocks as we made our way up Fifth Avenue, I walked beside a woman carrying that sign, and it became, for me, the most powerful symbol of the resistance we must all wage during the dark time ahead.

il_570xn-1174082361_2sxw — Poster by Shepard Fairey

images-1 — Munira Ahmed photo by Ridwan Adhami

The image, based on a photograph of Munira Ahmed by Ridwan Adhami, was created for the Women’s March by graphic artist Shepard Fairey (who also designed the iconic image of Barack Obama, “Hope”). It offers a striking visual challenge to a long-held orthodoxy, now brought to the fore by Donald Trump and his gang: that Western-style liberal democracy (epitomized by the United States) is incompatible with Islam. And, perhaps even more specifically, that Islam is incompatible with feminism.

Many Western women—including feminists—are still bound by the Orientalist worldview that encumbered our liberal feminist foremothers. Continue reading “We the People by Joyce Zonana”