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It is late summer 1780 and Heathcliff leaves Wuthering Heights after overhearing Catherine say how it would degrade her to marry him. The few possessions he takes with him include an amulet; his only possession other than the rags he wore when found as an urchin in Liverpool. When he wears it, the amulet seems to bring him luck. Heathcliff travels to Liverpool, where he makes his way to India as a deck hand on a ship of the East India Company. On arrival in Madras, Heathcliff finds work, love and wealth, but will his luck last and will he ever be able to put his past behind him? Imagining the short period of Heathcliff’s absence in Emily Brontë’s acclaimed novel, Heathcliff’s Fortune depicts the events which sees him transformed from a rough farm boy to a wealthy gentleman, and relates how he acquired, in India, the great wealth that made enacting his terrible revenge on those who wronged him possible.
Book 1: Venture into the windswept moors of Yorkshire with “Wuthering Heights by Emily Brontë.” Brontë's timeless novel unfolds a tale of passionate and destructive love between Heathcliff and Catherine Earnshaw, exploring themes of revenge, social class, and the haunting nature of unfulfilled desires. Book 2: Immerse yourself in the complex world of aristocratic Russia with “Anna Karenina by Graf Leo Tolstoy.” Tolstoy's epic novel delves into the lives of its characters, with Anna's tragic love affair and the moral dilemmas faced by the Russian elite serving as a backdrop for profound reflections on love, society, and morality. Book 3: Plummet into the depths of existential introspection with “Notes from the Underground by Fyodor Dostoyevsky.” Dostoyevsky's novella explores the tortured psyche of an unnamed narrator, offering a philosophical exploration of alienation, free will, and the contradictions inherent in the human condition.
Wuthering Heights is the name of Mr. HeathcliffÕs dwelling. ÔWutheringÕ 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 Ô1500,Õ and the name ÔHareton Earnshaw.Õ 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 stop brought us into the family sitting-room, without any introductory lobby or passage: they call it here Ôthe houseÕ 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 fireplace; 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 under-drawn: 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 villainous 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.
Seminar paper from the year 2018 in the subject English Language and Literature Studies - Literature, grade: 1,7, University of Würzburg, language: English, abstract: In this research paper the author wants to take a closer look at the similarities and differences between Heathcliff and Bertha. While doing so she also wants to find out if their respective creators portrayed them just as a Gothic element, a stereotype, plot device or similar things or if their portrayal has a different kind of thought behind it. While reading Jane Eyre and letters Charlotte Bronte send regarding Wuthering Heights she noticed an almost extreme opinion Charlotte seems to have about people of colour. The interest for this topic comes from the fact that there is a lot of research about the Otherness of both characters but rarely are they compared with each other. Oftentimes Charlotte and her opinions about her sisters novel Wuthering Heights are quoted in research but rarely does anyone comment on her extreme view on Heathcliff. Her critique of Wuthering Heights is mostly only analysed in regard to her sister. So, with this paper the author also wants to take a closer look at the things Charlotte Bronte had to say about Heathcliff and about how she herself portrayed the Other in her novel, Jane Eyre. She will also take a quick look at Jean Rhys’ Wide Sargasso Sea in order to be able to differentiate the way Charlotte, who had lived her whole life in England, and Jean Rhys, who had been living on a Caribbean island, similar to Bertha, portray the same character. This could show whether or not Charlotte had, as the author presumes, a more racist view on the post-colonial regions and people than her sister Emily.
This work explores the interrelation of Irish political history and Irish literature. It discusses a host of unusual topics, from Shaw and science and Irish attitudes, to nature and the question of language, and a full-scale investigation of the Celtic revival.
16 modern fiction superstars shine a startling light on the romance and pain of the infamous literary pair Heathcliff and Cathy.Short stories to stir the heart and awaken vital conversation about love.
The National Book Award winner explores the hidden dynamics of relationships with “lean, intriguing, formally inventive prose” in this collection (Kirkus Reviews). A New York Times Editor’s Choice In Heathcliff Redux, the novella that begins this collection, a married woman reads Wuthering Heights—just as she falls under the erotic and destructive spell of her own Heathcliff. In the stories that follow, a single photograph illuminates the intricate web of connections between friends at an Italian café; a forgotten act of violence in New York’s Carl Schurz Park returns to haunt the present; and a woman is prompted by a flurry of mysterious emails to recall her time as a member of the infamous Rajneesh cult. With keen psychological insight and delicate restraint, Lily Tuck pries open the desires, doubts, and secret motives of her characters and exposes their vulnerabilities to the light. Sharp and unflinching, the novella and stories together form an exquisitely crafted collection.