The realism that did exist within Wuthering Heights that, for non-victims would seem outrageously dramatised and in an ideal world would be reduced to fiction, is what makes Brontë fiction so valuable.

those of us who have experienced childhood trauma are more vulnerable to putting people like teachers on a pedestal. the desire to substitute one figure of authority for another in the hopes of being understood, recognised, valued, or indeed, loved, can be strong and can unfortunately leave us vulnerable to being exploited, manipulated, or mistreated by self-interested people. wilson seems to want to explore this issue through ellie's relationship with guy, but in her attempt to create realistic characters - or potentially salvage a loved one - ends up chickening out of making the bold statement she may have been probing at.

'home' (2024) expresses the dark and twisted path of reclaiming 'home' after no contact. it also divulges on the intertwinings of woundedness, sex, and lust (pathology). hand in hand, 'children' (2021) shows us the effect early woundings of childhood abuse and neglect can have: lonely broke souls who project their pain as malevolence and sexual pathology.

‘That feeling deep inside me that knew that those people weren’t right about me, about who I was and what I had the capability to become, and about the world and all its potential, and …