Wuthering Heights, Paperback

Wuthering Heights Paperback

Edited by Ian Jack

Part of the Oxford World's Classics series

3 out of 5 (1 rating)


'I am Heathcliff - he's always, always in my mind ...' Discovered on the streets of Liverpool, Heathcliff is rescued by Mr Earnshaw and taken to the remote Yorkshire farmhouse of Wuthering Heights. Earnshaw's daughter Catherine rapidly forms a passionate attachment to him, but when Catherine's brother takes over the Heights, Heathcliff is lowered to the position of a barely-tolerated farmhand.

When Catherine decides to marry the refined Edgar Linton instead, Heathcliff turns revenger. He determines to degrade not only those who sought to degrade him, but their children after them.

Wuthering Heights is one of the most famous love stories in the English language. It is also, as the Introduction to this edition explores, one of the most potent revenge narratives. Its ingenious narrative structure, vivid evocation of landscape, and the extraordinary power of its depiction of love and hatred have given it a unique place in English literature. This edition reproduces the authoritative Clarendon text, with revised and expanded notes and a selection from the poems of Emily Bronte. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe.

Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.


  • Format: Paperback
  • Pages: 384 pages
  • Publisher: Oxford University Press
  • Publication Date:
  • Category: Classic fiction (pre c 1945)
  • ISBN: 9780199541898



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Piecing my way through the narrative fog of Emily Bronte’s Wuthering Heights with its many layers of narrators, I was reminded of the found footage genre of films, in which the viewer’s entire understanding of the story is whatever is visually made apparent to them through the first person gaze of the whoever’s holding the camera in the fictional world and then the film’s editor, a figure who sits between that world and our reality. Everything we know about the love story is filtered through the recollections of Lockwood and Nelly and others, characters who Bronte employs to imply that Heathcliffe and Cathy and their decedents exist in a subjectively cruel, sadistic place cut off from a more benign reality. All are apparently reliable narrators, but throughout I couldn’t help a nagging suspicion, and that like The Blair Witch Project et al, there are multiple layers of fiction at play.

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