An indelible part of the Brontë mythology is their symbiotic development as young artists in an isolated environment. Some time ago, Juliet Barker’s biographical scholarship on the culture at the parsonage and the Brontë siblings’ lives in Haworth has questioned that isolation in terms of the rich resources available to the Brontës siblings and a family culture that strongly encouraged their imaginative and artistic development. More recently, director Sally Wainwright’s TV movie To Walk Invisiblehas meticulously recreated the dynamic relationship between the Brontës’ childhood fantasy worlds and their adult writing, along with the strategic ways in which the three sisters built a professional path towards their lives as novelists directly through their sibling bonds. Wainwright’s interpretation of the sisters’ creative lives has gone some way in recovering both the weirdness and the ordinariness of the Brontës in it they seem closer (more graspable) than in any recreation of their lives encountered before.' (Introduction)