Animal Visions considers how literature responds to the harms of anthropocentricism, working with Emily Brontë s Wuthering Heights (1847) and various adaptations of this canonistic novel to show how posthumanist dream writing unsettles the privileging of the human species over other species. Two feminist and post-Freudian responses, Kathy Acker s poem Obsession (1992) and Anne Carson s The Glass Essay (1997) most strongly extend Brontë s dream writing in this direction. Building on the trope of a ludic Cathy ghost who refuses the containment of logic and reason, these and other adaptations offer the gift of a radical peri-hysteria. This emotional excess is most clearly seen in Kate Bush s music video Wuthering Heights (1978) and Peter Kosminsky s film Wuthering Heights (1992). Such disturbances make space for a moor love that is particularly evident in Jane Urquhart s novel Changing Heaven (1989) and, to a lesser extent Sylvia Plath s poem, Wuthering Heights (1961). Brontë s Wuthering Heights and its most productive afterings make space for co-affective relations between humans and other animal beings. Andrea Arnold s film Wuthering Heights (2011) and Luis Buñuel s Abismos de Pasión (1954) also highlight the rupturing split gaze of non-acting animals in their films. In all of these works depictions of intra-active and entangled responses between animals show the potential for dynamic and generative multispecies relations, where the human is one animal amongst the kin of the world.
