ABSTRACT
Writing about therapy and writing about literature often share the assumption that making sense, coherence and completeness are self-evident virtues. The critic and the therapist are supposed to produce order in the chaotic material of the psyche or in the understanding of art. Wuthering Heights, a novel by a woman already dying of tuberculosis, actively resists such ordering or `closure' (Bronte 1847). In this story, a man, Heathcliff, and his childhood companion, Catherine Linton, born Earnshaw, profess a passion that obliterates the many obstacles dividing them. These include her marriage, physical and mental health, and eventual separation through her death. In revenge for the loss of Catherine, Heathcliff destroys two families. As the novel concludes traditionally, with another pair of lovers, arguably, it does not end.
