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[rhill@pnet01.cts.com (Ronald Hill)]

        I've transfered THE GARDEN to IBM disks and have sent it to Jorn to
post in the archives.  I have also sent it in Wordperfect format to Andrew so
that he may continue his work on it.  If you don't have archive access, Jorn
should be able to send it to you and I believe it will also be posted on THE
BIG SKY bbs.  I am not sure what from the Garden has been posted and what
hasn't, but enjoy! 
        The Garden is a collection of original articles and reprints of most
the best interviews with Kate.  The current version is about a year old and so
doesn't currently contain the new interviews that I have typed in and is also
missing the early interview sections from before Never For Ever.  These
omissions will presumably be retified by Andrew sometime in the near future. 
I "simply" translated them into a more readable format, so any
complements/comments on the contents of the files themselves should go to
Andrew.  Any formating errors are probably mine, as Andrew hasn't had a chance
to profread the transfered files. 
        Since THE GARDEN was originally designed to be a printed book, it
often refers to "volume numbers" rather than file names. The following files
make up the current version of THE GARDEN:

Volume 1
--------
GARDEN1.TXT - Introduction and Chronology
GGRAPH.TXT  - Catalogs of Music, Collectables, Video, Fanzines
GJAYPAD.TXT  - Paddy and Jay's newsletter writtings

Volume 2
--------
GLYRICS.TXT   - Writings and the COMPLETE lryics to ALL songs.
GKBC1.TXT     - Kate's contributions to the KBC newsletter #1
GKBC2.TXT     - Kate's contributions to the KBC newsletter #2

Volume 3 
--------
GNEVER.TXT     - Never For Ever era interviews
GDREAM.TXT     - Dreaming era interviews 
GHOUNDS1.TXT   - Hounds Of Love era interviews 
GHOUNDS2.TXT   - Hounds Of Love era interviews #2 
GHOUNDS3.TXT   - Hounds Of Love era interviews #3 

Volume 4 
--------
GSENS1.TXT      - The Sensual World era interviews #1
GSENS2.TXT      - The Sensual World era interviews #2 



        As for me, I am happily in the most exiting phase of Cloudbusting,
where I try to figure out exactly what order everything goes in and what stays
and what goes.  It's like making a sculpture or something!  Quite exciting!  
        I had thought of changing the name from "Cloudbusting" to "Deeper
Understanding" cause that seems to reflect the purpose of the project as well
as the fact that the project is on a computer!  I decided against it mainly
because I don't have any narly pictures to go with the song "Deeper
Understanding" like I do with cloudbusting.  The title Cloudbusting is meant
to infer busting through the "clouds" of mis-understanding left by Kate's
interveiwers and the like.  And also to bust through the clouds of having to
read through many interviews that repeat the same information over and over
again in order to get to something new.  Ironicly, the song with the most
quotes seems to be Cloudbusting - more than ten densily printed pages!  A few 
of the songs don't have any quotes at all! 
        Anyway, as a preview, here's the Wuthering Heights song entry.  Most
of the song entries, so far,  start with the meaning of the songs, then the
inspiration, then the making of the song, then the video, then Kate reactions
to any "fan" interpetations.    As you can see it's a challange to edit and
arrange the quotes so that the narrative is smooth and there is little
repitition.  Also, the hope is to avoid including as much of the interviewer's
comments as possible.  Any comments are appreciated! 

WUTHERING HEIGHTS 
-----------------
        This next song's called "Wuthering Heights" and it's my single in
England.  (1978, Self Portrait)

        Well that was based around the story Wuthering Heights, which was
written by Emily Bronte.  And ah, and really what sparked that off was a TV
thing I saw as a young child.  [APPARENTLY THE TIMOTHY DALTON TELEFILM OF
ABOUT 1972] I just walked into the room and caught the end of this program. 
And I am sure one of the reasons it stuck so heavily in my mind was because of
the spirit of Cathy and as a child I was called Cathy, it later changed to
Kate.  It was just a matter of exaggerating all my bad areas, because she's a
really vile person, she's just so headstrong and passionate and ... crazy, you
know?  And it was fun to do, and it took a night and a half?   (1980, Profiles
In Rock)

        It's from the novel called Wuthering Heights - you probably might know
it better as the film. It's about the end of the film where Cathy has actually
died and she's coming back as a spirit across the moors to come and get
Heathcliff again.  And it just struck me very strongly because it shows alot
about human beings and how if they can't get what they want, they will go to
such extremes in order to do it.  This is exactly what she did. She wouldn't
even be alone when she was dead.  She had to come back and get him.  I just
found it really amazing.   (1978, Self Portrait)

        I wrote the song from Cathy's standpoint.  Cathy wants to take
Heathcliffe's soul so that they can be together in the spiritual world. 
(1978, Music Talk)

        HOW DID THE INTEREST IN THE BRONTE SUBJECT COME UP?
        Well it was originally from a TV series years ago and I'd just caught
the very end of it.  And it was like really freaky, cause there's this hand
coming through the window and whispering voices and I've always been into that
sort of thing you know and it just hung around in my head.  And the year
before last I read the book and that was it, I had to write a song about it. 
        WHEN DID YOU WRITE THE SONG, CAUSE THE RECORD CAME OUT THE BEGINNING
OF YEAR, WAS IT JANUARY OR FEBRUARY? 
        That's right, and I'd written the song in the summer before.  Really
just before we'd recorded the album, it was my latest song.   (1979, Swap
Shop)
        
        I felt I just had to write a song about the tomented heroine Cathy
calling for the soul of Heathcliff so they could be together eternally.  It
was a real challenge to precis the whole mood of a book into such a short
piece.  (????, AVD)
   
     Well, I wrote in my flat, sitting at the upright piano one night in March
at about midnight. There was a full moon and the curtains were open, and every
time I looked up for ideas, I looked at the moon. Actually, it came quite
easily. I couldn't seem to get out of the chorus--it had a really circular
feel to it, which is why it repeats. I had originally written something more
complicated, but I couldn't link it up, so I kept the first bit and repeated
it. I was really pleased, because it was the first song I had written for a
while, as I'd been busy rehearing with the KT Band.
     I felt a particular want to write it, and had wanted to write it for
quite a while. I remember my brother John talking about the story, but I
couldn't relate to it enough. So I borrowed the book and read a few pages,
picking out a few lines. So I actually wrote the song before I had read the
book right through. The name Cathy helped, and made it easier to project my
own feelings of want for someone so much that you hate them. I could
understand how Cathy felt.
     It's funny, but I heard a radio programme about a woman who was writing a
book in Old English, and she found she was using words she didn't know, but
when she looked them up she found they were correct. A similar thing happened
with Wuthering Heights: I put lines in the song that I found in the book when
I read it later.
     I've never been to Wuthering Heights, the place, though I would like to,
and someone sent me a photo of where it's supposed to be.
     One thing that really pleases me is the amount of positive feedback I've
had from the song, though I've heard that the Bronte Society think it's a
disgrace. A lot of people have read the book because of the song and liked it,
which I think is the best thing about it for me. I didn't know the book would
be on the GCE syllabus in the year I had the hit, but lots of people have
written to say how the song helped them. I'm really happy about that.
     There are a couple of synchronicities involved with the song. When Emily
Bronte wrote the book she was in the terminal stages of consumption, and I had
a bad cold when I wrote the song.  Also, when I was in Canada I found out that
Lindsay Kemp, my dance teacher, was in town, only ten minutes away by car, so
I went to see him.  When I came back I had this urge to switch on the TV--it
was about one in the morning--because I knew the film of Wuthering Heights
would be
on. I tuned in to a thirties gangster film, then flicked through the channels,
playing channel roulette, until I found it.  I came in at the moment Cathy was
dying, so that's all I saw of the film. It was an amazing coincidence.  (1979,
KBC 1)

        THAT MUST MEAN AN AWFUL LOT TO YOU THAT SONG, ACTUALLY, MUS'IN IT?
        Yes it does.  It means an awfully lot.  I mean that really why my name
is known, because of that song, and because of the book.  (1979, Swap Shop)
        
     Funny, but I've only ever seen ten minutes of Wuthering Heights-- it
looked a bit corny to me.  [THIS IS PROBABLY A REFERENCE TO THE FAMOUS VERSION
WITH LAWRENCE OLIVIER AND MERLE OBERON. - IED]  (1982, Robin Smith)

         WHAT INSPIRED YOU TO WRITE THAT?  THAT SOUNDS LIKE AN OBVIOUS
QUESTION, BUT MAYBE IT'S NOT AN OBVIOUS ANSWER, I DON'T KNOW. 
        I think it is an obvious answer.  [LAUGHS]  It was very much the book.
 The idea of a relationship that even when one of them is dead, they will not
leave the other one alone.  I found that fascinating.  Not unlike the energy
behind the Houdini song that we did, where the strength of love... I mean it's
incredibly romantic.  But a very nice story and the sense of how even when
she's dead she has to come back for him.   Possessive lady.  [LAUGHS]
        HAVE YOU EVER BEEN IN LOVE IN THAT WAY OR THAT MUCH? 
        Yes, I think love effects you in a funny way and I think everyone
loves something or someone so I think everyone understands at least on some
level the experiences.  I wouldn't say I was a terribly possessive or ...
[LAUGHS]  I mean I would hate to think that I was like Cathy!  But I think
everyone certainly has shadows or little tinges of those things in them.   
(1985, MTV)

     OF COURSE YOU HAD THE BIG NUMBER ONE SINGLE "WUTHERING HEIGHTS." TO
PEOPLE WHO AREN'T DEVOUT FANS OF KATE BUSH, YOU MENTION YOUR NAME AND
IMMEDIATELY THEY SAY, "OH WUTHERING HEIGHTS," EVEN NOWADAYS.  DOES THAT BOTHER
YOU AT ALL?
     No, I don't think it would be right of me to be rude to a song that has
done so much for me.
     HOW DID YOU FEEL WHEN IT WENT STRAIGHT TO NUMBER ONE. YOU MUST HAVE BEEN
VERY TAKE A BACK.
     Yes, very surprised.  (1985, Conversation Series 1)

        HAVE THREE YEARS AS A SUPERSTAR CHANGED HER AT ALL? "Yes," she admits;
"I've become a perfectionist, for one thing." ALTHOUGH NOT A LONELY TEENAGER,
SHE DID SPEND A LOT OF TIME ON HER OWN, SINGING, READING AND WRITING THE
POETRY WHICH FORMS THE BASIS OF HER SONGS. "I wasn't a daydreamer.  Writing
songs and poetry is putting into words and music my real feelings. Without
being too critical of Wuthering Heights, I do think that it was a bit
misleading; it seemed to suggest too much fantasy and escapism  (1982,
Kerrang!)
        
         WERE YOU A BIT APPREHENSIVE DOING YOUR FIRST SONG IN THAT VERY HIGH
VOICE?  BUT THEN, HAVE YOU ALWAYS SUNG LIKE THAT?
        No, no I haven't.  It was really specifically for that song that is
was that high.  Because of the subject matter and the fact that I'm playing
Cathy and that she was a spirit and it needed some kind of ethereal effect,
and it seemed to be the best way to do it, to get a high register. 
        VERY MUCH AN ACTING JOB AS WELL, ISN'T IT?
        Yes, I think so, yeah.  (1978, Ask Aspel)

     WHEN WERE YOU BORN, AND WHERE?
     Lots of people want to know this, and there's been a lot of dispute about
whether it is the same date as Emily Bronte, who wrote Wuthering Heights. I
was born in a nursing home in Erith, Kent, while my parents were living where
they are now, in Welling. The date was July 30th, 1958.  (1979, KBC 1)

     IS YOUR SINGLE WUTHERING HEIGHTS ISSUED WITH A PICTURE BAG?
     Yes, it is.  (1979, KBC 1)


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