For the most part, Catherine is an effective reimagining of Wuthering Heights. I say reimagining instead of retelling because the central premise here - Chelsea Price (Cathy Linton) looking into the decade old disappearance of her mother Catherine Eversole Price (Catherine Earnshaw Linton) - is a pretty innovative departure from the plot of the original and really explores in some depth these two very interesting characters from Emily Bronte's book in a modern setting. That said, I'm not quite sure April Lindner handled some of the most crucial parts of the source material all that well, hence my conflicted review.
For starters, in order to get the setup to match Bronte's original, Chelsea's led to believe her mom died when she was three - until she stumbles upon the truth between digging up an old letter from her mom in her dad's closet and then doing an online search. So I'm a little confused why Chelsea never once wondered about her mom or popped Catherine Price into Google - where she'd instantly stumble upon the truth - in the fourteen years Catherine's been missing, but what do I know, guess that never occurred to her. Then, I see the book's divided into chapters between Chelsea's point of view, presumably in the present, and Catherine's point of view some time in the past, most of the time alternating between the two, and I'm confused even more, because I have no idea when Catherine's point of view takes place. I assume in the late eighties or early nineties based on the timeline? - except Catherine's voice sounds really modern, so I had a hard time getting into the mindset that I'm reading these two voices decades apart.
Beyond those initial complaints, I actually enjoyed the book at first. Not just the obvious imports from Wuthering Heights, like Catherine's star crossed relationship with Hence (Heathcliff), who's actually toned down in this version if still a bitter guy - the really twisted Bronte original would've probably been a bit too much in a modern version, or the little allusions now and then that are nice touches for anyone familiar with Bronte's work, like that dream of Catherine's ghost haunting The Underground (Wuthering Heights), but also what the new plot brings to the table, Chelsea slowly discovering her mother Catherine over the course of her investigation. Actually, I think adding the Chelsea trying to figure her mother out plot is a stroke of genius, because the stuff that already worked in Wuthering Heights, Hence's descent into bitterness as a result of Catherine breaking his heart, her brother Quentin's (Hindley's) jealousy of Hence coming into their lives, those are things the original did better.
Unfortunately, it's around here that my enthusiasm for this reimagining really dimmed. I liked the changes Lindner made to Hence, but Quentin somehow still manages to be a racist gun toting redneck, which in Bronte's book is a product of the times, but in a more modern setting really could've used a lot more finesse, because here Q seems way out of character with the rest of the writing, and although I kind of expected it his transformation still took me by surprise with how strange it fits with the rest of the story. Needless to say, I didn't see anything in the book to justify crazy Quentin. Then after that, there's the whole class issue that's a big part of the original book that becomes she's going to Harvard while he's going on tour in Europe here, leading to the big misunderstanding, but I just didn’t feel Lindner's version was as effective, as believable, or as satisfying as the original. And while the ending suited Catherine, there's just something missing about how it affects Chelsea.
I was actually pleasantly surprised by Catherine at first, particularly with the girl trying to find and understand her missing mother angle that really worked given how faithfully this book adhered to the basic plot of Wuthering Heights. But then, I think Lindner missed the boat on crucial points and couldn't stick the ending, so I ended up shaking my head a lot towards the end when Catherine really didn’t live up to Bronte’s original.