Linton has Sickle Cell Anemia

Everybody in Wuthering Heights is afflicted with either a mortal disease or crabs. As in, a crabby personality. Especially Linton, who has both. He loses the entirety of his stamina traversing a distance of six feet. 

Linton is worthless.

I imagine this seventeen year old man writhing on the ground pitifully and I begin to cringe at how undeserving he is of education in Hareton's place. It strikes me odd that Catherine still clings to him even when he establishes his stance against her after they are married and after the way he has treated her like a possession and a servant. This guy reminds me of Caren Hortensia from Fate/Hollow Ataraxia.

Caren is malevolent for no reason.

Both of them are fragile as glass and derive pleasure from others' sufferings. They also have their brief, single moments of goodness, like how Caren as a priestess is obligated to provide sanctuary for the defeated while Linton lets Catherine out of the Heights out of guilt. Both of them are horrible, horrible people that are loved for no palpable reason. Linton is something to cling to rather than something to be actually loved. In this respect, Catherine resembles Isabella in the way that they refuse to acknowledge reality and favor delusions instead. Caren at least has some redeeming qualities in that A. She doesn't explode upon walking halfway up the stairs and B. She like Catherine can find love loving someone equally as malevolent as her.

Heathcliff is an Anti-Hero

As the title strongly implies, Heathcliff in the book Wuthering Heights is an anti-hero in the way that he does not adhere to common virtues present in the majority of protagonists. He is vengeful, unpleasant, cruel, and lacks compassion, avoiding "just desserts" and failing to meet the stereotype of redemption before death.

I show a picture of Robert Pattinson here because Edward is apparently a representation of Heathcliff

Heathcliff reminds me of other anti-heroes, including Light Yagami from Death Note and Kiritsugu Emiya from Fate/Zero.

Light Yagami is the first human owner of the Death Note

Light Yagami is the epitome of a perfect human being. He is athletic, compassionate, ethical, intelligent, good looking, and strong willed. From every angle, it is clear that he lacks any glaring weakness what so ever. Except for one: pride. He is a model citizen, and he knows this. As such, he falls into a self delusion over his superiority to other humans and feels the right to judge them as evil or good and to purge all of this evil with the Death Note. In the end, he nearly succeeds in his goal. He nearly eradicates crime altogether, but the police force constantly pursues his persona Kira to end his murdering spree. And despite how righteous Light sounds, he is portrayed as maniacal as he continues to abuse the Death Note, beginning to quantify people's worth and desiring to ascend to the status of God. For all that he is worth, Light craves the top of the food chain. While he was the top of his class and the leader of the police force, once Light attained power beyond others' fathoms, he began to corrupt and rot. Light eventually meets his end, cornered, bloodied, and dishonored in a warehouse confronted with his misdeeds. To the very end of his life, he begged to be spared, despite his own cruelty in life. 

Kiritsugu Emiya follows an uncompromising sense of justice.

The protagonist of Fate/Zero, Kiritsugu, lost his entire village in his decision to not shoot his friend Shirley moments prior, who turned into a vampire as a result of his father's research. This left Kiritsugu empty and resolved to end tragedies before they can evolve, electing to immediately shoot and kill his father with no last words before joining a mercenary to hunt down other rouge mages that threaten the general populace. He is not afraid to take down entire hotels to eliminate his foes and makes the decision to sacrifice his wife in order to obtain the Holy Grail and grant his wish of "saving the world". His motto is "the needs of the many of the needs of the few"- thus, he is quickly judges the worth of something over the number of lives it would save in exchange for a fewer number. He seeks to not only follow his own sense of justice but fulfill his childhood dream of becoming an "ally of justice" in order to justify his actions and constantly remind himself of the choice he made with Shirley. To this end, he deceives everyone around him and willingly sacrifices the people he loves in order to "save the world". At the end, he is confronted with his own motto, which reveals that the inevitable result of his philosophy is the need to eliminated slightly less than half of the people in the world over and over again, until he can find solace in the number two, where he cannot divide lives into two unequal sections that forces a choice from Kiritsugu. In this way, the Holy Grail reveals to Kiritsugu that saving the world meant saving himself, living with his wife and daughter isolated from the remainder of the world. The narrative explores how holding onto childish ideals of righteousness is fairly impossible- that humans continue to replicate errors upon errors and that solutions are mere bandaid fixes that must be implemented despite the impossible nature of fixing problems.

All three anti-heroes express a similar trait: a strong sense of justice. In this respect, anti-heroes can be seen as the distortion of morals by taking them to the extreme. In having such a powerful sense of justice, Light Yagami deludes himself into thinking himself a divine being and imposing his will on others. But he was a good person innately. Light emphasizes the corruption that pride brings with power and an arrogance to play God.

Heathcliff seeks vengeance against the people who wronged him because he seeks his own variation of "just desserts". Though taken at our standpoint, Heathcliff appears boorish and disgusting, in his eyes he is simply exercising her right to torment others as they tormented him. We are unable to understand his capacity for cruelty because we cannot emphasize and truly understand the humiliation, degradation, and disappointment he felt in his life. The characters of Wuthering Heights have stripped him of everything, Hindley of his dignity, Edgar of his pride, and Catherine of his love. Heathcliff feels justice reigning down upon his foes rather than cruelty.

Emiya finds himself trapped in a cycle where he is forced to make two decisions that save larger amounts of people. However, making this choice twice results in him making the same choice as if he had chose to save the small amount of people. Kiritsugu resolves himself to prevent tragedy by enacting uncomprimsing methods, but he inevitably harms more than he saves because he cannot save himself.

How Long Should A Story Last? Endings as Capstones

At what point should we decide that a story has gone on "too long"? One of the most important aspects of a story is its ending, which can make or break a story. However, in addition to many writers failing to write a complex and satisfying conclusion, a few exploit their series far past their prime and do not write the ending to a story they should have concluded long ago.

Stigma of the Wind just kept going until its author died, leaving behind no conclusion.

To begin with authors that end their novels poorly, Haruki Murakami is one of the most notable, due to the stark contrast between his ability to write rising action and climaxes compared to the flimsy excuses of endings that he provides to them. After Dark is notable for telling a compelling tale of people experiencing supernatural, yet unmistakably human, occurrences in the dead of night. His metaphors are surreal yet natural and the provide for a suspenseful story throughout. Then, it abruptly ends. An innumerable number of loose ends are left lying on the ground, with only a single potential character relationship being established while everyone moves on with their lives. 

His novel 1Q84 was powerful and suspenseful, displaying the subtle insecurities of the lead characters supported by deep and interesting side characters. Then the ending happened and everything went to hell. Characters began randomly disappearing, one was encased in an "air chrysalis", plot points that suspended the climax amounted to nothing, and almost no issues regarding the world of 1Q84 were resolved. 

Murakami himself in an interview stated that he "doesn't write endings".

Haruki Murakami, one of the greatest worst writers of endings.

That's a pretty glaring flaw. In most of Murakami's stories, the plot falls apart because there is no ending capable of melding their elements together. He leaves it open ended and engaging but not memorable. I can't go back to one of Murakami's stories, say "this was wonderful", and then re-read the book and relive the action. In this sense, Twilight finds itself superior (as a memorable story). Though far inferior in terms of its execution, one of the most important aspects about the novel and the series itself was that it produced characters that, while they were comparatively shallow, stuck in the minds of the readers. And I attribute this to a narrative having a strong ending; when it came down to it, I cared more about Edward than I ever cared about Tengo in 1Q84, simply because Tengo just disappeared into the distance without resolving a single problem while Edward tried his best and ended his first book in satisfying fashion.

Endings should be fairly abstract, no doubt about that. But endings that are too abstract are meaningless, with too many valid interpretations for them to even mean moot. In turn, endings that are too concrete are too boring because they do not draw the reader in to ask any questions at all.