Quotes by Daphne du Maurier

"But luxury has never appealed to me, I like simple things, books, being alone, or with somebody who understands."
6,476 likes

"Women want love to be a novel. Men, a short story."
2,527 likes

"Last night I dreamt I went to Manderley again."
2,084 likes

"If only there could be an invention that bottled up a memory, like scent. And it never faded, and it never got stale. And then, when one wanted it, the bottle could be uncorked, and it would be like living the moment all over again."
1,800 likes

"Happiness is not a possession to be prized, it is a quality of thought, a state of mind."
1,139 likes

Books by Daphne du Maurier

  • Ребекка
  • 490,945 ratings
  • 2021 by Книжковий клуб "Клуб сімейного дозвілля"

    (first published August 1938)

  • Rebecca
  • 490,859 ratings
  • December 17th 2013 by Little, Brown and Company

    (first published August 1938)

  • My Cousin Rachel
  • 42,217 ratings
  • December 17th 2013 by Little, Brown and Company

    (first published 1951)

  • Jamaica Inn
  • 34,607 ratings
  • December 17th 2013 by Little, Brown and Company

    (first published 1936)

  • Frenchman's Creek
  • 13,967 ratings
  • May 1st 2003 by Time Warner Books UK

    (first published September 1941)

  • The Scapegoat
  • 6,915 ratings
  • December 17th 2013 by Little, Brown and Company

    (first published 1957)

Daphne du Maurier
  • Daphne du Maurier

  • Date of birth: May 13, 1907
  • Died: April 19, 1989
  • Born: in London, United Kingdom of Great Britain and Ireland.

  • Description: If Daphne du Maurier had written only Rebecca, she would still be one of the great shapers of popular culture and the modern imagination. Few writers have created more magical and mysterious places than Jamaica Inn and Manderley, buildings invested with a rich character that gives them a memorable life of their own.

    In many ways the life of Daphne du Maurier resembles a fairy tale. Born into a family with a rich artistic and historical background, the daughter of a famous actor-manager, she was indulged as a child and grew up enjoying enormous freedom from financial and parental restraint. She spent her youth sailing boats, travelling on the Continent with friends, and writing stories. A prestigious publishing house accepted her first novel when she was in her early twenties, and its publication brought her not only fame but the attentions of a handsome soldier, Major (later Lieutenant-General Sir) Frederick Browning, whom she married.

    Her subsequent novels became bestsellers, earning her enormous wealth and fame. While Alfred Hitchcock's film based upon her novel proceeded to make her one of the best-known authors in the world, she enjoyed the life of a fairy princess in a mansion in Cornwall called Menabilly, which served as the model for Manderley in Rebecca.

    Daphne du Maurier was obsessed with the past. She intensively researched the lives of Francis and Anthony Bacon, the history of Cornwall, the Regency period, and nineteenth-century France and England. Above all, however, she was obsessed with her own family history, which she chronicled in Gerald: A Portrait, a biography of her father; The du Mauriers, a study of her family which focused on her grandfather, George du Maurier, the novelist and illustrator for Punch; The Glassblowers, a novel based upon the lives of her du Maurier ancestors; and Growing Pains, an autobiography that ignores nearly 50 years of her life in favour of the joyful and more romantic period of her youth. Daphne du Maurier can best be understood in terms of her remarkable and paradoxical family, the ghosts which haunted her life and fiction.

    While contemporary writers were dealing critically with such subjects as the war, alienation, religion, poverty, Marxism, psychology and art, and experimenting with new techniques such as the stream of consciousness, du Maurier produced 'old-fashioned' novels with straightforward narratives that appealed to a popular audience's love of fantasy, adventure, sexuality and mystery. At an early age, she recognised that her readership was comprised principally of women, and she cultivated their loyal following through several decades by embodying their desires and dreams in her novels and short stories.

    In some of her novels, however, she went beyond the technique of the formulaic romance to achieve a powerful psychological realism reflecting her intense feelings about her father, and to a lesser degree, her mother. This vision, which underlies Julius, Rebecca and The Parasites, is that of an author overwhelmed by the memory of her father's commanding presence. In Julius and The Parasites, for example, she introduces the image of a domineering but deadly father and the daring subject of incest.

    In Rebecca, on the other hand, du Maurier fuses psychological realism with a sophisticated version of the Cinderella story. The nameless heroine has been saved from a life of drudgery by marrying a handsome, wealthy aristocrat, but unlike the Prince in Cinderella, Maxim de Winter is old enough to be the narrator's father. The narrator thus must do battle with The Other Woman—the dead Rebecca and her witch-like surrogate, Mrs Danvers—to win the love of her husband and father-figure.

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