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(Critical Survey of Contemporary Fiction)

Told in the first person, this novel reveals the powerful psychological pressures on a very young, inexperienced woman who lives in the shadow of her husband’s dead first wife, the brilliant and sophisticated Rebecca.

When the young woman first meets Maxim de Winter in Monte Carlo, she is working as a paid companion to an obnoxious, loud, and vulgar American socialite. Almost without being aware of it, the young woman drifts into a romance with de Winter, marries him, and returns with him to his sumptuous estate, Manderley, on the Cornish coast.

Once at Manderley, the young woman’s awkwardness becomes more marked as she compares herself to Rebecca, who drowned in a sailing accident less than a year before.

The mansion is filled with mementos of Rebecca: the statuary she selected, the rooms she decorated, and the luxuriously scented clothes and furs which still fill the closets of Rebecca’s bedroom--the most beautiful room in the house.

Every detail of daily life is just as Rebecca ordered it, from the sumptuous daily meals to the menacing housekeeper, Mrs. Danvers, who came to Manderley with Rebecca.

When de Winter’s preoccupation with the estate makes him seem distant, the young woman assumes that he is comparing her, unfavorably, with Rebecca. She thinks that her clothing and makeup are wrong and that besides the memory of Rebecca she must appear very plain and ugly. Finally, after a disastrous costume ball, the truth about Rebecca is slowly and compellingly revealed.

Critics reviewed REBECCA favorably, some even saying it was a 20th century JANE EYRE. Whether this comparison is deserved, Rebecca is certainly one of the best of the perennially popular romantic novels.


Bakerman, Jane S., ed. And Then There Were Nine . . . More Women of Mystery. Bowling Green, Ohio: Bowling Green State University Popular Press, 1985. A collection of essays. Bakerman’s chapter on Daphne du Maurier argues that in her six “romantic suspense novels,” including Rebecca, can be seen not only new uses of the gothic “formula” but also reflections of other literary traditions. Sees du Maurier as preeminent in her genre.

Beauman, Sally. “Rereading Rebecca.” The New Yorker 69, no. 37 (November 8, 1993): 127-138. Points out that the publication in 1993 of Forster’s biography of du Maurier and of Susan Hill’s Mrs. de Winter, a sequel to the novel, indicate the lasting importance of Rebecca in literary history. Beauman voices her surprise that feminist critics have not turned their attention to a work in which the narrator so clearly equates love with submission. A balanced and perceptive analysis.

Conroy, Sarah Booth. “Daphne du Maurier’s Legacy of Dreams.” The Washington Post, April 23, 1989, pp. F1, F8. Accounts for du Maurier’s continuing appeal by placing her in the oral tradition. The deep-seated “universal fears” that are experienced by her characters and the rhythms of her prose are reminiscent of fireside storytelling. Of all of her well-developed characters, the most convincing is Manderley itself.

Du Maurier, Daphne. The Rebecca Notebook and Other Memories . Garden City, N.Y.: Doubleday, 1980. Examines the birth and adolescence of a novel. Contains all textual notes and personal...

(The entire section is 773 words.)