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Daphne du Maurier was born at 24 Cumberland Terrace, Regent's Park, London, the middle of three daughters of prominent actor-manager Sir Gerald du Maurier and actress Muriel Beaumont. [3] Her paternal grandfather was author and Punch cartoonist George du Maurier , who created the character of Svengali in the 1894 novel Trilby .
The Glass-Blowers is a 1963 novel by Daphne du Maurier.. The novel tells the story of a French family of glassblowers, the Bussons, charting their journey before, during and after the French Revolution.
Kirkus Reviews began "A haunting series of stories, in most cases putting it up to the reader to interpret the final outcome – in all cases using the device of the moment in life when emotion or reason reaches the point of tension beyond which something snaps", and finished with "In this collection...Daphne du Maurier's peerless craftmanship, her eerie sense of the macabre, her gift for ...
Du Maurier's biographer, Margaret Forster, called it in 1993 "the poorest novel she ever wrote". [6] Ella Westland, in her introduction to the 2004 Virago reprint, called the tone of the book "mocking" – shifting from the funny and farcical to the bleak and bizarre. Du Maurier's publishers were worried by the implausible plot, and it bemused ...
The Birds and Other Stories is a collection of stories by the British author Daphne du Maurier.It was originally published by Gollancz in the United Kingdom in 1952 as The Apple Tree: A Short Novel and Several Long Stories, [2] and was re-issued by Penguin in 1963 under the current title. [1]
Short story collections by Daphne du Maurier (6 P) This page was last edited on 12 May 2024, at 08:48 (UTC). Text is available under the Creative Commons ...
Frenchman's Creek is a 1941 historical novel by Daphne du Maurier. Set in Cornwall during the reign of Charles II , it tells the story of a love affair between an impulsive English lady, Dona, Lady St. Columb, and a French pirate , Jean-Benoit Aubéry.
Reviewing the book under its American title Don't Look Now, Margaret Millar of The New York Times was lukewarm. While acknowledging du Maurier's popularity, she felt the book to be a collection of five uneasy pieces in which "the reader is given an intriguing situation, a series of neatly planted clues and a generous number of plot twists". [8]
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