Cruelty, Suspense, and the Macabre in Five Crime Stories by Daphne du Maurier
Far from the “romantic” label that her novels erroneously carry, Daphne du Maurier’s short stories evince a macabre and cruel strain of which the writer was perfectly aware and occasionally wrote. Wishing to understand the prevalence of such a distinctive feature, this article starts by analysing th...
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| Vydáno v: | URI:https://journals.openedition.org/jsse, |
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| Hlavní autor: | |
| Médium: | Article ou chapitre numérique |
| Jazyk: | Anglais |
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Journal of the Short Story in English
2024
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| On-line přístup: | Accès Université d'Orléans et IFPM |
| Shrnutí: | Far from the “romantic” label that her novels erroneously carry, Daphne du Maurier’s short stories evince a macabre and cruel strain of which the writer was perfectly aware and occasionally wrote. Wishing to understand the prevalence of such a distinctive feature, this article starts by analysing the source and semantics of du Maurier’s macabre. It then lays stress on the bitter facts and ironic twists of fate which punctuate the five crime stories studied here, namely “The Little Photographer,” “Kiss Me Again, Stranger,” “No Motive,” “The Alibi” and “Don’t Look Now.” The complex rapport of both victims and villains with reality is then underlined, together with the problematic refuge they seek in make-believe. It is then suggested that du Maurier’s cruel and macabre strain is a response to her own unease with the sexual taboos and gender bias dictated by a patriarchal society. |
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