Posts Tagged ‘daphne du maurier’
August 17, 2016 | by Dan Piepenbring
- Guess what, people? Your garden-variety, Norman Mailer–style, chest-thumping, self-aggrandizing narcissist is obsolete. This is the twenty-first century, and we have newer, more sophisticated, and more popular models for self-love. Kristin Dombek writes, “The narcissist is, according to the Internet, empty. Normal, healthy people are full of self, a kind of substance like a soul or personhood that, if you have it, emanates warmly from inside of you toward the outside of you. No one knows what it is, but everyone agrees that narcissists do not have it. Disturbingly, however, they are often better than anyone else at seeming to have it. Because what they have inside is empty space, they have had to make a study of the selves of others in order to invent something that looks and sounds like one. Narcissists are imitators par excellence. And they do not copy the small, boring parts of selves. They take what they think are the biggest, most impressive parts of other selves, and devise a hologram of self that seems superpowered. Let’s call it ‘selfiness,’ this simulacrum of a superpowered self.”
- Say you’re in this band—let’s call it, say Metallica—and you release four earth-shatteringly seminal thrash-metal albums in the late eighties. And then you start to suck. And you persist in sucking. For decades. This is not, by ordinary standards, a sound business strategy—but what if, as Drew Millard suggests, Metallica is playing a very long game, profiting from toying with its fans’ emotions? “I get the sense that Metallica fans wouldn’t view the band’s early material with such reverence if the band hadn’t started systematically alienating the people who got them to the top. When it comes to fandom at least, hate is a far stronger emotion than love, and it seems like the further Metallica has drifted from its roots, the more incredulous the world has become that this group of sell-outs and lame-os could have once made such perfect, untouchable music. This relationship works in reverse as well: if the first four Metallica albums hadn’t been so great, it wouldn’t be so fun to hate on every move the band has made since then.”
- You’re not supposed to touch things in museums, which means it’s very fun to touch them. A rash of recent accidents—a kind of museum crime blotter, if you will—makes the allure of touching very apparent. There’s the guy “who wanted to take a photo of himself with a sculpture in the foreground and a painting in the background. The visitor could not frame the photo to his liking, so he wrapped his arms around the abstract sculpture, which was the size of a person, and turned it on its pedestal to get the best angle.” Or the boy who “smashed a giant Lego sculpture of Nick from Zootopia at an expo in Ningbo, China. The artist had spent days piecing it together, reports said.”
- Governments have attempted to neuter the appeal of cigarettes by doing away with their branding, insisting on generic packages in place of subtle marketing. But this misplaces some of the allure of addiction, as Rob Horning writes: “It seems more plausible that addiction generates its own rationalizations, its own myths, its own ideology. We need to experience a physical grounding for our ideological beliefs, and we need to have ideological excuses for our physical addictions, so they tend to work in tandem, symbiotically … Brands can seem like a way to add a phony value to an otherwise undifferentiated commodity. But they also mark the entry point for consumers into some vicarious fantasy, some idea tangential to consumption. The potential value of a brand rests in the conflation of compulsion and the desire to believe. It must make you feel as though you are choosing and also have no choice.”
- Today in fiction as prognostication: Did Daphne du Maurier’s 1972 novel, Rule Britannia, predict Brexit? “In Du Maurier’s imagined referendum the government has ‘backtracked’ on its original support for the Common Market and now opposes British membership. If this contrasts with the Conservative government’s support for the Remain campaign this year, the book still has clear parallels with political events, according to Professor Helen Taylor, of Exeter University. She cites one section of the novel, in which the prime minister bemoans the political and financial repercussions of the leave vote, saying it ‘brought great economic difficulties, as I feared would be the case and as I warned you at the time, and our political autonomy and military supremacy were also endangered.’ ”
September 17, 2015 | by Sadie Stein
Those who go to the mountains must give everything. That’s all there is to it. —Daphne du Maurier, “Monte Verità”
Everest is opening in theaters across the country, bringing with it much CGI, apparently stunning vistas, and the sort of relaxation that can only come from knowing the worst from the outset. For those of us who like a different sort of thrill, I recommend another mountain-climbing story: Daphne du Maurier’s “Monte Verità.”
Originally collected in 1952’s The Apple Tree, “Monte Verità”—really a short novella—can now be found in Don’t Look Now and Other Stories, with a trenchant introduction by Patrick McGrath. “Monte Verità” is about mountain climbing and about spirituality and sexuality, any more than that would be giving it away. Writing about the story, the late Roger Dobson put it this way: Read More »
September 18, 2014 | by Sadie Stein
The moment of crisis had come, and I must face it. My old fears, my diffidence, my shyness, my hopeless sense of inferiority, must be conquered now and thrust aside. If I failed now I should fail forever.
―Daphne du Maurier, Rebecca
It must be wonderful to be one of those pedestrians who own the streets. To be one of those people who walks where he likes with Ratso Rizzo–like entitlement, or, better yet, is gracious enough to usher a car forward when, in fact, the car has the right of way. Such people, of course, never give a timid wave of appreciation—a tacit “thank you for not killing me”—when a car lets them cross.
It must be wonderful never to assume your name has been left off the list, or that your card will be declined. It must be wonderful not to have the moment of anxiety, every time you pass through automatic doors, that they will not open. It must be wonderful not to cry every time someone slights you, and feel bruised for days afterward. It must be wonderful to be Rebecca de Winter, rather than her nameless successor.
Whether you consider Rebecca escapist fun, or an uneasy picture of the Electra complex run amok, or a masterpiece of Gothic storytelling, one thing is for sure: du Maurier paints one of the most accurate portraits of shyness in all of English literature. The narrator has none of Jane Eyre’s reserves and mysterious poise, none of the position and dignity of Jane Austen’s uncomfortable heroes. She is instead consumed by the particularly agonizing egotism that is shyness: a paralyzing self-consciousness that is reinforced by every slight, every harsh word, every reaction of the world, real and perceived. (I suppose I should add a spoiler alert here, for those unfamiliar with the plot of Rebecca.) Read More »
August 25, 2014 | by Sadie Stein
People talk about a “Keeper Shelf” for those books they love more than any others. Those which, I suppose, are worth owning in this time when owning a physical book means something more than it once did. (Or, as much as it once did.) For my money, though, there is no better proof of love for a title than not owning it—that is to say, having given it away. Call it the Phantom Shelf.
When my coffers are in a particularly robust state, I will sometimes indulge in the extravagance of replenishing those favorite books I am most inclined to give away. It is always the same few—titles that I need to share with someone like-minded, right now!—and by the same token, those which I always miss when they are gone. Read More »
August 15, 2014 | by The Paris Review
Desert Bus (1995) has gained a reputation as the worst video game ever made, but as an act of culture jamming—and a comment on a medium that often panders to our basest fantasies—it’s probably the best video game ever made. Conceived by the illusionists Penn and Teller, of all people, and intended for release on the short-lived Sega CD console, Desert Bus never reached shelves, but its concept is so staggeringly mundane (“stupefyingly like reality,” as Penn Jillette puts it) that someone eventually saw fit to leak it. Your goal is to drive a bus from Tucson to Las Vegas: an eight-hour journey, conducted in real time. Is there any traffic to negotiate? No. Can you pause the game? No. Are there even passengers on the bus? No. Can you speed, at least? No. You can’t go any faster than forty-five miles an hour, and your bus always lists to the right, so you have to be vigilant in steering—no falling asleep at the wheel. If you veer off course, the bus will stall and you’ll have to wait for a tow truck to bring you back to Tucson, a humiliating defeat that also unfolds in real time. For the successful completion of this arduous journey, the player receives … one point. Then you get to make the return trip, another eight hours, for another point. Today, Desert Bus is available on smartphones for a mere ninety-nine cents, meaning it’s possible to drive the virtual bus from Tucson to Vegas while you’re on a real bus from Tucson to Vegas. The existential despair induced by such a pursuit may well sunder our universe—but it would be so cool. —Dan Piepenbring
Picking up a paper this morning, it suddenly struck me that Napoleon (whose 245th birthday falls today) must be one of the few people who actually experienced that age-old question: “If you were stranded on a desert island, what would you read?” Confined to the (not quite desert) island of St. Helena, Napoleon’s top ten included Homer’s The Iliad, Milton’s Paradise Lost, and Sophocles’s Oedipus Rex. But according to his biographer, Vincent Cronin, Napoleon’s number one was Paul et Virginie, an eighteenth-century love story by Bernardin de Saint-Pierre in which the heroine is sent to be educated in France and (spoiler alert) drowns in a shipwreck on her way back to Mauritius. Napoleon allegedly loved anything that resonated with his own position—anything featuring, that is, an exile, a separation from a lover, or a life of confinement. How interesting that, in a situation that seems to cry out for the use of literature as escapism, he found release in books of captivity. —Helena Sutcliffe
Sadie Stein recently turned me on to Daphne du Maurier’s 1951 novel, My Cousin Rachel. As you might guess from the title, this later book shares certain ingredients with du Maurier’s 1938 blockbuster, Rebecca. There’s a grand estate in Cornwall, a suspicious death, an innocent orphan, and a femme fatale. In My Cousin Rachel, however, we get to meet the lady in question: a Cornish-Italian beauty with a shady past. Also, the orphan is a man, a twenty-four-year old virgin in love with the memory of his dead male cousin … who looked exactly like him. In Rebecca, du Maurier invented a genre—romantic suspense. My Cousin Rachel is a creepier, campier book. What makes both novels convincingly romantic, and actually suspenseful, isn’t their lurid plots, but how well du Maurier depicts the fear of abandonment. That’s what scares her protagonists—that they might lose the mysterious, dangerous love objects who have put them in touch with their own loneliness. As Sadie warned me, My Cousin Rachel is no Rebecca. But it’s close. —Lorin Stein
Some years ago, I bought a copy of The Song of Igor’s Campaign, translated by Bill Johnston, from Ugly Duckling Presse at the New York Art Book Fair, but I never got around to reading it until now. I wanted the chapbook for its content, but also for its materials. It’s a small, limited-edition letterpress booklet: the thick cotton cover, hand torn by Johnston, is covered with ink-blue birds in flight, a photolithograph by Yulya Deych; and the pages are bound with red cord. It’s more treasure than book, which is fitting for the story it holds. Composed sometime in the late twelfth century (though some claim the poem is a fabrication from the eighteenth century), the Song describes Prince Igor of Chernigov’s campaign, in 1185, against the nomadic Polovtsians, who roam the steppes. Things go poorly for Igor, but the tale overlays action sequences, both thrilling and terrible, with descriptions of the natural world, to stunning effect, as when Igor escapes from captivity:
Prince Igor leapt into the reeds
With the agility of an ermine,
Like a white duck into the wear.
Then he leapt up on his swift horse
And down again, running like the whitefoot wolf.
He hurtled towards the Donets meadows,
Soaring like a falcon beneath the mists,
Killing geese and slaying swans
For morning, noon, and evening meals.
Read More »
September 27, 2012 | by Sadie Stein