Daphne du Maurier began writing short stories in 1928, and, although her talent transferred into novel writing, creating her fame in the literary world, she continued to write short stories throughout her career. In her preface to this book, the author states that a large proportion of the stories in this collection were written in her thirties and forties, a considerable time after her first attempts.
However, one factor remains constant – the author’s incredible perception of the characteristics of people, regardless of their place in society, age, or their gender. Even as a young woman, she was able to capture the states of mind of the way people think and act, whether their intentions were good or not. The Rendezvous and Other Stories (Virago Modern Classics 2005, ISBN 1-84408-071-4) displays this talent.
Realism in Character
In her introduction to this collection, Minette Walters states that Daphne du Maurier’s characters are displayed with all their characteristics in full force, whether that be good or bad. It does, she suggests, not necessarily make the reader like the characters. It does, however, create an intensity in the author’s stories through the realism of human nature we find and recognise in both ourselves and in people we know.
Even the stories which were written while the author was young display an immense knowledge of male and female character traits, most notably in those stories such as Leading Lady and The Rendezvous in which there is no mercy shown these characters as they are displayed with all their faults, quirks and disparaging thoughts.
This realism, as the author notes in her preface, is possibly due to the activities and conversations which had stuck in her mind over the course of various occasions with her father, husband and friends.
Variety of Mood and Theme
Daphne du Maurier herself said that she only ever wrote one romance – Fenchman’s Creek – although the romantic element has appeared again and again in her work, including in this collection. However, many other themes and emotions occur here also, proving beyond doubt that the author has the ability to defy being classified in any one genre.
Tension and the supernatural is conjured up in The Escort as a war ship is given safe passage by a ghostly historical craft. It is not the only time that the author uses elements of the supernatural, of course. One only has to think of the underlying feeling in Rebecca, as the young Mrs de Winter struggles against the prevalent ghost of the first Mrs de Winter.
Death is a feature in numerous stories, as well as the novel, and no more harsh than in No Motive, in which a seemingly ordinary, happy, pregnant wife commits suicide. The mood here changes from one of mystery as a private detective sets about his task to find out why, to that of such terrible tragedy as the truth behind the motive is heard.
Vanity and stupidity on the part of characters such as the famous writer in The Rendezvous makes for comedy, certainly for the reader, although not for the main protagonist.
It is interesting to note how the author seems to enjoy experimenting with as many different moods within her characters as well as in the themes of the stories. It is one of the delights of short stories – no two are ever quite the same.
Making the Reader Uncomfortable
There is not a story among this collection which rests easily with the reader. Conclusions are reached but they do not necessarily create a happy ending. We are left with, for instance, a deceived wife in La Sainte-Vierge, whose own blind faith causes her to actually witness her husband’s infidelity in front of her but she does not see. However, we duly note the deception.
The Closing Door creates within it our hopes for a terminally ill man, that his girlfriend will want to help him through his illness. We are led to believe she is a kind and gentle creature through the man’s reluctance to share the knowledge of his illness with her. But in doing so he, and we, get to experience her cruelty of thought towards people in a similar situation. While she talks of a beautiful day, we are left with a sick feeling in our stomachs.
Reading Daphne du Maurier’s collection of short stories is a treat to be savoured as a box of favourite chocolates. To dip into this collection provides the reader with a degree of sweetness but with constant surprise, not always to the reader’s liking but leaving a taste in the mouth which lingers. If you wish to experience and delight in a vast array of both, then look no further. Please read this collection of short stories.
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