阅读达夫妮·杜穆里埃 Daphne du Maurier在小说之家的作品!!! | |||
达夫妮·杜穆里埃达夫妮·杜穆里埃-生平
达夫妮·杜穆里埃出身书香门第、艺术世家，祖父乔治•杜穆里埃也是小说家和插图画家。祖父的这一经历对达夫妮产生强烈影响，使她终生从事文学创作，并养成为文学特别是为小说作品画插图的习惯。父亲杰拉尔德•杜穆里埃爵士是著名演员，并从事演出经纪人的职业，在这样的家庭里，杜穆里埃自幼受到了艺术的熏陶。戏剧对达夫妮的影响也是显而易见的，她的小说注重情节和人物性格的刻画，具有引人入胜的戏剧性。达夫妮•杜穆里埃开始在伦敦受教育，后到巴黎求学。她聪明博学，极有文学天赋，1931年她创作出了她的第一部长篇小说《可爱的精神》，在文坛上崭露头角。1938年出版了《吕蓓卡》(Rebecca)，国内又译为《蝴蝶梦》。这部小说使她名噪全球，跻身于世界当代有影响的作家之林。《牙买加客栈》是她1935年的作品，也是她的代表作之一。她发表的一系列哥特式浪漫主义作品均以她的家乡康沃尔郡海岸为背景。她还写过一部历史小说和几个剧本。《牙买加客栈》和《蝴蝶梦》分别于1939年和1940年被搬上银幕。虽然《牙买加客栈》在英国上演时引起了不小的轰动，但《蝴蝶梦》的成功则更加辉煌。杜穆里埃于1969年被授予英帝国女爵士勋位。
达夫妮•杜穆里埃对于资产阶级工业革命带来的科学进步和城市文明没有兴趣，都市的浮华和道德沦丧使她厌倦都市生活。她离开伦敦，避居英国西南部大西洋沿岸的康沃尔郡。康沃尔郡的农场庄园悠闲暇适的乡下生活和绮丽迷人的自然风光很适合达夫妮的心情。她潜心研究欣赏十九世纪反映维多利亚时代风俗和生活的作品，阅读十八世纪、十九世纪的哥特式小说。这些小说崇尚原始生活的粗野、神秘、恐怖、冒险,充满浪漫感伤的情调。康沃尔郡的生活保留了很多维多利亚时代的特征，也是写作哥特式小说的最好土壤。达夫妮的主要小说作品《牙买加旅店》、《蝴蝶梦》、《法兰西人的支脉》都是以康沃尔郡为背景的。因此，哥特式小说的艺术风格和维多利亚时代的民风乡俗，是理解、诠释达夫妮康沃尔小说的关键。
达夫妮·杜穆里埃-评价
英国著名的小说家和评论家福斯特(Forster E.M.，1879—1970)在评论达夫妮·杜穆里埃的小说时说过，英国的小说家中没有一个人能够做到像杜穆里埃这样打破通俗小说与纯文学的界限，让自己的作品同时满足这两种文学的共同要求。福斯特不愧为著名的作家和评论家，他对小说家创作过程的理解和对评论鉴赏的正确领悟使他对杜穆里埃的作品不抱偏见，给出了恰到好处的评论。达夫妮·杜穆里埃所用的艺术表现手法是注重形式和故事情节的通俗小说手法，所以不管是什么层次的读者，是知识分子，还是工人、家庭妇女、农民，只要有一定的文化，都可以读达夫妮·杜穆里埃的小说，都会感到通俗易懂。这与她喜欢哥特式的小说是分不开的。但她的小说又与哥特式小说有很大的区别。哥特式小说为了情节而忽略社会，忽略生活的内容，而达夫妮·杜穆里埃的小说具有非常坚实的社会生活内容，她是把人物放在特定的生活环境中、社会关系中来刻画，人性在金钱、名利、情感所织成的画面中得到展示和考验。这是她热爱和崇尚布兰韦里·勃朗特姐妹小说的直接结果。勃朗特姐妹的作品曾使达夫妮·杜穆里埃深深感动，她为她们姐妹专门写了传记，研究她们的传记过程，在自己的小说和传记创作过程中不断汲取勃朗特姐妹的长处，取得了显著的成功。从达夫妮·杜穆里埃作品中，通俗小说家应该看到和众也有曲寡的深刻性，纯文学小说家应该看到曲寡完全可以和众的现实性。
达夫妮·杜穆里埃-主要作品
《蝴蝶梦》
《蝴蝶梦》原名《吕贝卡》，是达夫妮·杜穆里埃的成名作，发表于一九三八年，已被译成二十多种文字，再版重印四十多次，并被改编搬上银幕，由擅长饰演莎士比亚笔下角色的名演员劳伦斯·奥利维尔爵士主演男主角。该片上映以来久盛不衰。
达夫妮·杜穆里埃在本书中成功地塑造了一个颇富神秘色彩的女性吕蓓卡的形象，此人于小说开始时即已死去，除在倒叙段落中被间接提到外，从未在书中出现，但却时时处处音容宛在，并能通过其忠仆、情夫等继续控制曼陀丽庄园直至最后将这个庄园烧毁。小说中另一女性，即以故事叙述者身份出现的第一人称，虽是喜怒哀乐俱全的活人，实际上却处处起着烘托吕蓓卡的作用，作者这种以“实有”陪衬“虚无”的手法颇为别致。
值得注意的是，作者通过刻画吕蓓卡那种放浪形骸之外的腐化生活，以及她与德温特的畸形婚姻，对英国上层社会中的享乐至上、尔虞我诈、穷奢极侈、势利伪善等现象作了生动的揭露。作者还通过情景交融的手法比较成功地渲染了两种气氛：一方面是缠绵悱恻的怀乡忆旧，另一方面是阴森压抑的绝望恐怖。这双重气氛互相交叠渗透，加之全书悬念不断，使本书成为一部多年畅销不衰的浪漫主义小说。但在这部作品中也反映了作者某些不足之处，如作品反映的生活面比较狭窄，若干描写景色的段落有点拖沓，且时有重复等。
《牙买加客栈》
《牙买加客栈》是作者的另一部哥特体悬疑经典小说。故事发生在英国康沃尔郡的博德明沼泽地，在这人烟稀少的沼泽地中央孤零零地矗立着一座两层高的楼房，这就是牙买加客栈。二十三岁的农家女玛丽因为父母双亡，无依无靠，只好背井离乡，来到这穷乡僻壤投奔她的姨妈佩兴斯——牙买加客栈的老板娘。然而她很快发现，牙买加客栈实际上是一伙歹徒的秘密据点，而这伙歹徒的首领就是牙买加客栈老板、她的姨夫乔斯·默林。一开始，她以为这伙歹徒只是在暗中进行走私活动，可姨妈那痛苦而恐惧的眼神和月黑风高时客栈内外的种种奇怪迹象却让她深信，走私活动的背后一定还有更为可怕的犯罪活动。为了揭开这个谜，玛丽用自己的柔弱之躯与一群杀人不眨眼的亡命之徒展开了一场斗智斗勇的较量。在此过程中，她结识了一个盗马贼和一个教长。在与他们的交往中，玛丽的情感和理智又一次陷入了混乱之中……
《浮生梦》
这部作品以康沃尔郡的庄园为人物活动的主要舞台。庄园主安布鲁斯·艾什利因病出国作短期休养旅行，在意大利邂逅孀居的表妹拉吉奥，双双坠入爱河，并很快结婚。消息传到庄园，替他管理庄园的菲利普自幼失去双亲，是堂兄安布鲁期将其抚养大，安布鲁斯是他的监护人、教师，是他的兄长，又像他的父亲，甚至是他的整个世界。在实际生活中，安布鲁斯也把菲利普视为农庄的继承人，安布鲁斯的死去对菲利普是一个巨大的打击。随后，拉吉奥来到这个庄园，她的来因未明，之后发生一系列的事把故事推上高潮……
《征西大将军》
达夫妮·杜穆里埃以《蝴蝶梦》享誉文坛的英国作女作家达夫妮·杜穆里埃一生著作甚丰，《征西大将军》就是其中一部颇具代表性的作品。
昂纳·哈里斯小姐是兰雷斯特庄园最小的女儿，在十八岁生日那天邂逅年轻军官理查德·格伦维尔后，经历了一段田园诗般的浪漫时光。不料，婚礼前夕，昂纳猝遭不幸，从幸福的云端坠入绝望的谷底。而恰在此时，英国内战爆发，昂纳的个人生命被无情地卷入了战争的旋涡……
《征西大将军》以十七世纪中叶英国内战时期为背景，以当时英格兰西部发生的保王党人和议会派之间的争斗及相互间势力消长为主线，叙述了一个回肠荡气的爱情故事，读之令人扼腕，催人深思。
《玛丽.安妮》
本书是达夫妮·杜穆里埃的一部主要作品。玛丽·安妮出身低微，但她从小就不甘心受穷。成人后，她以姿色、智慧、野心斡旋于社会。在一些不怀好意的男人的怂恿下，她走上了一条出人头地的捷径——做了约克公爵情妇。在过了一段风光的日子之后，遭到了遗弃。
《统治吧,不列颠》
达夫妮·杜穆里埃一生曾涉猎多种文学题材，《统治吧，不列颠》是她所著的为数不多的幻想小说之一。
少女埃玛与祖母麦德——一位退休女明星以及她所领养的六个性格迥异的男孩共同生活在英国康沃尔地区，日子过得富足而快乐。不料，某一天早上醒来，周围世界突然发生了惊人的变化：由于英国政府的无能，美国军队打着“共建美英国”的旗号进驻英国各个地区，激起轩然大波，埃玛一家也不可避免地被卷进了旋涡。逆来顺受？消极抵抗？还是主动出击？埃玛一家与不列颠王国的所有家庭一样，都陷入了进退维谷的险境……
杜穆里埃在虚拟的情节背景下，以娴熟的技巧、幽默的笔触和大胆的想象力讲述了一个引人入胜的故事，塑造了一组性格鲜明的人物群像，同时也含蓄地抒发了她深沉的民族情感，既秉承了作者一贯重视作品可读性的优势，又以泼辣、奇特的文风为全书注入了颇为新颖的元素。
书名引自英国著名诗人詹姆斯·汤普森（1700-1748）的诗句，原意是颂扬大不列颠“君临天下”的霸权统治，作者以此为题，似含反讽之意。
《法国人的小湾》
达夫妮·杜穆里埃朵娜为逃避大都市生活来到海滨纳维隆别墅，她遇到并爱上了海盗首领，当贵族们将海盗投入监狱，朵娜在一个漆黑的夜晚毅然冲进黑暗，去拯救她所爱的人。
杜穆里埃受神秘主义影响很深。作品大多曲折，引人入胜，人物鲜明，刻画细腻。
法国人的小湾文词精美，和蝴蝶梦一样，曾被一些国家作为学习英语的范本。
《替罪羊》（《TheScapegoat》）
达夫妮·杜穆里埃《替罪羊》写于1957年。故事发生在法国的拉孟斯城。一个教法国历史的英国教师约翰，对于自己在课堂上死板地讲解课文内容感到不满意，他认为他的工作是失败的，生活也是乏味、不幸福的。为了了解法国社会的真实情况，在假期里他来到了法国的拉孟斯城。在那里，他遇到一个与他长得一模一样的法国人让·杜歌。虽然让·杜歌很富裕，但由于家庭生活琐事的烦恼和经或的玻璃厂濒于破产，他也感到生活很空虚、乏味，因而想逃离现实生活。两人相遇后，让·杜歌在酒中掺入了安眠药，把约翰开得迷迷糊糊的，然后给他换上了自己的衣服，把他留在旅馆中，而他自己却溜走了。就这样，约翰被让·杜歌的家人误认为是让·杜歌本人而接回家中。在与杜歌一家生活的一个星期中，约翰渐渐熟悉了杜歌家的情况，并对他家每个人的生活和工作作了适当的安排，他又设法使杜歌的玻璃厂避免倒闭，重新振兴起来。这样杜歌一家人与让·杜歌的矛盾也消除了。
Personal life
Daphne du Maurier was born in London, the second of three daughters of the prominent actor-manager Sir Gerald du Maurier and actress Muriel Beaumont (maternal niece of William Comyns Beaumont). Her grandfather was the author and Punch cartoonist George du Maurier, who created the character of Svengali in the novel Trilby. These connections helped her in establishing her literary career. du Maurier published some of her very early work in Beaumont's Bystander magazine, and her first novel, The Loving Spirit, was published in 1931. Du Maurier was also the cousin of the Llewelyn Davies boys, who served as J.M. Barrie's inspiration for the characters in the play Peter Pan, or The Boy Who Wouldn't Grow Up. As a young child she was introduced to many of the brightest stars of the theatre thanks to the celebrity of her father. On meeting Tallulah Bankhead she was quoted as saying that the actress was the most beautiful creature she had ever seen.[citation needed]
She married Lieutenant-General Sir Frederick "Boy" Browning,with whom she had two daughters and a son (Tessa, Flavia, and Christian). Biographers have noted that the marriage was at times somewhat chilly and that du Maurier could be aloof and distant to her children, especially the girls, when immersed in her writing. "Boy" died in 1965 and soon after Daphne moved to Kilmarth, near Par, which became the setting for The House on the Strand.
Du Maurier has often been painted as a frostily private recluse who rarely mixed in society or gave interviews. An exception to this came after the release of the film A Bridge Too Far, in which her late husband was portrayed in a less-than-flattering light. Du Maurier, incensed, wrote to the national newspapers decrying what she considered unforgivable treatment. Once out of the glare of the public spotlight, however, many remembered her as a warm and immensely funny person who was a welcoming hostess to guests at Menabilly, the house she leased for many years (from the Rashleigh family) in Cornwall. Letters from Menabilly contains the letters from du Maurier to Malet over 30 years, with Malet's commentary. (Malet's real name is Auriel Malet Vaughan.)
Daphne du Maurier was a member of the Cornish nationalist pressure group/political party Mebyon Kernow. She was spoofed by her slightly older fellow writer P. G. Wodehouse as "Daphne Dolores Morehead".
Du Maurier died at age 81 at her home in Cornwall, the region that had been the setting for many of her books. Her body was cremated and her ashes scattered at Kilmarth.
Secret sexual relationships
After her death in 1989, numerous references were made to her secret bisexuality; an affair with Gertrude Lawrence, as well as her attraction for Ellen Doubleday, the wife of her American publisher, were cited. Du Maurier stated in her memoirs that her father, noted manager Gerald du Maurier, had wanted a son and being a tomboy, she had naturally wished to have been born a boy. Her father, unusual for such a prominent theatre personality, was vociferously homophobic. There is some evidence to suggest that Daphne's relationship with her father may have bordered on incest.
In correspondence released by her family for the first time to her biographer, Margaret Forster, du Maurier explained to a trusted few her own unique slant on her sexuality: her personality, she explained, comprised two distinct people—the loving wife and mother (the side she showed to the world) and the lover (a decidedly male energy) hidden to virtually everyone and the power behind her artistic creativity. According to the biography, du Maurier believed the male energy was the demon that fueled her creative life as a writer. Forster maintains that it became evident in personal letters revealed after her death, however, that du Maurier's denial of her bisexuality unveiled a homophobic fear of her true nature.
Titles and honours
* Miss Daphne du Maurier (1907–1932)
* Mrs Frederick Browning; Daphne du Maurier (1932–1946)
* Lady Browning; Daphne du Maurier (1946–1969)
* Lady Browning; Dame Daphne du Maurier DBE (1969–1989)
In the Queen's Birthday Honours List for June 1969, Daphne du Maurier was created a Dame of the British Empire. She never used the title and according to her biographer Margaret Forster, she told no one about the honour. Even her children learned of it from the newspapers. "She thought of pleading illness for the investiture, until her children insisted it would be a great day for the older grandchildren. So she went through with it, though she slipped out quietly afterwards to avoid the attention of the press".
Cultural references
English Heritage created controversy in June 2008 when an application to commemorate her home in Hampstead by a Blue Plaque was rejected by them.
Daphne du Maurier was one of five "Women of Achievement" selected for a set of British stamps issued in August 1996. The others were Dorothy Hodgkin (scientist), Margot Fonteyn (ballerina / choreographer), Elizabeth Frink (sculptor) and Marea Hartman (sports administrator).
Novels, short stories and biographies
Literary critics have sometimes berated du Maurier's works for not being "intellectually heavyweight" like those of George Eliot or Iris Murdoch.[citation needed] By the 1950s, when the socially and politically critical "angry young men" were in vogue, her writing was felt by some to belong to a bygone age of fiction. [citation needed] Today she has been reappraised as a first-rate storyteller, a mistress of suspense: her ability to recreate a sense of place is much admired, and her work remains popular worldwide. For several decades she was the number one author for library book borrowings.[citation needed]
The novel Rebecca, which has been adapted for stage and screen on several occasions, is generally regarded as her masterpiece. One of her strongest influences here was Jane Eyre by Charlotte Brontë. Her fascination with the Brontë family is also apparent in The Infernal World of Branwell Brontë, her biography of the troubled elder brother to the Brontë girls. The fact that their mother had been Cornish no doubt added to her interest.[citation needed]
Other notable works include The Scapegoat, The House on the Strand, and The King's General. The latter is set in the middle of the first and second English Civil Wars. Though written from the Royalist perspective of her native Cornwall, it gives a fairly neutral view of this period of history.
In addition to Rebecca, several of her other novels have been adapted for the screen, including Jamaica Inn, Frenchman's Creek, Hungry Hill and My Cousin Rachel (1951). The Hitchcock film The Birds (1963) is based on a treatment of one of her short stories, as is the film Don't Look Now (1973). Of the films, du Maurier often complained that the only ones she liked were Alfred Hitchcock's Rebecca and Nicolas Roeg's Don't Look Now. Hitchcock's treatment of Jamaica Inn involved a complete re-write of the ending in order to accommodate the ego of its star, Charles Laughton. Du Maurier also felt that Olivia de Havilland was totally wrong as the (anti-)heroine in My Cousin Rachel. Frenchman's Creek fared rather better with its lavish Technicolor sets and costumes, though du Maurier later regretted her choice of Alec Guinness as the lead in the film of The Scapegoat which she partly financed.
Du Maurier was often categorised as a "romantic novelist" (a term she deplored), though most of her novels, with the notable exception of Frenchman's Creek, are quite different from the stereotypical format of a Georgette Heyer or Barbara Cartland novel. Du Maurier's novels rarely have a happy ending, and her brand of romanticism is often at odds with the sinister overtones and shadows of the paranormal she so favoured. In this light, she has more in common with the "sensation novels" of Wilkie Collins et al., which she admired.
Du Maurier's novel Mary Anne (1954) is a fictionalised account of the real-life story of her great-great-grandmother, Mary Anne Clarke née Thompson (1776–1852). Mary Anne Clarke from 1803 to 1808 was mistress of Frederick Augustus, the Duke of York and Albany (1763–1827). He was the "Grand Old Duke of York" of the nursery rhyme, a son of King George III and brother of the later King George IV. In Ken Follett's thriller The Key to Rebecca, du Maurier's novel Rebecca is used as the key for a code used by a German spy in World War II Cairo. Neville Chamberlain is reputed to have read Rebecca on the plane journey which led to Adolf Hitler signing the Munich Agreement. The central character of her last novel, Rule Britannia, is an aging and eccentric actress who was based on Gertrude Lawrence and Gladys Cooper (to whom it is dedicated). However, the character is most recognisably du Maurier herself.[citation needed]
Indeed, it was in her short stories that she was able to give free rein to the harrowing and terrifying side of her imagination; "The Birds", Don't Look Now, The Apple Tree and The Blue Lenses are exquisitely crafted tales of terror which shocked and surprised her audience in equal measure. Perhaps more than at any other time, du Maurier was anxious as to how her bold new writing style would be received, not just with her readers (and to some extent her critics, though by then she had grown wearily accustomed to their often luke-warm reviews) but her immediate circle of family and friends.
In later life she wrote non-fiction, including several biographies which were well-received. This no doubt came from a deep-rooted desire to be accepted as a serious writer, comparing herself to her close literary neighbour, A. L. Rowse, the celebrated historian and essayist, who lived a few miles away from her house near Fowey.
Also of interest are the "family" novels/biographies which du Maurier wrote of her own ancestry, of which Gerald, the biography of her father, was most lauded. Later she wrote The Glass-Blowers, which traces her French ancestry and gives a vivid depiction of the French Revolution. The du Mauriers is a sequel of sorts, describing the somewhat problematic ways in which the family moved from France to England in the 19th century and finally Mary Anne, a novel based on the life of a notable, and infamous, English ancestor—her great-grandmother Mary Anne Clarke, former mistress of Frederick, Duke of York.
Her final novels reveal just how far her writing style had developed; The House on the Strand (1969) combines elements of "mental time-travel", a tragic love-affair in 14th century Cornwall, and the dangers of using mind-altering drugs. Her final novel, Rule Britannia, written post-Vietnam, plays with the resentment of English people in general and Cornish people in particular at the increasing dominance of the US.
In late 2006 a previously unknown work titled And His Letters Grew Colder was discovered. This was estimated to have been written in the late 1920s, and takes the form of a series of letters tracing an adulterous passionate affair from initial ardour to deflated acrimony.
Plays
Daphne du Maurier wrote three plays. Her first was a successful adaptation of her novel Rebecca, which opened at the Queen's Theatre in London on 5 March 1940 in a production by George Devine, starring Celia Johnson and Owen Nares as the De Winters, and Margaret Rutherford as Mrs. Danvers. At the end of May, following a run of 181 performances, the production transferred to the Strand Theatre, with Jill Furse taking over as Mrs. De Winter and Mary Merrall as Danvers, with a further run of 176 performances.
In the summer of 1943 she began writing the autobiographically-inspired drama The Years Between about the unexpected return of a senior officer, thought killed in action, who finds that his wife has taken over his role as Member of Parliament as well as starting a romantic relationship with a local farmer. It was first staged at the Manchester Opera House in 1944, then transferred to London, opening at Wyndham's Theatre on 10 January 1945 starring Nora Swinburne and Clive Brook. The production, directed by Irene Hentschel became a long-running hit, completing 617 performances.
After 60 years of neglect the play was revived by Caroline Smith at the Orange Tree Theatre in Richmond upon Thames on 5 September 2007, starring Karen Ascoe and Mark Tandy.
Better known is her third play, September Tide, about a middle-aged woman whose bohemian artist son-in-law falls for her. The central character of Stella was originally based on Ellen Doubleday and was merely what Ellen might have been in an English setting and in a different set of circumstances. Again directed by Irene Hentschel, it opened at the Aldwych Theatre on 15 December 1948 with Gertrude Lawrence as Stella, enjoying a run of 267 performances before closing at the beginning of August 1949. It was to lead to a close personal and social relationship between Daphne and Gertrude.
Since then September Tide has received occasional revivals, most recently at the Comedy Theatre in London in January 1994, starring film and stage actress Susannah York in the role originally created by Lawrence, with Michael Praed as the saturnine young artist. Reviewing the production for the Richmond & Twickenham Times, critic John Thaxter wrote: "The play and performances delicately explore their developing relationship. And as the September gales batter the Cornish coast, isolating Stella's cottage from the outside world, she surrenders herself to the truth of a moment of unconventional tenderness."
Plagiarism allegations
Shortly after Rebecca was published in Brazil, critic Álvaro Lins and other readers pointed out many resemblances between du Maurier's book and the work of Brazilian writer Carolina Nabuco. Nabuco's A sucessora (The Successor) has a main plot similar to Rebecca, including a young woman marrying a widower and the strange presence of the first wife — plot features also shared with the far older Jane Eyre. Nina Auerbach alleged, in her book Daphne du Maurier, Haunted Heiress, that du Maurier read the Brazilian book when the first drafts were sent to be published in England and based her famous bestseller on it. According to Nabuco's autobiography, she refused to sign a contract brought to her by a United Artists' worker in which she agreed that the similarities between her book and the movie were mere coincidence. Du Maurier denied copying Nabuco's book, as did her publisher, claiming that the plot used in Rebecca was quite common.
Publications
Fiction
* The Loving Spirit (1931)
* I'll Never Be Young Again (1932)
* The Progress of Julius (1933) (later re-published as Julius)
* Jamaica Inn (1936)
* Rebecca (1938)
* Rebecca (1940) (play—du Maurier's own stage adaptation of her novel)
* Happy Christmas (1940) (short story)
* Come Wind, Come Weather (1940) (short story collection)
* Frenchman's Creek (1941)
* Hungry Hill (1943)
* The Years Between (1945) (play)
* The King's General (1946)
* September Tide (1948) (play)
* The Parasites (1949)
* My Cousin Rachel (1951)
* The Apple Tree (1952) (short story collection, AKA Kiss Me Again, Stranger)
* Mary Anne (1954)
* The Scapegoat (1957)
* Early Stories (1959) (short story collection, stories written between 1927–1930)
* The Breaking Point (1959) (short story collection, AKA The Blue Lenses)
* Castle Dor (1961) (with Sir Arthur Quiller-Couch)
* The Birds and Other Stories (1963) (republication of The Apple Tree)
* The Glass-Blowers (1963)
* The Flight of the Falcon (1965)
* The House on the Strand (1969)
* Not After Midnight (1971) (short story collection, AKA Don't Look Now)
* Rule Britannia (1972)
* "The Rendezvous and Other Stories" (1980) (short story collection)
Non-fiction
* Gerald (1934)
* The du Mauriers (1937)
* The Young George du Maurier (1951)
* The Infernal World of Branwell Brontë (1960)
* Vanishing Cornwall (includes photographs by her son Christian)(1967)
* Golden Lads (1975)
* The Winding Stairs (1976)
* Growing Pains -— the Shaping of a Writer (1977) (a.k.a. Myself When Young -— the Shaping of a Writer)
* Enchanted Cornwall (1989)
Translations
* Hungry Hill (1943) was translated into Dutch and published under the title 'De kopermijn. De geschiedenis van de familie Brodrick' (literally: The coppermine. The history of the family Brodrick).