An edition of Rebecca (1938)

Rebecca

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  • 4.2 (40 ratings) ·
  • 609 Want to read
  • 29 Currently reading
  • 73 Have read

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Last edited by Wimsey1916
October 2, 2024 | History
An edition of Rebecca (1938)

Rebecca

  • 4.2 (40 ratings) ·
  • 609 Want to read
  • 29 Currently reading
  • 73 Have read

With these words, the reader is ushered into an isolated gray stone mansion on the windswept Cornish coast, as the second Mrs. Maxim de Winter recalls the chilling events that transpired as she began her new life as the young bride of a husband she barely knew. For in every corner of every room were phantoms of a time dead but not forgotten—a past devotedly preserved by the sinister housekeeper, Mrs. Danvers: a suite immaculate and untouched, clothing laid out and ready to be worn, but not by any of the great house's current occupants. With an eerie presentiment of evil tightening her heart, the second Mrs. de Winter walked in the shadow of her mysterious predecessor, determined to uncover the darkest secrets and shattering truths about Maxim's first wife—the late and hauntingly beautiful Rebecca.

Publish Date
Publisher
The Modern Library
Language
English
Pages
357

Buy this book

Previews available in: English

Edition Availability
Cover of: Rebecca
Rebecca
September 18, 2001, Harper Paperbacks
in English
Cover of: Rebecca
Rebecca
1992, Arrow
in English
Cover of: Rebecca
Rebecca
1971, Avon
Cover of: Rebecca
Rebecca
1971, Avon, Avon Books
in English
Cover of: Rebecca
Rebecca
1943, The Modern Library
in English
Cover of: Rebecca
Rebecca
1938, Doubleday & Co.
in English - [Book Club ed.].

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Book Details


Edition Notes

First Modern library edition, 1943.

Published in
New York
Series
The Modern library of the world' best books

The Physical Object

Pagination
4 p. ℓ., 357 p.
Number of pages
357

ID Numbers

Open Library
OL17730323M
Internet Archive
rebecca00daph_0
LCCN
43051098
OCLC/WorldCat
1861376
Library Thing
1507

Excerpts

“Suddenly I saw a clearing in the dark drive ahead, and a patch of sky, and in a moment the dark trees had thinned, the nameless shrubs had disappeared, and on either side of us was a wall of colour, blood-red, reaching far above our heads. We were amongst the rhododendrons. There was something bewildering, even shocking, about the suddenness of their discovery. The woods had not prepared me for them. They startled me with their crimson faces, massed one upon the other in incredible profusion, showing no leaf, no twig, nothing but the slaughterous red, luscious and fantastic, unlike any rhododendron plant I had seen before. I glanced at Maxim. He was smiling. 'Like them?' he said. I told him 'Yes,' a little breathlessly, uncertain whether I was speaking the truth or not, for to me a rhododendron was a homely, domestic thing, strictly conventional, mauve or pink in colour, standing one beside the other in a neat round bed. And these were monsters, rearing to the sky, massed like a battalion, too beautiful I thought, too powerful; they were not plants at all.”
added by wideawakeowl2.

Du Maurier uses powerful flower imagery; the flowers seem to represent characters in the book.

for to me a rhododendron was a homely, domestic thing, strictly conventional, mauve or pink in colour, standing one beside the other in a neat round bed. And these were monsters, rearing to the sky, massed like a battalion, too beautiful I thought, too powerful; they were not plants at all.
added by wideawakeowl2.

This excerpt is in stark contrast to the description of the azaleas in the part of the property called The Happy Valley. The azaleas are delicate and beautiful, as flowers supposedly should be. So the azaleas symbolize the main character, who, plot spoiler, is the perfect demure attractive woman and the rhododendrons symbolize her nemesis, the dead Rebecca, her husband's ex, who was, we discover, not her husband's love but her husband's enemy: too strident, too greedy, "too beautiful... too powerful," just like the rhododendrons.

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October 2, 2024 Edited by Wimsey1916 Fixed a subject
March 29, 2024 Edited by Drini Edited without comment.
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