Daphne du Maurier’s iconic opening line from her 1938 novel *Rebecca*—“Last night I dreamt I went to Manderley again”—remains one of the most celebrated in English literature. Renowned for its perfectly measured rhythm, the sentence has endured beyond the story itself, embodying the novel’s haunting atmosphere. The line’s alexandrine structure, rooted in classical tragedy, illustrates the novelist’s mastery of voice and form, which recent scholarship traces back to influences from her personal life and family history.
A new memoir penned by du Maurier’s eldest grandson, Paul de Zulueta, offers an intimate look at the family’s legacy. While not a comprehensive biography, the book draws on family archives and accounts from relatives to portray the du Mauriers’ private world with warmth and candor. De Zulueta provides a personal perspective that at times challenges previous portrayals, notably contesting depictions of his grandfather, the military officer Frederick “Boy” Browning, as careless in the 1977 film *A Bridge Too Far*.
The memoir reveals a family steeped in theatricality and performance. Daphne’s father, Gerald du Maurier, was a charismatic actor-manager whose numerous affairs were famously exposed by his pet parrot. Her grandfather, George du Maurier, achieved fame as a *Punch* cartoonist and author of the bestseller *Trilby*, a tale of hypnotic control that mirrored the family’s flair for drama and intrigue. Even the novelist’s husband, Browning, maintained a quirky habit of carrying teddy bears on military postings, adding to the sense of storytelling and role-playing threaded through their lives.
De Zulueta enriches the narrative with anecdotes reflecting family traditions and private language. He recounts moments like Sunday lunches ending with Fox’s Glacier Mints and the secret “du Maurier code,” a set of humorous terms passed down through generations. These details create an atmosphere akin to overhearing a private conversation, revealing affection and eccentricity in equal measure.
The memoir also examines Daphne du Maurier’s dual nature, which she described as a “No 1” self—quiet and composed—and a “No 2” self—prone to intense emotion and violence. This duality, according to de Zulueta, informed her storytelling, blending atmospheric elegance with darker undercurrents. The Cornish manor of Menabilly, where she lived for over twenty years, emerges as a key source of inspiration, shaping the vivid settings of her novels.
De Zulueta’s portrayal of his grandmother highlights her complexities: a grounded woman who channeled her life’s contradictions into compelling fiction; a devoted wife who also explored facets of her identity beyond conventional expectations; and a storyteller whose legacy continues through the enduring appeal of her work.
This personal tribute complements du Maurier’s earlier reflections on family and memory, underscoring the lasting imprint one leaves behind. Through it, readers gain a richer understanding of both the woman and the literary heritage she shaped.