Product Description

Ever since Rebecca, Daphne du Maurier has regularly disconcerted those critics who seem to assume that, to be great, a writer must be dull, obscure, and pretentious. The Scapegoat, which is none of these, is both an unashamed best-seller and by any test, a great novel. The extraordinary story takes hold of the reader and never lets go; the setting in a French chateau in these times is wholly real; the prose is simple and assured; and finally, the characters speak, act, and react precisely as they would have done in that family network of hatred, deceit, and jealousy. In particular the portrait of a neurotic child is exquisitely drawn. By an intriguing device the role of scapegoat for the sins of a charming, idle, and destructive French aristocrat and his family is thrust upon a lonely English traveller. His personality sets off a series of dramatic reactions, in which the author reveals a perfect comprehension of the chemistry of human nature.

Product Details

• Amazon Sales Rank: #1878347 in Books
• Published on: 1991-04
• Original language: English
• Number of items: 1
• Binding: Hardcover

Review
'This book is one of her best' TIME AND TIDE

Review

"A good original novel, well tinged with nightmare."--Times Literary Supplement

About the Author
In many ways the life of Daphne du Maurier resembles that of a fairy tale. Born into a family with a rich artistic and historical background, the daughter of a famous actor-manager, she was indulged as a child and grew up enjoying enormous freedom from financial and parental restraint. She spent her youth sailing boats, travelling on the Continent with friends, and writing stories. A prestigious publishing house accepted her first novel when she was in her early twenties, and its publication brought her not only fame but the attentions of a handsome soldier, Major (later Lieutenant-General Sir) Frederick Browning, who married her.

Customer Reviews

Psychological realism at its best
The theme of the living double or strange twin is not uncommon in literature. In Fyodor Dostoyevsky's, The Double, (1846) Mr. Golyadkin believes he sees himself on a train, haunted by this manifestation, he becomes obsessed with meeting himself, chasing this figure endlessly through the streets of St Petersburg. Many have commented that this nightmarish story is ultimately about the fear of confronting one's darker nature, the terrible "other", and if viewed in totality, could well lead to death.

In The Scapegoat, du Maurier explores a similar theme, where the protagonist, John, a very English and staid history lecturer of French culture, one evening meets his exact double in the train station at Le Mans. John is bored, searching for some connection to life, a meaning to his empty existence. Jean de Gue, however, has a full life, a member of an aristocratic family, a wife, child and a century's old business and the many problems that come with so many connections and responsibilities. He's not happy with this life and wants only to escape. Both men have dinner, drink too much, and John wakes up the next morning to find his cloths and belongings vanished, and Gaston, the driver and head servant, ready to drive him (John) back to the Chateau, St Giles. John decides to play the role of Jean de Gue's scapegoat, though in a few days, finds himself inextricably involved, emotionally and otherwise, in de Gue's affairs and family.

Du Maurier is an excellent writer. John's journey into the world of his double is strangely intriguing, as he narrates his deceptions and observations, and how easily he falls into the role. No one in the family suspects his masquerade, though he comes very close to revealing himself many times. The repressed emotions and history of du Gue's family runs deep and hold numerous dark secrets. I found myself rushing through the tale to discover these secrets and what John will do next. The plot sounds outlandish on the surface, but this is psychological realism at its best, causing this reader at least, to become obsessed with how the story finally resolves itself - and it is not disappointing.

These characters certainly come from another time and another place. Jean de Gue's daughter, Marie-Noel, is a deeply religious child who experiences visions and loves her father beyond words. My thought was that if any of the family would see through John's deceptions, it would be the child. This young child, through her innocence, is the only voice of truth in the house, and her antics and precocious dialogue speaks of another time - a truly unique and memorable character.

This is a masterful piece of literature, a unique thriller that will be just as fascinating and entertaining for readers a hundred years from now.

Extremely Satisfying and Thought Provoking
How anyone can say that "The Scapegoat" is slow leaves me dumbfounded. The week in the life of British historian and lecturer, John, posing as Jean, the impoverished Comte of the chateau de Gue is a journey of the mythic hero, going off into unknown territory and accomplishing a mission where he is thereby transformed. Before the switch, John feels like a voyeur, reading and studying people from a distance rather than actually living in the midst of them. Once he is immersed in Jean's life, he cannot help but feel---as the comte, every decision he makes, effects numerous lives. Like other Du Maurier male characters, John finds as a male he holds the power; the woman flutter about him, allowing and acquiesing to his indisputed control. John believes he becomes a newer,better version of Jean as he interacts with Jean's mother, sister, wife, brother and wife; what he doesn't realize is that in enacting this transformation he can never go back to the life he once knew;his newfound strength sacrifices the 'scapegoat' of the title; with this death, the chateau and its remaining personel are revitalized with a new life.

Du Maurier's undertaking of having John speak in a first person narrative succeeds on every level. The reader experiences all the surprises and revelations through John's eyes and tender heart. Her portrayal of Marie-Noel, Jean's eleven year old daughter, borders on genius; the character springs off the pages, a concatenation of cartwheeling free spirit and religious waif, confused by the seemingly nonsensical activities of the adults around her.

Du Maurier masterfully illustrates the old adage 'there are two sides to every story' throughout the novel as well-meaning John's actions loose something as they are translated by the other dwellers in the Chateau and by Jean himself. Throughout the book, I wondered if Du Maurier, like Jean was playing an elaborate joke on the reader as well---could Jean and John be the same person? On a whim, Jean pretending to be a stranger, conveniently forgets the past and initiates changes that he otherwise could not consciously facilitate? Interesting.

Obviously, the novel is highly recommended to all.

Du Maurier's Best
I thought I had read everything that Daphne Du Maurier wrote until I discovered The Scapegoat in a Seattle bookstore. Now it ranks with House on the Strand as my favorite among her works. It's been a while since I enjoyed a book so much that I'd rather not sleep or go to work so I could finish it! The ending really threw me, but I had to admit that no other ending would have made sense. It's just that Du Maurier had completely drawn me into caring about these people and hoping that everything would turn out for the best. I guess I'm just a sentimentalist, like the protagonist. Enjoy this one!