Daphne du Maurier and her Sisters
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The Du Mauriers – three beautiful, successful and rebellious sisters, whose lives were bound in a family drama that inspired Angela and Daphne’s best novels. Much has been written about Daphne but here the hidden lives of the sisters are revealed in a riveting group biography.The middle sister in a celebrated artistic dynasty, Daphne du Maurier is one of the master storytellers of our time, author of ‘Rebecca’, ‘Jamaica Inn’ and ‘My Cousin Rachel’. Her success and fame were enhanced by films of her novels and horrifying short stories, ‘Don’t Look Now’ and the unforgettable ‘The Birds’ among them. But this fame overshadowed her sisters Angela and Jeanne, a writer and an artist of talent, living quiet lives even more unconventional than Daphne’s own.In this group biography they are considered side by side, as they were in life, three sisters brought up in the hothouse of a theatrical family with a peculiar and powerful father. This family dynamic reveals the hidden lives of Piffy, Bird & Bing, full of social non-conformity, creative energy and compulsive make-believe, their lives as psychologically complex as a Daphne du Maurier plotline.
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In celebration of all sisters,
and particularly mine:
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She recognised Gerald behind his many dramatic personae, but she was disconcerted by Muriel, fearful that her role as mother was just a façade and that she was really the Snow Queen in disguise. If those closest to you appear unpredictable and powerful, as beings possessed of knives, where as a child can you feel safe? This sense of domestic menace fuelled her extraordinarily fertile imagination, expressed all her life in macabre stories and dreams. Where Angela was wide-eyed and believed anything, Daphne took nothing on trust. Extreme wariness and diffidence followed her into adult life, perhaps magnified by her sensitive apprehension as a child that beneath her mother’s lovely exterior existed something deadly to her emerging self. Even in middle age, when she was no longer afraid of a mother who had grown frail and grateful, Daphne’s anxieties found outlet in cinematic nightmares about her, ‘in which my anger against her is so fearful that I nearly kill her!’22
There was a cool steely quality behind Muriel’s delicate beauty and this contrast was confusing. She seemed so compliant with Gerald’s extravagances, so ready to act the perfect wife and mother, but even Angela, her responsible eldest and ever eager to please, did not elicit much sympathy from an impatient Muriel who took it upon herself to teach her eldest to read when small and reduced her to tears every time. Despite the apparent self-sacrifice of herself and her career, Muriel was considered by some of her daughters’ friends to be charming, but selfish. Like many of her generation born towards the end of Queen Victoria’s reign she was a snob and very keen that her daughters mixed in the right circles. The girls understood the code of the du Mauriers, as Angela recalled:
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